Dmytro Choni

Piano

“His art of phrasing, his lyricism, the nuances and the perfect control of dynamics, the transparency and, if necessary, the stupendous virtuosity are outstanding. His playing thus always emanates the aura of the highest artistic goal and finest sensitivity.” – Pizzicato

After two and half weeks of high-level competition and exceptional music-making, Dmytro Choni won the Bronze Medal of the 16th Van Cliburn International Piano Competition in June 2022. As a prizewinner of a number of prestigious competitions, he already made a name for himself on the international stage.

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“His art of phrasing, his lyricism, the nuances and the perfect control of dynamics, the transparency and, if necessary, the stupendous virtuosity are outstanding. His playing thus always emanates the aura of the highest artistic goal and finest sensitivity.” – Pizzicato

“Rare is the musician with so natural a feeling for rubato, the expressive give and take of pace, as well as color and texture.” – The Dallas Morning News

In June 2022 Dmytro Choni won the Bronze Medal of the 16th Van Cliburn International Piano Competition, one of the most prestigious piano competitions in the world. Previously he already garnered international attention by winning numerous top prizes and awards at among others the Paloma O’Shea Santander International Piano Competition (Spain, 2018), the Leeds International Piano Competition (Great Britain, 2021) and the Bösendorfer USASU (USA, 2019). Notwithstanding these achievements, Dmytro says: “Being successful for me means to continuously grow as a musician and as a person, and not to stop searching for the truth in music. In my opinion, the most important aspect would be to love the music with all your heart.”

In February 2024 Dmytro Choni made his debut with the Orchestra Sinfonica Nazionale della Rai in Turin, replacing at short notice Yefim Bronfman, performing Brahms’ piano concerto no. 1 conducted by Juraj Valčuha. (“Choni has all the right cards to deal with the right spirit of the opening Maestoso, torn between the dramatic opening motif for the orchestra and the piano writing of an often dreamy and introverted nature, finding the right balance between the poetry of the second theme, surrounded by dialogues with the woodwind and horn, and the energy of the development, where the thirty-year-old Ukrainian knows how to deliver the punch of the thoroughbred virtuoso, without renouncing the sense of measure that is his stylistic hallmark. Nor is there any lack of ability to recreate the magical, suspended atmosphere of the Adagio, one of the peaks of Brahms’ inspiration, with its expressive depth recreated with a few touches of cantabile, at times sorrowful, at times luminous, sustained by a shrewd use of the pedal and an immediate understanding with the orchestra led by Juraj Valčuha.” – L’Ape musicale).

Dmytro Choni started the 2023/24 season with his highly successful recital debut at the Lucerne Festival (“The highlight of the program was Scriabin’s fourth sonata, which polarised and blended both introverted and extroverted playing. Magnificent how Choni transformed the longing pull of the notes into virtuoso drive.” – Luzerner Zeitung), followed by his return to the Palau de la Música in Barcelona to open their piano series season (“His pianism is technically impeccable, with a definite strength of articulation and pedal control that avoids excessive overlapping of sounds.” – Revista Musical Catalona) and his debut with the Badische Philharmonie Pforzheim and Robin Davis.

The start of the season also marked a new partnership with Frank Peter Zimmermann with recitals in among others Munich and various cities in Italy. They also made a start of a first recording together for BIS Records, featuring works by Bartók and Szymanowski.

Future highlights include solo recital debuts in Düsseldorf, Hamburg and Hannover, in the new Bechstein Hall in London, concerts in various cities in the US, recital tours in Korea and China, as well as his debut with the Vienna Chamber Orchestra and the Polish Chamber Philharmonic Orchestra, as well as the close of his residency in the Edesche Concertzaal with recitals with Josef Špaček and Julian Steckel.

His debut album was released by Naxos in 2020, containing works from the 20th century by Debussy, Ginastera, Ligeti and Prokofiev. The CD received a “Supersonic Award” by Pizzicato magazine and was highly acclaimed by the international press saying that “Dmytro Choni’s thoroughbred playing already possesses real greatness and ingenious breath” (Pizzicato); “The young man could be one of the 21st century’s most outstanding pianists.” (David’s Review Corner).

Dmytro Choni appeared as soloist with renowned orchestras, including the Royal Liverpool Philharmonic, Fort Worth Symphony Orchestra, Phoenix Symphony, RTVE Symphony, Ensemble Esperanza, Ukraine National Symphony, Youth Symphony Orchestra of Ukraine, Castilla y León Symphony, Liechtenstein Symphony, Hamburger Camerata, Silesian Philharmonic and Dominican Republic National Symphony, working with conductors such as Andrew Manze, Marin Alsop, Nicholas McGegan, Yaron Traub, Baldur Brönnimann, Pablo González, Oksana Lyniv and Lucas Macías Navarro.

He takes part in festivals such as the Kissinger Sommer, Verbier Festival, Beethovenfest Bonn, Chopin Duszniki International Piano Festival, New Ross Piano Festival, Dubrovnik Summer Festival, Stars and Rising Stars Munich and MiTo Settembre Musica and performs in such venues as the Wigmore Hall London, Carnegie Hall New York, Salle Cortot Paris, Musikverein and Konzerthaus in Vienna, Minato Mirai Hall Yokohama, Flagey Brussels, Palau de la Música Barcelona, Auditorio Nacional de Música Madrid and the Teatro Colón Buenos Aires.

Chamber music also forms an important part of his musical activities. He has collaborated with the Cuarteto Quiroga, Quartetto di Cremona, Calidore String Quartet and with violinists Rudens Turku, Jack Liebeck, Andrej Bielow and Mari Samuelsen, clarinettist Sharon Kam and violist Nils Mönkemeyer.

Dmytro Choni was born in Kyiv, Ukraine in 1993. He was four when he received his first piano lessons from Galina Zaslavets. Later, he went on to study in Kyiv with Nina Naiditch and Prof. Yuri Kot and consequently finished his studies with Prof. Dr. Milana Chernyavska at the University of Music and Performing Arts in Graz.

 

Representation

General Management: Nymus Artists
Austria: Mark Stephan Buhl – Artists Management
United States: The Cliburn

Links & downloads

https://www.dmytrochoni.com

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Concerts

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Reviews

“Fabelhaft, wie gestern Abend die Anschlüsse klappten, bezwingend die Präzision selbst in den schwierigsten Passagen. Im Largo war er der…” →“Fabelhaft, wie gestern Abend die Anschlüsse klappten, bezwingend die Präzision selbst in den schwierigsten Passagen. Im Largo war er der durchgeistigte Poet am Klavier, sein Spiel war luzide-transzendent. Im finalen Rondo gelang ihm die Gratwanderung zwischen zupackender Rhythmik und kantabler Melodienseligkeit. Großes Klavierspiel, das vom Publikum frenetisch beklatscht wurde. Und als hätte er seine makellose Virtuosität nicht bereits zur Genüge unter Beweis gestellt, legte er in der Zugabe noch eins drauf: mit Alfred Grünfelds „Fledermaus“-Paraphrase steigerte er die Verzückung im ausverkauften Schlosshof ins Unermessliche.” ←
– Mallorca Magazin, 27/07/2023
“The audience response to Choni might have been fueled in part by compassion, but good will doesn’t win a top…” →“The audience response to Choni might have been fueled in part by compassion, but good will doesn’t win a top prize at a competition. Choni gave a towering performance of Prokofiev’s Piano Concerto No.3 in the opening concert which propelled him to frontrunner status from the start. His playing of Beethoven’s Piano Concerto No.3 was exceptional for its elegance, but even more so for the emotional arc that he created from beginning to end.” ←
– Seen and Heard International, 22/06/2022
“Choni, … , employed delicate lyricism with Beethoven’s Third Piano Concerto in C Minor. His performance, marked by clear ornamentation,…” →“Choni, … , employed delicate lyricism with Beethoven’s Third Piano Concerto in C Minor. His performance, marked by clear ornamentation, supple phrasing, and pronounced extra-musicality, was affected with tender supplement from the ensemble. His pointed expressionism was especially evident in the songful slow movement. A native of Ukraine, his performance garnered a roaring applause, with swaths of yellow and blue waving throughout the performance hall.” ←
– Texas Classical Review, 20/06/2022
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“… a whirlwind named Dmytro Choni made Prokofiev’s Piano Concerto No. 3 in C major leap off the page in…” →“… a whirlwind named Dmytro Choni made Prokofiev’s Piano Concerto No. 3 in C major leap off the page in a stunning display of musical intelligence and keyboard athleticism. Sitting poised and upright, Choni executed feats of gnarly passagework, leaps, and interlocking hands, all the time with the neoclassical Prokofiev of the First Symphony looking over his shoulder, demanding transparent textures and articulation that projected to the back of the hall. And whatever the pianistic hijinks, an unerring sense of direction and line animated every bar.” ←
– Classical Voice North America, 16/06/2022
“Dmytro Choni came into his own in the Quarter finals, building upon his fine Preliminary showing. He goes way beyond…” →“Dmytro Choni came into his own in the Quarter finals, building upon his fine Preliminary showing. He goes way beyond just playing the notes of Prokofiev’s Sarcasms, while his Debussy ‘Et la lune descend sur le temple qui fut’ from Images Book II and L’isle joyeuse fused colourful allure and palpable rhythmic backbone. Many years ago the late Earl Wild told me that he conceived Liszt’s Dante Sonata in terms of orchestral foreground and background, as opposed to a huge octave étude. As such, he would have appreciated Choni’s like-minded aesthetic as much as I did.” ←
– Jed Distler blog, Gramophone, 08/06/2022
“Seine Kunst des Phrasierens, des Singens, des Abtönens, aber auch die Kontrolle der Dynamik, die Transparenz und gegebenenfalls auch die…” →“Seine Kunst des Phrasierens, des Singens, des Abtönens, aber auch die Kontrolle der Dynamik, die Transparenz und gegebenenfalls auch die stupende Virtuosität sind überragend. Von seinem Spiel geht somit immer die Aura höchsten künstlerischen Anspruchs und feinster Sensibilität aus. …  Wo andere junge Pianisten sehr gut spielen, besitzt Dmytro Chonis vollblutiges Spiel schon wirkliche Größe und einen genialen Atem. ##### His art of phrasing, his lyricism, the nuances and the perfect control of dynamics, the transparency and, if necessary, the stupendous virtuosity are outstanding. His playing thus always emanates the aura of the highest artistic goal and finest sensitivity. …  Where other young pianists are very good, Dmytro Choni’s thoroughbred playing already possesses real greatness and ingenious breath.” ←
– Pizzicato, 22/05/2020
“Despite his young age, the playing is remarkably assured and mature. His ability to shape phrases and to navigate the…” →“Despite his young age, the playing is remarkably assured and mature. His ability to shape phrases and to navigate the complex harmonies and rhythms, especially in the Prokofiev and the Ginastera, is superb, and his virtuosity is phenomenal. … He is clearly a remarkably talented artist with much to say.” ←
– MusicWeb International, 01/07/2020
“Mit Ludwig van Beethovens Klaviersonate Nr. 26 (Les Adieux) präsentierte sich Dmytro Choni erneut als fein nuancierender und ebenso spontaner…” →“Mit Ludwig van Beethovens Klaviersonate Nr. 26 (Les Adieux) präsentierte sich Dmytro Choni erneut als fein nuancierender und ebenso spontaner Beethoven-Interpret. Mit filigraner und sicherer Technik spielte er einen sehr leichten Beethoven. Die Virtuosität war immer präsent, doch sie hielt sich gestalterisch im Hintergrund. Die Melodien perlten mit atemberaubender Natürlichkeit, und die Tiefe ergab sich aus der Schlichtheit. Auch in Schuberts Impromptu op. 90/3 gelang Choni eine sehr feine Interpretation, in der Transparenz überwog und das Grollen neben hellerem Gesang bestens zum Ausdruck kam. Grünfelds Konzertparaphrase über Motive aus der Fledermaus von Johann Strauss nutzte Choni nicht für rasante Virtuosität. Sein geschmackvolles Differenzieren und das Wissen um die Hintergründe des Stücks führten zu einer wohl spieltechnisch stupenden, aber auch sehr stilvollen Interpretation. Auch in den beiden Rhapsodien op. 79 von Johannes Brahms erwies sich der junge Pianist als ein Meister im Dosieren von Leidenschaft und Melancholie. Das Geniale der Brahmsschen Gedankengänge kam mit dieser Rhetorik und typischen Brahms-Farben perfekt zum Ausdruck. Dmytro Choni stellte sich also als Pianist vor, dem traditionelle Werte am Herzen liegen, der die Ernsthaftigkeit des interpretatorischen Ansatzes mit einer bewundernswerten Ausgeglichenheit sowie einem intelligenten und spannend-rhetorischen Gestalten verbindet. Choni ist ein souveräner Interpret, der ohne Manierismen und Selbstinszenierung nur der Musik dient.” ←
– Pizzicato.lu, 13/02/2020
“Dmytro Choni dejó claras muestras de su candidatura a ser una de las figuras pianísitcas de referencia en los próximos…” →“Dmytro Choni dejó claras muestras de su candidatura a ser una de las figuras pianísitcas de referencia en los próximos años. … Choni desgranó cada tema con un cálido y limpio fraseo, una articulación nítida y un inteligente control sobre un tempo siempre equilibrado. Matizó contrastes y diseñó propuestas sonoras especialmente conseguidas en unos fortes poderosos, trasluciendo un magnetismo poco habitual. Una maravilla.” ←
– La Verdad, 18/03/2021
“This is a quite noteworthy debut from a young man who could be one of the 21st century’s most outstanding…” →“This is a quite noteworthy debut from a young man who could be one of the 21st century’s most outstanding pianists.” ←
– David's Review Corner, 01/05/2020
“Schon von den ersten Takten an konnte man nur staunen über die geradezu unglaublich leichtläufige Fingerfertigkeit, die behutsame Anschlagskultur und…” →“Schon von den ersten Takten an konnte man nur staunen über die geradezu unglaublich leichtläufige Fingerfertigkeit, die behutsame Anschlagskultur und die emotionale Ausdrucksfähigkeit des jungen Pianisten.” ←
– Volksblatt, 30/01/2020
“A commencer par le premier Livre des Images de Debussy dont il souligne l’univers magique avec fluidité, fine sonorité et liberté de…” →“A commencer par le premier Livre des Images de Debussy dont il souligne l’univers magique avec fluidité, fine sonorité et liberté de ton. Sa musicalité apparaît dans toute sa simplicité, et il n’oublie pas d’y ajouter de la poésie que l’on souhaiterait malgré tout encore plus ciselée. La Sonate n° 1 de Ginastera (1952), œuvre brillante qui s’inspire de l’atmosphère de la pampa argentine, est parcourue de frémissements et d’harmonies colorées, de rythmes et de nervosité, qui en font une partition décapante. Choni est à l’aise dans ces pages concises, et rend bien les côtés picaresques du propos et injecte à la toccata finale un mouvement irrésistible. Juste après, en un peu plus de trois minutes, Choni cristallise l’évanescence de la pièce n° 5 du Livre I des Études de Ligeti, intitulée Arc-en-ciel (1985), qui s’achève dans l’extrême aigu. La maîtrise est au rendez-vous. Le programme s’achève par la Sonate n° 6 de Prokofiev. Choni convainc par son approche nerveuse et énergique, mais aussi par un souffle réel qui donne à cette âpre aventure pianistique un élan vigoureux. Face à une rude concurrence discographique, il fait entendre sa voix, claire et précise. Il manque juste un peu de sauvagerie ; elle viendra avec le temps. Avec ce premier album, Dmytro Choni confirme le talent qui lui a valu maintes récompenses dont les lauriers de Santander. Voilà un artiste dont on attendra avec plaisir d’autres témoignages discographiques” ←
– Crescendo, 01/08/2020
“Pues ya conocemos al nuevo ucraniano del Piano: sonido grande, técnica experta y sabiduría interpretativa fueron los poderes exhibidos por…” →“Pues ya conocemos al nuevo ucraniano del Piano: sonido grande, técnica experta y sabiduría interpretativa fueron los poderes exhibidos por el joven pretendiente a solista de reconocido prestigio internacional.” ←
– Codalario, 16/01/2020