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“astonishingly pure tone, artistry and bewitching lyricism...”
The Herald Times

“dizzying virtuoso playing, together with her radiant musical sensibility...”
Dernieres Nouvelles d'Alsace

“impressive technique especially the purity of her classical style and by her bowing, both clear and rich, a characteristic of the Russian violin school...”
Le Nouvelliste, Sion


Lire la version Française | Download Biographies

Since I remember myself, there were sounds of violin and piano. I must have been present during hundreds of hours of scrupulous work, when my grandmother was teaching my sister the violin, long before being aware of what it all really meant. Music was all around me. My mother played the piano. Often the violin students of The Moscow Conservatory came to rehearse chez nous, and that is how I became familiar with every microscopic detail of most violin pieces she had accompanied. My mother loved accompanying, she made everyone feel confident, even in most treacherous passages. We knew she would always wait, or, in any case, do just the right thing in order to support a player. Masterful accompanists are hard to come by; they must be cherished.

It was Spring of 1986 when I was taken to my sister’s violin lesson. At that time The Soviet Union was still in the “high achievement” phase in the arts. The promising talents were screened in rigorous exams and were selected or rejected for The Central Music School or The Gnessin School in Moscow, to study with the best and the toughest and, later, win International Competitions. The school’s vestibule is often in y thoughts, where the often-not-so-friendly-mothers were waiting for their little musicians to take them home. I was “chosen” at my sister’s lesson as someone gifted as I sang themes from the Mendelssohn Concerto she was playing, and was told that I shall be a violinist.

I began touring when I started school in the class of Iryna Bochkova. Sadly, I never kept a journal and I don’t remember half of the places where the violin took me. My mother almost always accompanied me, often my sister was participating in the same concert. Most of the time, I liked traveling, except for when I had to be made up and wait for hours for tv programs or if we forgot my favorite card games for the endless train rides.

I wore the obligatory Soviet black and brown school uniform for only a year. Soon, there appeared colors in clothing, often in hideous combinations, but, finally, colors! My mother returned from Genova, having accompanied in the Paganini Violin Competition, with treasures like a pair of jeans, Adidas sneakers and a beautiful pink pencil container for me. I still remember how superior I felt bringing it to school.

One of the most memorable trips abroad was to Paris. I was eight. I don’t remember the concerts well, but I remember very warm audiences, much warmer that in Moscow. A typical scenario of the initial trips abroad was: lots of practicing, stressful concerts and, if we were lucky, a few hours the day after to glance at a city and try to find needed items for the loved ones back home. In Paris, we mounted the Tour Eiffel! A long subway ride later, I remember someone saying, -“Sacré Coeur is up there,” before all the “chosen” musicians disappeared for hours in a strange store with pink boards and four blue letters, which had absolutely everything, smelled bad and made us all dizzy. I have two surviving pictures from the trip, me in a concert top, sewn by my grandmother, and sports shoes, by the Louvre, and another, next to the shoe store, which had not five but fifty-five pairs of shoes. It was unheard of in our country back then.

I learned pieces very fast, was quiet and obedient and the youngest in the violin studio. I was branded lubimitza by my teachers and some admirers, which has a flat translation in English: a favorite. I never had any stage fright. Playing with orchestras was rather exhilarating than frightening. When I was about eleven, playing the Wieniawski Concerto no 2, someone told me that it is difficult. And so it became. Concerts grew in size and scared me at night. By then I already went through a series of disappointments in competitions and had understood and feared that I will not always be a lubimitza.

In the early nineties the struggle among artists in my country was clouded by some unbelievable changes. Everything appeared to be on hold. Suddenly, “vse uekhali,”- that was the main subject whispered in the vestibule of my school, which meant, everyone left! The sheer quantity of the new and different to digest was astounding. The Russian I used with my peers was a coded language, which changed almost every day. My peers and I weren’t listening to the classical records anymore, how could we, when, in the early 90’s, we had discovered Michael Jackson and Madonna and what their music did to crowds! New expressions, new ways of thinking, something about being free, books by Freud, imported goods and Gods, but mainly, the question - how to leave for the West. Not because things were especially desperate, but because everyone else was leaving.

Towards the end of my high-school years, the concerts and the traveling slowed down. Music did not appear to help the new Russians to build a new Russia. So, I left for the New World. By that time I had gained a friend and, to this day, my life mentor, Heidi. We met in Suzdal, another showcase festival for the “chosen” youngsters, where she had heard me. We are friends ever since.

I lived in a dormitory for two years and was proud to catch up on the joys and sorrows of the students who lodged in the dormitory in my school in Moscow. In the beginning, it was all about tests, quizzes, freshmen colloquium, orientation meetings; all of which was as exotic as can be for a product of the Soviet Russia. As I didn’t hear any others, I thought I was the worst violinist in school, as they placed me in the tail of the second violins in the school orchestra. Later, it was explained to me that this was the tradition with freshmen, - I never understood why, as a woman, I had the ending in “men”.

At that time only my family, once every other week on the phone, reminded me of the term lubimitza, as I felt so far from it. I had never played in an orchestra before. A string ensemble where my sister and I played was as close as I came to playing in a large group. The “chosen” ones were always protected from orchestra and chamber music, because it supposedly got in the way of the individual practicing. Well, Cleveland and Peter Salaff, my chamber music idol, was about to change my whole, then rather limited, view on music.

My first serious chamber piece was an early Haydn Quartet. There is no doubt, I was at my maximum capacity of being nervous performing the purest of music, with colleagues who had no opportunity to rehearse and run through the piece hundreds of times, as I did in Moscow with the solo repertoire. No need to describe the extremely competitive system in schools in the U.S. with its highs and lows. The luck was on my side while I was at The Cleveland Institute of Music with Linda and David Cerone, and later in The Indiana University. I won the Concerto Competitions and was able to get back on track performing with orchestras after a few years gap. In other contests, the luck came and went as it pleased. I failed in many. Won a few. Sadly, to this day, I have not learned the ultimate art of keeping a cool head when the jurors carry out the verdict “guilty.” I always want specific details on my performance and need an explanation on just why didn’t they like me; much like what an abandoned soul craves to hear when a relationship disintegrates.

I graduated in the full attire, a mortarboard included. My mother, for the first time in her life, crossed the ocean and got a glimpse of my life in America. The students in the Moscow Conservatory then were so preoccupied with finding the means to survive, while continuing to be musicians, seeing students in the U.S. fully dedicated to studies was a breath of fresh air for my mother. Then again, I did not take her along to the multiple “gigs” I was doing to also survive in America, so, she didn’t get a chance to see some unbelievably staged weddings and funerals, where the excited organizers wave at the annoying violinist to stop when candles are lit or extinguished. At the graduation, I also met my future professor Jaime Laredo. He has the biggest smile I came across in the music world.

Jaime repaired something I had been struggling through for all the transitional years in my country and in my life; feeling the joy while sharing music. It was never a lesson, but rather a performance for him. I felt as if I was channeling the music through someone, who cherished and appreciated every effort of someone transmitting the composer’s ideas. The room next to Jaime’s belongs to a man, with loving and piercing eyes, who, after long days of traveling across the world, is still searching for some new ideas in the already so well-known repertoire, late in the night. As Mr. Pressler opened the door to coach a Schumann Trio, I felt I was entering a sanctuary, where all breathes music. After exactly an hour, as he never runs late, I had learned more about the world of Schumann and how one can express it with such limited means as fingers, than one could ever imagine. I am not the one to judge what is important to add in one’s biography, but this moment is carved in my heart and helps me go on as a musician. Another memorable moment in Bloomington was playing for the only remaining smoker on campus, the grand Janos Starker. I won’t compete with the numerous descriptions of his pedagogy methods, but I would like to share my amazement at how one can transmit so much and with such efficiency, in so few words.

In Bloomington lives a dear friend, colleague, and mentor, the founder of the String Academy for young musicians. Mimi Zweig bought me a ticket to violin start-ups. I was to learn to teach beginners, not remembering how I was ever taught myself. I saw the little musicians nurtured and surrounded by love, never discouraged, never humiliated. Mimi’s Academy remains a wonder and a true testament to the success of the positive approach in teaching, where mistakes are not crimes, but information.

Bloomington also has a fantastic New Music Ensemble directed by David Dzubay. I had the honor to be the leader of the group, which can easily compete with any established professional ensemble, for two years and have discovered the world of contemporary music, to me a rather unfamiliar area up to this point. Xenakis, Carter, Reich and many young and promising composers quickly joined my list of inspiring and powerful influences. In Bloomington I also met one of my best friends, a composer Bryan Christian. If you don’t know his music, you may want to discover it.

I have had a relatively short period of time worrying profusely about the transition into the freelance life. What had fallen in my lap right after graduating from Bloomington, was as unexpected as could be, with my upbringing. I had been chosen to be an artist in residence, or, as it was lovingly named by the founders, “a Violin Fellow” in Montgomery, Alabama. A Violin Fellow plays recitals, concerti and is a concertmaster of the Montgomery Symphony. If you are ever in Montgomery, visit the Symphony’s office in the old town. You will meet Helen Steineker, an incredibly strong lady, who works around the clock looking after the “fellows” and the orchestra. Helen taught me many life lessons along with some unforgettable Southern expressions. Since I left Moscow, I have been moving consistently every two or three years, gaining and losing friends. Montgomery is the most frequent recipient of my post cards. My dear friend and conductor Thomas Hinds is one of them. There simply needs to be a separate collection of memories dedicated to Montgomery.

I wonder if I should allow myself to elaborate too much on non-violin related subjects, but, many in America found it odd that I couldn’t drive at twenty seven; there was no way to postpone it any longer, as the sidewalks disappeared in some cities in the U.S. I just have to indulge sharing that I was instructed by an ex military pilot, who had fought in Korea and shared as much as he could during the six hours we spent together, me trying my very best not to hurt anyone under a shower of information shouted in my ear.

The two years of the residency flew by quickly. I was busy, between recitals, auditions in the US and abroad, making some unbelievable flight connections after concerts in Europe, arriving just in time for the orchestra rehearsals in Montgomery. The last plane reservation I made in Montgomery was to fly to Paris, where I moved at the end of my residency.

For those who like parallels, I arrived to America with one suitcase, packed for at least a year; I left with two, plus small change. I moved to Paris, because my friend, the flutist Alexandra Grot had introduced me to my now dear friend and pianist Aurélien Pontier. The three of us were joined by a cellist Marc Coppey for a concert in memory of Anna Politkovskaya. Since the concert, Marc and I began performing together, increasingly feeling the need to share the stage and our lives. We enjoy playing in a trio with our Russian – Estonian friend Peter Laul, as well as with other musicians. Now in France, I continue freelancing, learning French and exploring the French music scene, anticipating...

Interview « 3 concerts en 1 » 7 janvier 15 h

Vos parents sont-il musiciens?
Toute ma famille est musicienne, à commencer par ma grand-mère violoniste qui fut mon premier professeur de 4 ans à 6 ans avant mon entrée à l’Ecole Centrale de Moscou. Ma sœur, mon aînée de 6 ans, violoniste également, travaille en Espagne comme violon solo. Ma mère, pianiste, est accompagnatrice au Conservatoire Tchaikovsky. Mon grand-père était aussi violoniste. Mon père est ingénieur.

Pourquoi êtes-vous partie aux Etats-Unis ?
Je suis partie quand j’avais 17 ans à Cleveland. A Moscou, il y a une dizaine d’années, nous n’avions pas beaucoup d’informations sur les écoles existant à l’étranger. Et c’était très dur pour les jeunes artistes. Au début des années 90, beaucoup de professeurs ont quitté la Russie. Ma famille et moi avons réfléchi aux moyens d’ouvrir les portes d’une carrière professionnelle. A Moscou, elle était possible mais limitée à cette ville. D’autre part, j’aime écrire. Aux Etats-Unis, l’enseignement est complet. J’ai envoyé une vidéo à plusieurs universités, en Suisse également. Le professeur de Cleveland m’a tout de suite demandé de venir. Mais cela coûtait vraiment cher. Quand j’ai répondu que je n’avais pas l’argent, j’ai reçu une bourse. Le Curtis Institute m’avait aussi acceptée mais semblait trop petit à mes parents : 90 étudiants seulement, cela leur semblait bizarre. A Cleveland, j’ai étudié la musique mais aussi l’anglais que je ne parlais pas beaucoup et j’ai passé beaucoup de temps à l’apprendre. A la remise de mon diplôme, j’ai rencontré celui qui allait devenir mon professeur : Jaime Laredo qui m’a fait venir à Bloomington (Indiana University) où j’ai connu les professeurs parmi les plus marquants : Pressler, Starker... J’ai souvent joué pour eux. Je leur dois beaucoup de ce que je sais sur la musique. Bloomington est une immense université musicale : plus de 2000 étudiants, un opéra, 10 orchestres… J’ai joué en tant que violon solo dans le remarquable New Music Ensemble dirigé par David Dzubay. En Russie, où la musique contemporaine n’est pas obligatoire, je n’avais pas d’expérience de la musique d’aujourd’hui. L’école russe, plutôt conçue pour les solistes, consiste à jouer les grands classiques avec le plus de virtuosité possible. Il n’y a presque pas de musique de chambre. Or c’est irremplaçable ! A Cleveland, j’en ai fait beaucoup, et avec des musiciens magnifiques, puis à Bloomington, j’ai commencé la musique contemporaine. Tout cela est indispensable pour être un musicien complet. J’ai obtenu mon Artist Diploma en 2009, puis j’ai gagné le concours de Montgomery en Alabama qui offre une résidence de 2 ans en tant que violon solo de l’Orchestre symphonique. Je pensais rester aux Etats Unis. Mais j’ai commencé à jouer plus en Europe. J’ai rencontré un des plus grands musiciens que je connaisse, Marc Coppey, avec qui maintenant j’ai la joie de vivre ainsi que de faire de la musique. J’ai été présentée au Festival Juventus par mes collègues; ce festival est devenu très important pour moi, parce que il y règne toujours une atmosphère de camaraderie entre les musiciens et parce que j’y ai aussi rencontré un de mes meilleurs amis, George Gara. J’ai emménagé à Paris en juin 2011.

Qu’est-ce que la musique pour vous?
Pour moi, c’est très simple ; c’est la meilleure forme d’expression; d’expression de moi-même. Je suis assez timide, je ne parle pas beaucoup mais j’ai beaucoup de choses à dire. C’est ainsi depuis mon enfance ; mes parents l’ont compris tout de suite ; chaque fois que je jouais en concert, beaucoup me disaient que ce que je faisais sur scène était vraiment personnel. Cela m’a encouragée à continuer.
Cela n’a pas changé. Il ne m’a pas été facile de déménager, de venir en France. Je vivais depuis 11 ans aux Etats-Unis, ce n’est pas rien. Je pensais y avoir trouvé ma maison, je m’y sentais mieux car je parle anglais aussi bien que le russe et je m’y étais fait beaucoup d’amis. Aujourd’hui, je suis très heureuse d’être en France même si tout n’est pas facile. Je ne parle pas encore assez bien la langue mais je m’investis beaucoup dans son apprentissage car j’ai beaucoup de respect pour les langues. Mais, avec la musique, j’ai noté un parallèle avec mon enfance : chaque fois que j’ai joué en concert depuis le mois de juin, cela m’a beaucoup aidée : j’exprime des choses que je ne peux pas exprimer avec les mots.

Avez-vous déjà joué avec Peter Laul ? A Juventus?
Oui bien sûr. A Juventus et ailleurs. On a un trio avec Marc Coppey. C’est tout nouveau. Nous allons jouer au Concertgebow d’Amsterdam la saison prochaine. Peter est l’un des pianistes que je préfère. Je n’ai aucun doute sur notre entente. Et avec lui - il est russe pourtant, nous parlons très peu lorsque nous répétons ; tout se passe intuitivement, sans besoin de s’expliquer. C’est un grand musicien. Quand je joue avec lui, je sens qu’il me porte à un niveau supérieur.
Peter vit à Saint Pétersbourg, moi je suis née à Moscou. Nous ne parlons pas le même russe, il y a des différences de mots, pas seulement d’accent. Nous faisons beaucoup de blagues sur notre langue. Chaque fois qu’il vient en France, je lui demande de m’apporter des livres car je veux garder mon russe. Et il quand il arrive, il y en a plein ses valises.

Vous écrivez ?
Oui, petite, j’avais déjà commencé en russe à l’école et j’ai été publiée dans un magasine d’école. Une petite histoire. Aux Etats-Unis, j’ai écrit en anglais…sans être publiée… Cleveland est propice à l’écriture, on aime bien là-bas que les gens sachent écrire. Des essais par exemple.
Maintenant, on verra en français. J’adore cette langue.

Comment avez-vous conçu votre programme ?
Toute seule et le choix était simple.
Chaque jour, je commence à travailler mon violon d’abord par des cordes à vide, ensuite des gammes, des doubles cordes, des extraits de concerti, mais toujours seule. Dans la Sonate de Bartok, il y a tous ces éléments d’écriture, et en plus, l’expression est parfois joyeuse, parfois triste, violente, douce, solitaire. Je l’ai jouée plusieurs fois et c’est une musique dans laquelle je crois pouvoir apporter des idées, que je peux bien jouer.
Ravel, Gershwin
Des liens unissent Ravel et Gershwin, auxquels s’ajoute mon lien secret France/Etats-Unis : j’habite la France, le pays de Ravel et j’ai vécu en Amérique, celui de Gerswhin dont la musique contient tant d’énergie.
Kreisler :
Je trouve qu’un programme doit comporter une pièce de virtuosité !
Rachmaninov :
Russe, je me devais d’inscrire une œuvre de mon pays. La Vocalise, si lyrique, est l’oeuvre de mon programme où je peux le plus chanter.

Souhaitez-vous ajouter quelque chose ?
Au début du mois de décembre, je suis allée à Moscou jouer avec ma mère la moitié de ce programme, en face de l’école où j’ai donné mon premier concert quand j’avais 5 ans. Cela faisait longtemps que je n’avais pas joué avec elle. Ce fut très sentimental. Je demeure très émue d’avoir eu cette très rare possibilité. Ma grand-mère était si contente de m’entendre « live » ! Elle est très importante pour moi comme violoniste. C’est elle qui m’inspire beaucoup. Elle a commencé ses études de violoniste et puis ce fut la seconde guerre mondiale. Ses parents sont restés à Moscou, Elle a été évacuée, jeune fille, toute seule, en train, avec une valise et son violon, en Sibérie où elle a vécu plusieurs années. Elle a perdu une partie de sa famille parce que juive : ses grands-parents furent tués à Kiev. Elle a continué à travailler le violon mais a perdu ses facilités.

Vous avez réalisé son rêve
Elle était parfois très dure et avait une discipline de fer. Avec elle, impossible de ne pas travailler. Je suis un peu comme elle …

January 2012
Questions by Anne-Marie Bigorne


Full Concert Archive

February 10 2018 at 18H00
Ensemble Variances
Paris, France

February 18 at 18:00
Les Classiques de Villars
Grande salle de Villars
with Mark Drobinsky, cello
Simon Adda-Reyss, piano
works by Kodaly and Brahms

February 22 at 20:00
Grande salle de Villars
Andrei Kroujkov, conductor
Camerata Russe
Bruch Double Concerto for Violin and Viola(trans. Drobinsky)
Vivaldi Concerto for two Violins and Strings op 3 no 8

March 8 at at 20:00
Complete Sonatas by Charles Ives
with Matan Porat, piano
Christophori Salon
Berlin, Germany

March 22 at 20:30 Monaco Yacht Club
Printemps des arts de Monte Carlo
Complete Sonatas by Charles Ives
Matan Porat, piano

April 4 at 20:30
Musee Océanographique
Printemps des arts de Monte Carlo
Complete Sonatas by Charles Ives
Matan Porat, piano

April 14 Saint Dié les Vosges
Ensemble Variances

July 4 West Cork Chamber Music Festival
West Cork, Ireland

July 11 Wigmore Hall, London
Ensemble Variances
Works by Szymanowski, Pecou, Takemitsu


- Concertos -

E-Major, bwv 1042

G-Major, op. 14

No. 2, Sz.112

D-Major, op. 61

No. 1 in G-minor, op. 26

D-Major, op. 77
Double Concerto for Violin and Cello in A-Minor, op. 102

B-minor, op. 61

A-minor, op. 82

Symphonie Espagnole, op. 21

E-minor, op. 64

G-Major, KV216 D-Major, KV218 A-Major, KV219

Op. 33

Taking Measures

No. 1 in D-Major, op. 19
No. 2 in G-minor, op. 63

D-minor, op. 47

No. 1 in A-minor, op. 77


D-Major, op. 35

No. 5 in A-minor, op. 37

No. 2 in D-minor, op. 22


- Sonatas and Short Pieces -

Complete Sonatas and Partitas

Complete Violin Sonatas

Complete Sonatas for Violin and Piano

La Folia

Four Romantic Pieces
Slavonic Dances
Sonatina for Violin and Piano
Dzubay (b.64)
Delicious Silence

Sonata in A Major

Gershwin - Heifetz
Porgy and Bess
Three Preludes

Preludium and Allegro
Caprice Viennoise

Sonatas in E minor, K. 304, in G Major, in B flat Major

Caprices, no. 1, 2, 6, 10, 11, 13, 16, 18, 19, 20, 21, 23, 24

Sonata in F minor, no 1

Sonata in G Major
Sonata Posthume

Saint - Saens
Introduction and Rondo Capriccioso
Sonata in d minor
Valse - Caprice

Nocturne and Tarantella
Three Myths

Duo Concertante
Suite Italienne

Devil's Trill


Four Pieces op. 7

Variations on the Original Theme


- Chamber Music -

String Quartet no. 2 and no. 3

Piano Trios op. 70 no. 2, Kakadu Variations, Archduke

Complete Piano Quartets
Piano Trios op. 8 in B Major and op. 87 in C Major
String Sextet in G Major, no. 2

Duo for Violin and Harp
Nuclear Winter

Piano Quintet, op. 81


Piano Quintet in F minor

Trio for Violin, Clarinet, Piano

Sonata for two violins

Piano Trio in a minor
Duo for Violin and Cello

Piano Quintet, op 57
Piano Trio no. 2 in E minor

String Sextet Transfigured Night

String Quartet No. 14 in D minor "Death and the Maiden"

Piano Trio in A minor
String Sextet Souvenir de Florence


Stravinsky: Violin Concerto & Works for Violin and Piano

Stravinsky: Violin Concerto & Works for Violin and Piano
View cover art.
Listen to Stravinsky: Violin Concerto on YouTube.
Listen to and buy Stravinsky: Violin Concerto on iTunes.
Listen to and buy Stravinsky: Violin Concerto on Amazon.

CD Credits:
Liana Gourdjia, Katia Skanavi, Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Zsolt Nagy

Liana Gourdjia and Efi Hackmey

Liana Gourdjia &
Efi Hackmey

View cover art.
Listen to and buy Liana Gourdjia and Efi Hackmey music on CD Baby.

CD Credits:
Thomas Luekens, Sound engineer
Photo by Pete Checchia
Produced by The Montgomery Symphony
Wolfgang Amadeus Mozart
Sonata in E minor, K 304
1. Allegro
2. Tempo di menuetto

Johannes Brahms
Sonata in G major for violin and piano, op. 78
3. Vivace ma non troppo
4. Adagio
5. Allegro molto moderato

Karol Szymanowski
Mythes, op. 30
6. Fountain of Arethusa
7. Narcissus
8. Dryads and Pan

Maurice Ravel
9. Tzigane

Pyotr Tchaikovsky
10. Valse sentimentale

Press Reviews

Download Complete Press Kit

.. Le 10 avril dernier, le 18ème concert à l’Orangerie de Rochemontès recevait deux grands musiciens dans un programme rare et passionnant. La violoniste Liana Gourdjia et le violoncelliste Marc Coppey conjuguent leurs talents à la fois proches et complémentaires pour former un duo stimulant et riche d’imagination musicale. La violoniste, titulaire de diplômes et de prix prestigieux alors qu’elle était encore une enfant prodige en Russie développe avec le violoncelliste au sommet de son accomplissement artistique un dialogue permanent, riche des qualités de chacun...

Read Full Review »


.. Le concert restera donc dans les mémoires pour sa seconde partie, consacrée au Trio N°1 de Brahms... Ce soir, ce sont Liana Gourdjia, Marc Coppey et Julien Libeer qui sont à la manœuvre, et qui y atteignent des hauteurs qui ne sont pas souvent fréquentées. Les trois musiciens sont exemplaires à de multiples niveaux: techniquement parfaitement au point, ils dominent la partition sans faiblir, et offrent des sonorités individuelles et collective somptueuses. Les trois tempéraments s’allient de manière admirable: Liana Gourdjia et Marc Coppey sont des complices-nés, et s’entendent à un degré difficile à égaler, tout en rivalisant d’ardeur, de fougue et de générosité...

The Herald Times

.. what one heard was always right on the mark, clear and tidy and, where subtlety was called for, astonishingly pure. Artistically, she was also able to find, beneath and within often acerbic figures, a bewitching lyricism. At times, music and interpretation became hauntingly suggestive of musical poetry.
And when she came to the concerto's middle movement, the biting, mischievous Scherzo, Gourdjia proved she was ready for the game and capable of conquest...

Husseren-Wesserling - «A new level has been reached»
Version Française

On Saturday night concert for «Credit Mutual de la Thur», Jacques Humbert, President of the Soth Alsace district announced one of his precepts: «In music, there are no relationships without listening.» There were indeed warm and rich relationships, between the violin virtuoso Liana Gourdjia and the audience.

Fully focused, the violinist revealed a baroque soul to serve Bach well, with cadences, marvelous vibrato and astounding musicality. Liana mastered the music of Sibelius with maturity. She did not spare the lyrical passages and played with great finesse and an innate sense of legato.

But, it was especially with Tchaikovsky, in his «Melody», that she allowed her exceptional talent to shine. By her technical command and the magnificent sonorities, drawn from her violin, she offered a remarkable rendering. In this work she created a palpable emotion through her serene and poetic bow. One must not forget her accopmanist, Karine Selo from the Paris Conservatory, who was able to adapt to the playing of the violinist with finesse, while enriching it frequently with superb nuances.
October 21, 2010

Les Dernières Notes
Version Française

An amazing concert Saturday evening at the Musicales du Parc de Wesserling with guest soloist, the Russian violinist, Liana Gourdjia.

The last notes of «Melody» by Tchaikovsky concluded softly as if regretfully leaving the hand and the bow. After having played J.S. Bach and Sibelius, Liana returned to her country of birth to chant the soul of the land of her Russian heritage with fire and music of dancing and singing of the soul and bow, mirroring that of magic baton. It was a blessed moment.

«A beautiful poetic moment.»

The Bach C Major Violin Solo Sonata had already announced a musician who is one with her vioiln. Not trying to hide her emotions, with face from time to time seemingly tortured, and, by contrast, in a graceful passage, showing the hint of smile before she freed it imperceptably. When the bow flies over the strings, her movement becomes full, with hands trembling and her face like that of a Madonna watching over her child.

The audience allows itself to slip into the safety of delight and follow her when she mounts the paths of passion. The work of Sibelius «Three Pieces for Violin and Piano» displayed a beautiful accord between the pianist Karin Selo and Liana Gourdjia, each listening to one another and one with keys dancing on the piano, the other tickling the strings with zest, creating a beautiful moment of poetry and emotion, shared as well by the audience.
October 19, 2010

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