{"id":98,"date":"2019-09-15T15:47:43","date_gmt":"2019-09-15T15:47:43","guid":{"rendered":"http:\/\/dina-ugorskaja.de\/?page_id=98"},"modified":"2020-10-20T11:52:00","modified_gmt":"2020-10-20T10:52:00","slug":"home","status":"publish","type":"page","link":"https:\/\/dina-ugorskaja.de\/en\/","title":{"rendered":"Official Homepage"},"content":{"rendered":"
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t

Jury of Annual German Record Critics' Award 2020<\/h3>

Dina Ugorskaja is a musician, who is reticent and deeply intense, earnest and soft-spoken, starry-eyed and radiant. (...) Her internalised accomplished musical excellence is left to us now only in these amazing recordings \u2013 H\u00e4ndel\u2019s suites, Bach\u2019s Well-Tempered Clavier, Schumann, late Sonatas by Beethoven, and Schubert. Her last recording, Schubert\u2019s Sonata in B Major from the year of his death, reveals bewildement of the visionary music with its frailty and subtlty and breathlessness, that falters and oscillates, leaving the artistry that is existential.<\/p><\/div>

<\/div><\/div><\/div>

Heavenly Lengths<\/h3>

Dina Ugorskaja\u2019s rendering of Schubert is dauntingly existential, it belongs among the most truthful renditions that have been delivered to us by musicians lately. To attain Schubert\u2019s sound so closely out of the depths of contemplation and insight, both consciously and by touch, \u2013 that is something only few pianists can master, and that is what Dina Ugorskaja has achieved.<\/p><\/div>

Wolfgang Schreiber (S\u00fcddeutsche Zeitung, 21.11.2019)<\/div>
<\/div><\/div><\/div>

About the Last Schubert' Recording<\/h3>

Ugorskaja plays as if to overturn all the ostentatious conventions of interpretation, everything that is normally projected outwards, to expose the bare soul of this music. She was a pianist of outstanding technique and strength, and yet she made them but modest servants of her personal expression.<\/p><\/div>

Julia Spinola (RBB-Kultur, 22.10.2019)<\/div>
<\/div><\/div><\/div>

The Last Great Musical Achievement of a Wonderful Performer<\/h3>

Ugorskaja\u2019s interpretations always remain concise, unique in their expression, sometimes mercilessly intense, clear and yet intangible. For the listener they provide an intense experience outside space and time.<\/p><\/div>

Alain Steffen (Pizzicato, 11.10.2019)<\/div>
<\/div><\/div><\/div>

About the Recording of Franz Schuberts\u2019s Moments Musicaux<\/h3>

Dina Ugorskaja \u201ereads this music as if it was a projection of the orchestral score \u2013 the way Schubert intended. The majority of his compositions for the piano is virtually orchestral. The fantastic playing with tempi \u2013 ritardando, accelerando \u2013 is something that cannot be taught. It must be felt. And these are the distinctions that make an interpretation grand in cases where the music is alive and breathing, or else leave it common and trite when the musician merely follows the noted metre\u201d.<\/p><\/div>

Roman Berchenko (Radio Orpheus, 27.03.2020)<\/div>
<\/div><\/div><\/div>

\"Resplendid, Sacred Song!\"\n
(Eleonore B\u00fcning about Beethoven Op. 106 & 111)<\/h3>

...technically speaking, breathtaking, 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\" \u2013 from now on, one would like to hear it precisely this way: as a resplendent, sacred song!<\/p><\/div>

Eleonore B\u00fcning (Frankfurter Allgemeine Zeitung, 22.12.2012)<\/div>
<\/div><\/div><\/div>

About the Recording of Beethoven' Sonatas (op. 90, 101, 109, 110)<\/h3>

Not only does Dina Ugorskaja understand how to colourfully shade detail, how to shape and hold an arc of tension, she allows the emergence of the great architecture of sound that makes these complex works audible in the first place. She truly plays in the major league.  <\/p><\/div>

SWR-Kultur, CD-Tipp von 21.03.2014 <\/div>
<\/div><\/div><\/div>

About the Recording of Bach' Well Tempered Clavier<\/h3>

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.<\/p><\/div>

Literatur SPIEGEL (Oktober 2016)<\/div>
<\/div><\/div><\/div>

About the Recording of Bach' Well Tempered Clavier<\/h3>

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.<\/p><\/div>

Atilla Csampai (Crescendo, Oktober 2016)<\/div>
<\/div><\/div><\/div>

About the Recording of Bach' Well Tempered Clavier<\/h3>

Gulda, Gould, Richter, Tureck, Schiff, Hewitt, Fischer \u2013 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 \u2026 one of the best counterpoint performers of our time \u2026 Dina Ugorskaja\u00b4s secret lies, on the one hand, in her spiritual affinity for Bach\u2018s 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.<\/p><\/div>

Hans J\u00f6rg Wangner( Stuttgarter Zeitung, 15.11.2016)<\/div>
<\/div><\/div><\/div><\/div><\/div><\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t

Hailed as a \u201cphilosopher at the piano,\u201d Dina Ugorskaja was an internationally recognized concert pianist, celebrated for her thoughtful and sensitive manner. Ugorskaja was born on August 26, 1973 into a Jewish family in Leningrad (present-day St. Petersburg) in the former Soviet Union. Her father and at the same time her first teacher was the famous pianist Anatol Ugorski, her mother \u2013 musicologist and artist Maja Elik. She began playing piano, singing, and composing at an early age and gave her first public performance at the Leningrad Philharmonic when she was seven years old.<\/span><\/p>\n

In 1990, Ugorskaja\u2019s family settled in Germany, having fled the Soviet Union following a series of anti-Semitic threats. Ugorskaja studied with Prof. Galina Ivanzova at Hanns Eisler School of Music in Berlin before going on to study under Prof. Nerine Barrett at the Conservatory in Detmold, where she obtained her solo diploma with honours in 2001. Among her other sources of inspiration and support were such musicians as Ruvim Ostrovski, Edith Picht-Axenfeld, Andras Schiff and Hans-Dietrich Klaus.<\/span><\/p>\n

<\/a> Ugorskaja enjoyed a distinguished performance career. Concert highlights included recitals at the Gewandhaus in Leipzig, the Liederhalle Stuttgart, the Cologne Philharmonic, the Hercules Hall in Munich, the Verdi Hall in Milan, as well as Radio France. Among her other engagements were the festivals of Schwetzingen, Hitzacker, Dijon, Rottweiler, Kassel, the Feldkirch Schubertiad and Spannungen in Heimbach. Ugorskaja collaborated with a number of prominent conductors, including Ravil Martynov, Vladimir Jurovsky, Vladislav Czarnecki, Norichika Limori and Peter G\u00fclke. As a passionate and dedicated chamber musician, Ugorskaja performed with Tanja Tetzlaff , Asja Valcic and Anastasia Kobekina (cello), Michael Gurevich and Natalia Prishchepenko (violin), Anna Lewis (viola), Sergio Azzolini (bassoon), Hans-Dietrich Klaus (Clarinet), Auryn Quartet, and many others.<\/span><\/p>\n

Among Ugorskaja\u2019s notable recordings are the J.S. Bach and W.A. Mozart double concertos, which she recorded with her father, the pianist Anatol Ugorski, accompanied by the Southwest German chamber orchestra Pforzheim. Further orchestra recordings include the first Brahms piano concerto with Peter G\u00fclke and the Brandenburg Symphony Orchestra released by the Dabringhaus und Grimm label.<\/span><\/p>\n

In 2016, Ugorskaja assumed a teaching position on the piano faculty at the University of Music and Performing Arts, Vienna. In September 2019, Dina Ugorskaja passed away after a long battle with cancer.<\/span><\/p>\n

2019 marked the 10th anniversary of Ugorskaja\u2019s collaboration with the CAvi Music label. Her releases (also a joint production with the Bavarian Radio) include the Handel Suites, late Schumann piano works, the last six Beethoven Sonatas, as well as Bach\u2019s Well-Tempered Clavier. Her last double CD solo recording of Schubert was released after her death in September 2019 and a year later got both the International Classic Music Award and the German Record Critics' Award.<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Dina Ugorskaja wurde am 26. August 1973 in Leningrad, dem heutigen Sankt-Petersburg geboren. Schon in jungen Jahren besch\u00e4ftigte sie sich neben dem Klavier auch mit Gesang und Komposition. Bei ihrem Vater, dem Pianisten Anatol Ugorski, erhielt sie den ersten Klavierunterricht. Ihre Mutter, Maja Elik, war Musikwissenschaftlerin, S\u00e4ngerin und Malerin. Mit sieben Jahren trat Dina Ugorskaja erstmals \u00f6ffentlich auf, mit 14 Jahren spielte sie das 4. Klavierkonzert von Beethoven mit dem Leningrader Staatlichen Symphonischen Orchester. 1990 musste die Familie wegen antisemitischer Drohungen die Sowjetunion verlassen und emigrierte nach Deutschland. Dina Ugorskaja studierte zun\u00e4chst an der Musikhochschule \u201eHanns Eisler\u201c Berlin bei Anneroseread more „Official Homepage“<\/span><\/a><\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":[],"_links":{"self":[{"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/pages\/98"}],"collection":[{"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/comments?post=98"}],"version-history":[{"count":29,"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/pages\/98\/revisions"}],"predecessor-version":[{"id":738,"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/pages\/98\/revisions\/738"}],"wp:attachment":[{"href":"https:\/\/dina-ugorskaja.de\/en\/wp-json\/wp\/v2\/media?parent=98"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}