Review of Bach’s WTC I and II
Gulda, Gould, Richter, Tureck, Schiff, Hewitt, Fischer – the list of recordings of the Well-Tempered Clavier is long. But now another artist came along who without a doubt belongs among the best … one of the best counterpoint performers of our time … Dina Ugorskaja´s secret lies, on the one hand, in her spiritual affinity for Bach‘s music already as a child... and, on the other, in feeling grounded, as she herself acknowledged, by her preoccupation with WTC. The rest is an accumulation of technique, education, and the richness of sound that keeps surprising you again and again. read more „Rezensionen zur CD-Box Bach WTK I und II“
Crescendo, Oktober 12, 2016
You feel yourself not directly addressed, but rather quietly listening in on an intimate dialogue between Bach, God, and the universe. Dina Ugorskaja keeps a noble distance, which protects the fragility of her discourse. An impressive appeal to the freedom of the spirit.
…in Ugorskaja`s rendering of Bach, intellect and intuition appear as equals.
Literatur Spiegel, October 2016
…her interpretation sounds so wonderfully fresh. Informed in all historical details, but never showing off what she understands, balancing the main and secondary voices, the dancing, choral-like, and bravura improvised passages, the cycle emerges as a perfect whole. If one listens closely the entire time, one cannot imagine classical Bach done better.
Southwest Radio, Germany
(Beethoven Op. 90, 101, 109, 110)
Not only does Dina Ugorskaja understand how to colourfully shade detail, how to shape and hold an arc of tension, she also lets emerge that great architecture of sound that makes these complex works audible in the first place. She truly plays in the major league.
"Resplendid, Sacred Song!"
(Eleonore Büning about Beethoven Op. 106 & 111)
Dina Ugorskaja’s father is also a famous pianist. But now she has stepped out of his shadow. In the short opening phrase alone, she presents a palette of colours and nuances of expression, that is, technically speaking, breathless, with not a hint of affectation or capriciousness. She combines astonishing power with tender warmth, confidently shaping every detail,... while at the same time always telling the whole story ...
Amazing also is the rhythmic precision and the momentum, the design of the repeated pause and the endurance of the contradictions in the Scherzo. The tremendous Adagio sostenuto, played according to the instruction "passionate and with much feeling" – from now on, one would like to hear it precisely this way: as a resplendent, sacred song! read more „„Ein Heiliger Gesang“ (Zur CD-Einspielung von Beethovens Klaviersonaten op. 106 und op. 111)“