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

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. 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.”

Forthcoming highlights include recital and chamber music debuts in Vienna (Konzerthaus and Musikverein), his recital debut at the Lucerne Festival in August 2023, as well as in Hamburg, Düsseldorf and Hannover, a return to the Palau de la Música, Barcelona for a solo recital, numerous recitals in the USA, debuts with the Wiener Kammerorchester, Polish Chamber Philharmonic Orchestra and the Badische Philharmonie Pforzheim, as well as a residency series in the Edesche Concertzaal, The Netherlands, with a solo recital and duo recitals with violinist Josef Špaček and cellist Julian Steckel. During the 2023/24 season he will give recitals with violinist Frank Peter Zimmermann in among others Munich and Milan.

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 regularly appears as soloist with renowned orchestras, such as 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 appears at 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 Vienna, Minato Mirai Hall Yokohama, Flagey Brussels, Palau de la Música Barcelona, Auditorio Nacional de Música Madrid and the Teatro Colón Buenos Aires, all making a lasting impression on his musical development.

Chamber music also forms an important part of Dmytro’s 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 lesson from Galina Zaslavets. Later, he went on to study in Kyiv with Nina Naiditch and Prof. Yuri Kot. He is currently studying 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

  • September 28, 2023, 8:00 pm
    Barcelona, Spain
    Palau de la Música Catalana
    Recital
    Beethoven – Piano Sonata no. 12 in A flat major, op. 26
    Liszt – Après une lecture du Dante: Fantasia quasi Sonata
    Prokofiev – Sarcasms, op.17
    Silvestrov – 3 Bagatelles, op. 4
    Liebermann – Gargoyles, op. 29

    http://www.palaumusica.cat/en
  • September 30, 2023, 8:00 pm
    Ede, Netherlands
    Edesche Concertzaal B.V.
    Recital
    Beethoven – Piano Sonata no. 12 in A flat major, op. 26
    Debussy – Prélude "Les Collines d'Anacapri",  Book 1 no. 5
    Debussy – Et la lune descend sur le temple qui fut
    Debussy – L’Isle Joyeuse
    Prokofiev – Sarcasms, op.17
    Silvestrov – 3 Bagatelles, op. 4
    Liebermann – Gargoyles, op. 29

    http://www.edescheconcertzaal.nl
  • October 7, 2023, 8:00 pm
    Oklahoma City, United States
    Civic Center Music Hall
    Oklahoma City Philharmonic
    Conductor: Alexander Mickelthwate
    Liszt – Piano Concerto no. 1 in E flat major

    https://www.okcphil.org
  • October 13, 2023, 8:00 pm
    Torrance, CA, United States
    El Camino College
    Solo recital
    Beethoven – Piano Sonata no. 12 in A flat major, op. 26
    Debussy – Prélude "Les Collines d'Anacapri",  Book 1 no. 5
    Debussy – Et la lune descend sur le temple qui fut
    Debussy – L’Isle Joyeuse
    Prokofiev – Sarcasms, op.17
    Silvestrov – 3 Bagatelles, op. 4
    Liebermann – Gargoyles, op. 29

  • October 17, 2023, 7:00 pm
    Prescott, United States
    Jim & Linda Lee Performing Arts Center
    Solo recital
    Beethoven – Piano Sonata no. 12 in A flat major, op. 26
    Debussy – Prélude "Les Collines d'Anacapri",  Book 1 no. 5
    Debussy – Et la lune descend sur le temple qui fut
    Debussy – L’Isle Joyeuse
    Prokofiev – Sarcasms, op.17
    Silvestrov – 3 Bagatelles, op. 4
    Liebermann – Gargoyles, op. 29

    https://yavapaisymphony.org
  • October 20, 2023, 7:00 pm
    Fort Worth, United States
    TX Whiskey Ranch
    Solo performance
    https://www.cliburn.org
  • October 22, 2023, 7:00 pm
    New York, United States
    Ukrainian Institute of America
    Solo recital
    https://ukrainianinstitute.org
  • November 7, 2023, 8:30 pm
    Milano, Italy
    Sala Verdi - Conservatorio di Milano
    Duo recital
    Violin: Frank Peter Zimmermann
    Beethoven – Sonata for piano and violin no. 4 in a minor, op. 23
    Bartók – Sonata no. 1 for violin and piano, Sz.75
    Brahms – Sonata no. 1 in G major for violin and piano, op.78

    https://www.quartettomilano.it
  • November 10, 2023, 7:00 pm
    Goyang / Seoul, South Korea
    Aram Nuri Arts Center
    Concert
    Piano: Anna Geniushene
    Beethoven – Piano Sonata no. 12 in A flat major, op. 26
    Debussy – Prélude "Les Collines d'Anacapri",  Book 1 no. 5
    Prokofiev – Sarcasms, op.17
    Silvestrov – 3 Bagatelles, op.1
    Liebermann – Gargoyles, op. 29

    https://www.artgy.or.kr
  • November 18, 2023, 7:00 pm
    Schwerin, Germany
    Goldener Saal
    Recital
    Beethoven – Piano Sonata no. 12 in A flat major, op. 26
    Debussy – Prélude "Les Collines d'Anacapri",  Book 1 no. 5
    Debussy – Et la lune descend sur le temple qui fut
    Debussy – L’Isle Joyeuse
    Prokofiev – Sarcasms, op.17
    Silvestrov – 3 Bagatelles, op.1
    Liebermann – Gargoyles, op. 29

    https://www.konzertverein-schwerin.de
  • November 25, 2023, 8:00 pm
    Ede, Netherlands
    Edesche Concertzaal B.V.
    Duo recital
    Cello: Julian Steckel
    Debussy – Sonata for cello and piano
    Beethoven – Sonata no. 3 in A major for cello and piano, op. 69
    Franck – Sonata in A major for cello and piano

    http://www.edescheconcertzaal.nl
  • December 3, 2023, 7:00 pm
    Pforzheim, Germany
    CongressCentrum Pforzheim CCP
    Badische Philharmonie Pforzheim
    Conductor: Robin Davis
    Brahms – Piano concerto no. 1 in d minor, op. 15

    https://www.theater-pforzheim.de
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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