Sergej Krylov, Violin

Biography

Effervescent musicianship, intense lyricism and beguiling tonal beauty belong to the qualities that have secured Sergej Krylov’s place among today’s most renowned performers. A regular guest with several major institutions and world’s leading orchestras, Sergej Krylov has appeared with Russian National Orchestra, Filarmonica della Scala, Accademia Nazionale di Santa Cecilia, Orchestre Philharmonique de Radio France, DSO Berlin and Budapest Festival Orchestra.

He has collaborated with many leading conductors as Mikhail Pletnëv, Dmitrij Kitajenko, Fabio Luisi, Vasily Petrenko, Valery Gergiev, Andrey Boreyko, Vladimir Jurowski, Roberto Abbado, Yuri Temirkanov, Dmitry Liss, Marin Alsop, Charles Dutoit, Yuri Bashmet e Michał Nesterowicz.

As Music Director of the Lithuanian Chamber Orchestra since 2008, Sergej Krylov loves assuming the dual role of soloist and conductor in a wide repertoire ranging from Baroque to contemporary music.

Forthcoming engagements of Sergej Krylov’s 2019/20 season include performances with London Philharmonic, Royal Philharmonic, Dresdner Philharmonie, Moscow and St Petersburg Philharmonics, Orchestra del Maggio Musicale Fiorentino, Orchestre Philharmonique de Strasbourg and Royal Liverpool Philharmonic.

Born into a family of musicians in Moscow in 1970, Sergej Krylov began studying the violin at the age of five and completed his training at the Moscow Central School of Music.

Krylov’s discography includes recordings for EMI and Melodiya, two releases on Deutsche Grammophon, Ezio Bosso’s Violin Concerto released by SONY Classical and Krzysztof Penderecki’s Violin Concerto Metamorphosen.

August 2019

Calendar

Sergej Krylov's appearance in Denmark, Norway, Sweden and Finland.

Click on the date to get in-depth concert information.

Repertoire
Review
Curious Beethoven
Politiken
Sun, 2007-11-11
Brave artistic violinist and mild maestro played well together. '...Sergej Krylov proved to be an exciting soloist. Not only does he have a superior technique, he also has the power to express his musical ideas. The 37 year old Russion is a super precise, curiously investigating and above all a surprisingly delicate interpreter, who with his luxuriously creamy violin sound gave himself ample time to focus on all the passages in the popular concerto, which are normally bypassed in a hurry with closed eyes and nose in the air. With neat orchestral details and a kind baton, Giancarlo Andretta followed his soloist in an ear opening interpretation, which at time favoured exceptionally slow tempi, but nevertheless was played with fine dynamics throughout, and the finale was so playful and light, that one gladly followed soloist and conductor in their different interpretation...' 'The conductor had prepared everything nicely, but Krylov was the evening's great experience. To play Bach's well known D minor organ toccata for an encore and make all echo effects and ornamentations support the thesis that this super virtuoso piece of baroque music has been written for violin and not, as one believes, for organ, that is simply great.'
Intense Tchaikovsky
Fyns Stiftstidende
Mon, 2008-12-08
Naturally one cannot play Bach's impressive and impossibly difficult organ piece 'Toccata and Fugue' on the violin - it would be a more than hazardous undertaking. But then again - naturally one can - and even to perfection, when one's name is Sergej Krylov. He wished to thank the audience for the the thunderous applause after his performance of Tchaikovsky's Violin Concerto. His performance was on a towering high level. With rare musical intelligence Krylov got all the musicians out on the edge of the chairs, caught in his universe. The symbiosis was so intense, that a total surrender was the only solution for an astounded and fascinated orchestra - and audience. Both the melancholic melodies in the second movement and the pompous polonaise and dances in the outer movements were clear as glass, played with a terrific soloistic surplus and a becoming moedesty.
Hot and Wild
Børsen
Wed, 2008-12-10
'One no longer plays the violin, one mistreats it, beats it blue and yellow' wrote critic Eduard Hanslick after the first performance of Tchaikovsky's Violin Concerto. Funnily enough the concerto became a great hit. Funnily enough it was partly because Sergej Krylov beat his violin blue and yellow that his interpretation of Tchaikovsky's concerto was so terrific when he played it with Odense Symphony Orchestra. Krylov is not only a musician of the solid Russian school, with all it entails of technical superior control of his instrument. He also showed himself as a bit of a cheeky fellow. His violin sounded lovely gipsy warm and his temper was restless. The dramatic excitement in his interpretation was refreshing. Besides, Krylov was poetically blossoming without becoming too sweet, and he had a wonderfully unintimidated and level-headed way of portraying Tchaikovsky's pain.
Press Service

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