Xenia Groh-Hu
xh(at)karstenwitt.com
+49 30 214 594-224
Lisa Böttcher
lb(at)karstenwitt.com
+49 30 214 594-226
General Management
30.01. 18:00
Associazione Alessandro Scarlatti
05.02. 19:30
Warsaw Philharmonic
25.02. 13:00
SWR Studio Kaiserslautern
26.02. 20:00
Funkhaus Halberg, Saarbrücken
10.03. 19:30
Franz Liszt Chamber Orchestra, Budapest
14.03. 17:00
Théâtre Les Salons
16.03. 19:00
Conservatorio della Svizzera Italiana, Lugano
One can hardly play the violin more expressively and uncompromisingly than Gringolts. (Süddeutsche Zeitung)
The Russian violinist Ilya Gringolts wins over audiences with his incredibly skillful playing and sensitive interpretations and is always seeking out new musical challenges. As a sought-after soloist, Ilya Gringolts devotes himself to the great orchestral repertoire as well as to contem-porary and rare works; he is also interested in historical performance practices. His concert programmes include virtuosic early repertoire by Tartini, Leclair, and Locatelli and premieres by Augusta Read Thomas, Michael Jarrell, Christophe Bertrand, and Albert Schnelzer. The 2020/21 season includes premieres of works by Bernhard Lang, Beat Furrer, and Nicolaus Richter de Vroe.
The violinist kicks off the season with several concerts with the Munich Chamber Orchestra; he has also been invited to solo with the National Symphony Orchestra Taiwan, the Bavarian Radio Symphony Orchestra, the Orchestre National des Pays de la Loire, the Orchestra della Toscana, the Stavanger Symphony Orchestra, the Deutsche Radiophilharmonie Kaiserslautern Saarbrücken, and the Musikkollegium Winterthur. From the instrument he conducts projects with the Franz Liszt Chamber Orchestra and the Arctic Philharmonic.
Ilya Gringolts has performed with leading orchestras around the world such as the Royal Liverpool Philharmonic Orchestra, BBC Symphony Orchestra, Finnish Radio Symphony Orchestra, St. Petersburg Philharmonic, Los Angeles Philharmonic, NHK Symphony Orchestra, Singapore Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Bamberg Symphony Orchestra, Mahler Chamber Orchestra, and both orchestras of the SWR (Southwest German Radio). Recent highlights include projects with the Royal Stockholm Philharmonic, Helsinki Philharmonic, BBC Scottish Symphony, City of Birmingham Symphony, Orquesta Sinfónica de Galicia, Israel Philharmonic Orchestra, and Radio Filharmonisch Orkest.
As first violinist of the Gringolts Quartet, he has enjoyed great success at the Salzburg Festival, Lucerne Festival, Edinburgh Festival, Concertgebouw Amsterdam, Philharmonie Luxembourg, Elbphilharmonie Hamburg, Konzerthaus Dortmund, and Teatro La Fenice in Venice. A highly esteemed chamber musician, Ilya Gringolts regularly collaborates with artists such as James Boyd, Itamar Golan, Peter Laul, Aleksandar Madzar, Nicolas Altstaedt, Christian Poltera, David Kadouch, Antoine Tamestit, and Jörg Widmann.
He has made numerous critically hailed recordings on Deutsche Grammophon, BIS, Hyperion and Onyx, and received outstanding reviews for his 2013 recording of Paganini’s 24 Caprices for solo violin. A recording of Mieczysław Weinberg's violin concerto with the Warsaw Philharmonic Orchestra was followed by further CDs with violin concertos: Dvořák with the Prague Philharmonia and Korngold and Adams with the Copenhagen Philharmonic under Santtu-Matias Rouvali. In 2018 the second part of his recording of the complete violin works of Stravinsky was released, recorded with the Orquesta Sinfónica de Galicia under Dima Slobodeniouk and awarded the Diapason d'Or. In 2021 his recording of Locatelli concertos will be released, for which he will conduct the Finnish Baroque Orchestra from the instrument.
In summer 2020 Ilya Gringolts and Ilan Volkov founded the I&I Foundation for the promotion of contemporary music to grant new commissions to young composers. An initial series of short solo works is already a part of the current season.
After studying violin and composition in St. Petersburg, he attended the Juilliard School of Music, where he studied with Itzhak Perlman. He won the International Violin Competition Premio Paganini (1998) and is still the youngest winner in the competition’s history; he was also named a BBC New Generation Artist at the outset of his career. In addition to his professor position at the Zurich University of the Arts, Ilya Gringolts was appointed to the renowned Accademia Chigiana in Siena in 2021. He plays a Stradivari (1718 "ex-Prové") violin.
2020/21 Season
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
lya Gringolts is a virtuoso of the highest order. The arpeggios of the “harmonious labyrinth” flutter airily and a sense of ease permeates the runs, with the highest notes climbing up to the 5-line octave.
Helsingin Sanomat, Jukka Isopuro on the Locatelli CD with Finnish Baroque, 12/01/2021
Ilya Gringolts’ recording [of Locatelli's L'arte del violino] with the Finnish Baroque Orchestra does justice to the virtuoso as well as to the elaborate ornamentation.The performance is consistently fresh, inventive, detailed and clearly phrased. It shows that Locatelli had a distinctive individual style and why he was called by contemporaries as an ‘unrivalled virtuoso’, by Diderot even as an ‘apostle of new music’. Gringolts emphasizes all aspects of Locatelli’s tonal language, whether lyrical, sentimental, virtuosic or dance-like.
Pizzicato, Remy Franck, 9/01/2021
Every note, every harmony, every individual tone and glissando has its right place in this work. The precision and intensity with which the MKO and Ilya Gringolts – who, both technically and musically, is nothing short of masterful – illuminate the score and render it an event leaves the listener completely enthralled. This is how contemporary music should be: urgent and compelling.
Süddeutsche Zeitung, Klaus Kalchschmid, 17/10/2020
A wildly propulsive work far removed from virtuosic gestures in the conventional sense. Yet it demands of the soloist a broad array of technical and sonic ability, which Gringolts mastered brilliantly; he deserves to be heralded for this performance in the Prinzregententheater.
Münchner Merkur, Tobias Hell, 15/10/2020
The sensual surface of Beat Furrer’s violin concerto could be best described as a heady mixture of “sex and Formula One”. [...] In contrast to the majority of recent violin concertos, Furrer’s piece places the emphasis on the soloist.
Münchener Abendzeitung, Robert Braunmüller, 15/10/2020
Gringolts compares Furrer’s music to lava. But he, the violinist, is clearly the volcano in the room. Without any excess movements, but inwardly glowing and furious, Gringolts blasts rapid cascades of sound into the room. [...] No one could step in ad hoc – particularly not for Ilya Gringolts. Especially since none of the other great violinists even comes close to having the unfettered expressiveness that Furrer’s twenty-minute eruption absolutely requires.
Süddeutsche Zeitung, Reinhard Brembeck, 14/10/2020
The Russian violinist Ilya Gringolts [...] fully absorbed in the moment, made his violin sing and shriek with delight, without misplacing a single note – a virtuoso piece [Schubert's Rondo in A major D 438 with the MKO] that goes down easy but is very difficult to play.
Schwäbische Zeitung, Dorothee L. Schaefer, 14/10/2020
The musicians from the Gringolts Quartet and Meta4 fuse into a single body, finding in certain moments a sort of orchestral fullness – just as Mendelssohn was aiming for with his eight-string instrumentation.
WDR 3 Tonart, Markus Stäbler, Alben der Woche 16/03-20/03/2020
Phenomenal – there‘s just no other words to describe the new CD with which the Gringolts Quartet and the Finnish quartet Meta4 come onto the scene. [...] They are two of the most remarkable string quartets of the younger generation. [...] The way in which the two very individually distinct ensembles find a common ground and succeed in taming Enescu's far-reaching and imaginatively dissolute octet is just stunning. [...] The disc’s highlight, however, is the Mendelssohn octet, whose interpretation by Meta4 and the Gringolts Quartet radiates with a bright tonality that is audible down to the smallest details. Highly virtuosic tempi, which are kept alive with clever bursts of energy, alongside piquant articulation, which is enriched by surprising ornamentation, as well as fresh playfulness combine here to create an aha! experience of the highest order. The ideal interpretation of this youthful stroke of genius does not, cannot exist. Those who nevertheless (quite rightly) go looking for it come quite close thanks to the Gringolts Quartet and Meta4. Peter Hagmann, 18/03/2020
[Joannes Maria Staud's Oskar sets] the violin ablaze [...]. Throughout the virtuosic 20 minutes, you’re on the edge of your seat worrying over the fingers of the famed Ilya Gringolts, who vibrates so often at the bridge, suggesting a heightening and heating up of the action, that you feel the flames just by listening to it. Süddeutsche Zeitung, Klaus Kalchschmid, 04/02/2020
This concert was in a class of its own, a positively unforgettable experience, featuring a musician who was committed and inspired down to his bones. [Ilya Gringolts'] interpretations [are a testament] to his profound engagement with and deep understanding of the works [Sciarrino, Widmann and Paganini], and to his unflappable, confident mastery of the instrument.
Pizzicato, Uwe Krusch, 16/01/2020
Gripping and beautifully played […] bold and hugely committed performances of three very striking duos spanning almost 90 years.
The Strad, Edward Bhesania, 2/12/2019 (on the CD Eisler, Ravel, Widman Duos with Dmitry Kouzov)
The concerto [Heinz Holliger Violin Concert "Hommage à Louis Soutter] – played here with harrowing conviction by soloist Ilya Gringolts – draws on the starkness of Soutter’s visual images.
The Scotsman, Ken Walton, 9/12/2019
The soloist in tonight’s concert [Tommie Haglund: Hymns to the Night] was the remarkable Ilya Gringolts. He is one of those blessed players for whom no technical hurdles seem to exist which given the ferocious demands of the solo writing here is hugely beneficial.
Seen and Heard International, Nick Barnard, 5/04/2019
The Russian violinist draws from his Guarneri del Gesù a sound of such luminosity and rich timbre that it renders the Finnish work [Concerto for violin and orchestra in D minor op.47 by Jean Sibelius] an immense aurora borealis, to which his attentive and warm interpretation lent a shimmering quality.
El País, Julián Carrillo, 24/03/2019
It has been proven countless times that Ilya Gringolts is one of the best violinists of his generation [...]. A Korngold of stunning transparency, Gringolts brings, with almost ridiculous ease, a clarity of execution to even the most difficult passages.
L´ape musicale, Mario Tedeschi Turco, 6/03/2019
Often the violinist is pitted against the orchestra’s work and it is easy to miss those triplet runs and warp speed phrases. Gringolts flew through all of them cleanly and with strong sense of dynamics, as well as a modest sense of showmanship. Intent on the music, rather than the workout, Gringolts gave a riveting performance.
Naples Daily News, Harriet Howard Heithaus, 12/02/2019
The Russian violinist also demonstrates the feat of making music from the solo part [of the concerto for violin and larger chamber orchestra Op. 36 No. 3 by Paul Hindemith]. [...] His tone is not only filigree-fine, but also so radiant that the figurations are highly enjoyable, the mechanics soothing.
Münchener Abendzeitung, Michael Bastian Weiß, 1/02/2019
Ilya Gringolts played Paganini's Violin Concerto No. 1 in E-flat, Opus 6 with a hugely impressive display of apparently effortless technical mastery, grasping harmonics, extreme high notes, elegant double stopped slides and rich G-string melodies with nonchalant playfulness.
The Sidney Morning Herald, Clive O'Connell, 14/10/2018
To Gringolts’ dazzling assurance in Paganini’s First Violin Concerto (here heard in a string-orchestra-only version), no mere reviewer can do justice. Surely the sports world’s equivalent of such assurance would be doing handstands on a unicycle while singing the national anthem backwards.
The Limelight Australia, R.J. Stove, 2/10/2018
Most impressive is Gringolts’ musical intelligence. Still, serious and visually unassuming, he shapes Paganini’s flourishes into stylish sweeps, avoiding virtuosic overstatement, yet allowing phrases to drive forward with a sense of complete freedom. Joyously exposing the work’s lyrical foundations, he keeps his lines sweet and carefree, never hunting for gravitas where it cannot be found.
The Australian, Eamonn Kelly, 3/10/2018
Bartók’s monumental Sonata for Solo Violin, made a perfect vehicle for [Gringolts' deep musicality and intense fire]. Playing from memory, Gringolts mastered this beast of a piece, displaying every technique under the sun and, more importantly, providing a convincing interpretation.
Bachtrack, Mark Thomas, 23/07/2018
A thorough survey of Stravinsky’s violin music, Gringolts’s mastery of the composer’s idiom makes his CD and its earlier companion credible front-runners, or at the very least level-pegging with the excellent though rather less comprehensive Marwood collection.
Gramophone, Rob Cowan, 10/2017
A performance of the century – one truly heard Paganini’s Capricci for the very first time. (…) the phrasing was so elegant, nimble and illuminating, the intonation so squeaky-clean, the line so multi-faceted.
Der Standard, Heidemarie Klabacher, 23/8/2017
Gringolts’ playing has a character, gesture, expression and a musical language that composers can only dream of. (…) One can hardly play the violin more expressively and uncompromisingly than Gringolts.
Süddeutsche Zeitung, Harald Eggebrecht, 30/8/2017
It’s [Adams’s violin concerto] played with authority and spark by Gringolts (…) Korngold’s 1974 concerto is an even better showcase for Grigolts, whose strikingly expansive lyricism keeps schmaltz at bay.
THE GUARDIAN, Erica Jeal, 6/4/2017
Ilya Gringolts mastered the exceedingly difficult solo part (in Ligeti’s Violin Concerto) with stoic serenity and did not shy away from the composer’s extremely tricky cadenza, but rather replaced it with one played at an even more breakneck pace.
FAZ, Max Nyffeler, 20/12/2016
Ilya Gringolts played the solo part with impressive precision in the fast passages, but above all with a very special tone, extremely slender yet vast and weighty.
Süddeutsche Zeitung, Michael Stallknecht, 18/12/2016
Ilya Gringolts performed the Brahms Violin Concerto with highly nuanced, lyrical passages and a romantic tone. (…) Particularly noteworthy was Ilya Gringolts’ own cadenza, in which he split melodic lines and revelled in his mastery of double-stopping. Here, he created a subtle web of musical relationships through a question-and-answer game interspersed with suspenseful pauses.
KULTUR, Silvia Thurner, 31/10/2016
The violinist Ilya Gringolts perfected the evening. In the Concerto for Violin and Orchestra in G Major KV 21 his musical intuition and profound expressiveness shone through. (…) Simply good!
Westdeutsche Allgemeine Zeitung Bochum, Nina Schröder, 8/4/2016
Ilya Gringolts’ debut in Lugano enchanted the audience. He produces a wonderful sound and possesses the time-honoured ability to always marry poignant vibrato and transparent lyricism, bright lightness and expressive intensity; (…) Gringolts is simply perfect: never playing fortissimo, often between mezzo-piano and pianissimo but without ever losing a single note, always giving the impression of supreme control of the expressions and hence of the impossibility of mistakes.
Giornale del Popolo, Manuela Camponovo, 9/1/2016
Ilya Gringolts, James Boyd and Nicolas Altstaedt] played not only amazingly flawlessly, but also with captivating spirit. (…) A sublime sensation - small but perfectly formed.
Frankfurter Allgemeine Zeitung, Eleonore Büning, 23/09/2015
Surgically virtuosic (…). The trio, formed especially for the occasion by three soloists united by friendship and who obviously inspire each other, create sumptuous moments.
Berliner Morgenpost, Julia Kaiser, 22/09/2015(on the concert with Nicolas Altstaedt and James Boyd at the Musikfest Berlin)
Ilya Gringolts was the soloist this time [Bach’s A minor Violin Concerto] – rather luxury casting for a work that lasts barely 15 minutes, but his playing had enough panache and swagger about it to turn the concerto into a convincing showcase for his virtuosity.
The Guardian, Andrew Clements, 12/03/2015
Tchaikovsky’s Violin Concerto in D proved the evening’s top drawcard, soloist Ilya Gringolts extracting its warm-hearted lyricism with compelling, focused commitment while riveting listeners’ attention so you could hear a pin drop. (…) Gringolts is a rare artist indeed — a virtuoso for whom soul comes before pyrotechnics.
The Advertiser, Rodney Smith, 15/02/2015
Few recordings [of Paganinis Caprices] search out the musical depths as convincingly as the youngest ever Premio Paganini competition winner, Ilya Gringolts. (…) and it is not too fanciful to imagine something of Paganini’s own ‘other-worldliness’.
The Strad, David Milsom, 5/1/2014
[Ilya Gringolts] presents here what may be ‘a work of archeology’ but is clearly a fresh, modern take on these technical masterpieces. What he has achieved is to make them playful. Having discovered the dramatic qualities within, he has reflected on them. What in other recordings is somewhat predictable here becomes an exciting journey. Where we were once content simply to marvel at the pyrotechnics, now, because of Gringolts’s [sic] acute sense of timing and close attention to dynamics, we hear the music.
Gramophone, Julie Anne Sadie, December 2013 --- CD: Paganini – 24 Caprices op 1
But the ultimate highlight was Schoenberg's Violin Concerto, played with stunning command and tenderness by Ilya Gringolts. Big vibrato, big gestures – he's an old-fashioned soloist of sorts, and turned one of the scariest concertos in the business into a work of expressive, emotive necessity.
The Guardian, 1/6/2012
In the hands of a player of Gringolts' calibre, [the technical demands] simply rendered the performance all the more thrilling. The dare-devilry of the cadenzas was matched by Gringolts' immense musicality. Even the quiet moments were electrifying, especially the opening of the final cadenza, which simultaneously features double-stopping and trills. (...) Gringolts seemed as engaged in [orchestral passages] as when in full flight. He really seemed to thrill to the orchestra's playing, and he clearly loves the work. This joy was reciprocated in the beaming faces of the BBC SSO, particularly the violinists.
Bachtrack, 30/5/2012
Gringolts, one of the most inspirational violinists around today, plays with panache and sensitivity, his partnership with pianist Peter Laul reaching heady heights in the slow movement of the second sonata, the most Janus-faced at all.
Financial Times, 10/7/2010 – on the CD recording Schumann. Violin sonatas 1-3
J. Adams | Violin Concerto (1993) |
B. Adolphe | Violin Concerto |
D. Ammann | unbalanced instability for violin and chamber orchestra (2012/2013) |
A. Arensky | Violin concerto in A minor Op 54 |
J. S. Bach | Violin Concerto in E major BWV 1042 |
Violin Concerto in A minor BWV 1041 | |
Violin Concerto in D minor BWV 1052R | |
Violin Concerto in G minor BWV 1056 | |
Concerto for 2 violins & orchestra in D minor BWV 1043 | |
S. Barber | Violin Concerto Op 14 |
B. Bartók | Violin Concerto No. 1 Sz 36 |
Violin Concerto No. 2 Sz 112 | |
L. v. Beethoven | Violin Concerto in D major Op 61 * |
Romance for violin and orchestra No. 1 in G major Op 40 * | |
Romance for violin and orchestra No. 2 in F major Op 50 * | |
Triple Concerto in C Major Op 56 * | |
L. Bernstein | Serenade (after Platos Symposium) for solo violin, harp, percussion, and strings (1954) |
A. Berg | Violin Concerto |
G. Bizet/ F. Waxman | Carmen Fantasy for violin and orchestra |
J. Brahms | Violin Concerto in D major Op 77 |
Double Concerto in A minor Op 102 | |
B. Britten | Violin Concerto in D minor Op 15 |
M. Bruch | Violin Concerto No. 1 in G minor Op 26 |
E. Chausson | Poeme Op 25 |
B. Dean | The Lost Art of Letter Writing for violin and orchestra (2006) |
H. Dutilleux | L'Arbre des songes for violin and orchestra |
A. Dvorak | Violin Concerto in A minor Op 53 |
Romance in F minor Op 11 * | |
Mazurek Op 49 * | |
E. Elgar | Violin Concerto in B minor Op 61 |
A. Glazunov | Violin Concerto in A minor Op 82 |
R. Harris | Violin Concerto No. 1 (2010) |
K. A. Hartmann | Concerto Funebre for violin and string orchestra |
P. Hindemith | Kammermusik No. 4 Op 36 |
K. Husa | Concerto for violin and orchestra (1993) |
M. Jarrell | ...prisme / incidences... (1998) for violin and orchestra |
Des nuages et des brouillards (2016) for violin and orchestra * | |
E. W. Korngold | Violin Concerto in D major Op 35 |
G. Ligeti | Concerto for violin and orchestra (1990-93) |
P. Locatelli | Violin Concerto in D major Op 3 No. 12 string orchestra (period instrument) |
Violin Concerto in A major Op 3 No. 11 * | |
F. Mendelssohn | Violin Concerto in E minor Op 64 |
Double concerto (piano and violin) in D minor string orchestra | |
W. A. Mozart | Violin Concerto No. 1 in B flat major KV 207 |
Violin Concerto No. 2 in D major KV 211 | |
Violin Concerto No. 3 in G major KV 216 | |
Violin Concerto No. 4 in D major KV 218 | |
Violin Concerto No. 5 in A major KV 219 | |
Sinfonia Concertante for violin, viola and orchestra in E-flat major KV 364 | |
N. Paganini | Violin Concerto No. 1 in D major Op 6 |
Violin Concerto No. 2 in B minor Op 7 | |
A. Pärt | Tabula Rasa for 2 violins, prepared piano and string orchestra (1977) |
S. Prokofiev | Violin Concerto No. 1 in D major Op 19 |
Violin Concerto No. 2 in G minor Op 63 | |
M. Ravel | Tzigane |
M. Rozsa | Sinfonia Concertante Op 29 for violin, cello and orchestra (1966) |
E. Salonen | Violin Concerto (2009) |
C. Saint-Saëns | Concerto No. 3 in B minor Op 61 |
Introduction and Rondo-capriccioso in A minor Op 28 | |
Havanaise in E major Op 83 | |
P. de Sarasate | Carmen Fantasy Op 25 |
Zigeunerweisen Op 20 | |
S. Sciarrino | Allegoria della note for violin and orchestra |
A. Schnittke | Concerto Grosso No. 1 |
A. Schönberg | Concerto for violin and orchestra Op 36 |
F. Schubert | Rondo for violin & string orchestra in A major D 438 |
R. Schumann | Violin Concerto in D minor WoO 23 * |
Fantasy for violin and orchestra in C major Op 131 * | |
R. Shchedrin | Concerto parlando for violin, trumpet and strings |
D. Schostakovich | Violin Concerto No. 1 in A minor Op 99 |
Violin Concerto No. 2 in C sharp minor Op 129 | |
J. Sibelius | Violin Concerto in D minor Op 47 |
6 Humoresques for violin and orchestra Op 87 and 89 * | |
I. Stravinsky | Violin Concerto in D major for violin and orchestra |
T. Takemitsu | Nostalghia * |
S. Taneyev | Suite de concert Op 28 |
P. Tchaikovsky | Violin Concerto in D major Op 35 |
Valse-Scherzo in C major Op 34 * | |
P. Tchaikovsky/A. Glazunov | Meditation Op 42, No. 1 * |
P. Vasks | Violin Concerto (Tala gaisma/ Distant Light) (1996-97) |
R. Vaughan-Williams | The Lark Ascending * |
A. Vivaldi | Four seasons Op 8 |
Concerto for 3 violins in F major RV 551 | |
Concerto for 4 violins in B minor RV 580 | |
K. Weill | Concerto for violin and wind orchestra Op 12 |
M. Weinberg | Violin Concerto in G minor Op 67 (1959) |
Concertino for violin and string orchestra, Op 42 * | |
H. Wieniawski | Concerto No 2 in D minor Op 22 for violin and orchestra |
Légende Op 17 for violin and orchestra | |
more... less / top |
* (also) for chamber orchestra
Sonatas by | L. v. Beethoven and C. P. E. Bach |
W. A. Mozart | Sonata in A Major, K. 526 |
A. Dvorak | Sonatina in G Major, Op. 100 |
E. W. Korngold | Sonata in G Major, Op. 6 |
works by | J. S. Bach, Roberto Gerhard, Brice Pauset and Heinz Holliger |
works by | N. Paganini, Salvatore Sciarrino and Jörg Widmann |
Ilya Gringolts, Dmitry Kouzow
Delos Productions, 2019, DE3556
Ilya Gringolts, Peter Laul, Orquesta Sinfónica de Galicia, Dima Slobodeniouk
BIS Records, 2018, BIS-2275 SACD
Ilya Gringolts, Peter Laul
BIS Records, 2017, BIS-2245 SACD
Ilya Gringolts, Copenhagen Phil
Orchid Classics, 2017, ORC100066
Works by Antonin Dvorák
Ilya Gringolts, Nicola Guerini, Prague Philharmonia
Deutsche Grammophon, 2016, 4814646
Ilya Gringolts, S.-A. Russell (Mezzo-soprano)
E. Stier, G. Walker, Auckland Philharmonia Orchestra
Naxos, 2015, 747313353279
& Mozart - Concertos
Ilya Gringolts (violin), Nicolas Altstaedt (cello), Jonathan Cohen, Arcangelo
Hyperion, 2015, CDA68090
& Symphony no. 4
Ilya Gringolts, Jacek Kaspszyk, Warsaw Philharmonic
Warner Classics, 2014, 2564622483
Ilya Gringolts
Orchid Classics, 2013, ORC100039
Ilya Gringolts (violin), Peter Laul (piano), Dmitry Kouzov (cello)
Onyx, 2011, ONYX 4072
Ilya Gringolts (violin), Peter Laul (piano)
Onyx, 2010, ONYX 4053
Taneyev - Suite de concert
Ilya Gringolts, Ilan Volkov, BBC Scottish Symphony Orchestra
Hyperion, 2009, CDA67642
Ilya Gringolts (violin), Alexander Lonquish (piano) and Mario Brunello (cello)
Claudio Abbado, Simon Bolivar Youth Orchestra
Deutsche Grammophon, 2008, 447 7244
Ilya Gringolts (violin), Ashley Wass (piano)
Hyperion, 2008, CDA67619
Ilya Gringolts, Vadim Repin, Nobuko Imai and Mikhail Pletnev
Deutsche Grammophon, 2005, 4775419
Sibelius - Violin Concerto and Humoresques III-VI
Ilya Gringolts, Neeme Jarvi, Gothenburg Symphony Orchestra
Deutsche Grammophon, 2004, 474 814-2
Deutsche Grammophon, 2002, 474 235–2
Shostakovich - Violin Concerto No. 1 in A Minor
Ilya Gringolts, Ithak Perlman, Israel Philharmonic Orchestra
Deutsche Grammophon, 2002 471 616-2
Denisov - Sonata for two violins
Ilya Gringolts (violin), Alexandr Bulov (violin)
BIS, 2001, BIS-CD-1047
Schnittke - A Paganini, Gringolts - Sonata Bachiana
Ysaye - Six Sonatas, Op. 27, No. 3 & No. 6
BIS, 2000, BIS-CD-1051
Ilya Gringolts (violin), Irina Ryumina (piano), Osmo Vänskä, Lahti Symphony Orchestra
BIS, 1999, BIS-CD-999
The complete Beethoven violin sonatas, performed by Ilya Gringolts on violin and Peter Laul on piano, can be enjoyed as a Saturday evening program in January. The streams of the Associazione Alessandro Scarlatti will, after their first edition on 3 January, be broadcast on 16, 23 and 30th January from Naples onto the worldwide web.
16, 23 and 30/1/2021, each at 18:00
Associazione Alessandro Scarlatti
The I&I Foundation, founded by Ilya Gringolts and Ilan Volkov, has begun its work: Five outstanding composers will be supported by the Foundation in the current season. Through a series of micro-commissions, they are given the opportunity to dedicate themselves completely to writing music over a longer period of time.
"I have long wanted to change the status quo in the music industry's focus on early music," explains Ilya Gringolts, who as a performer is constantly committed to the performance of new works. "The idea of the foundation is to bring performers together with composers - to help them find each other." Concert organizers, orchestras and festivals can also use the I & I Foundation as a reliable and independent platform to discover new composers and exciting music.
Over the coming months, the Foundation's social media channels will allow visitors to follow the creation of new works by Lawrence Dunn, Marina Khorkova, Yair Klartag, Yu Kuwabara and Sky Macklay. Starting in 2021, the I&I Catalogue will be expanded by 15 to 20 compositions per year. In addition, the Foundation will encourage the creation of larger works in the future.
Further information:
I&I Foundation
One can say that the violinist Ilya Gringolts has had the career of a child prodigy and one would not be far off: after studying violin as a child in Saint Petersburg with Tatiana Liberova, the story goes that Itzhak Perlman was made aware of the young violinist after watching a video of him. Sometime later, Ilya Gringolts was to be a student of Perlman’s at the Juilliard School in New York. He also made a name for himself as the youngest winner in the history of the Premio Paganini International Violin Competition and is a regular performer in famous concert halls such as Wigmore Hall as a BBC New Generation Artist....