SOLO REPERTOIRE

Johann Sebastian Bach

• Italian Concerto in F major, BWV 971
• English Suite No. 3 in G minor, BWV 808
• Toccata in E minor, BWV 914
• Chromatic Fantasy and Fugue in D minor, BWV 903
• The Well-Tempered Clavier Book I & II BWV 846-893
• 6 Keyboard Partitas

Ludwig van Beethoven

• Variations in F major on a Theme by Süssmayr, Wo0 76
• Rondo a capriccio in G, Op.129 (“’Rage over a Lost Penny”)
• 32 Variations in C minor, WoO. 80
• Complete Piano Sonatas

Johannes Brahms

• 3 Intermezzi, Op. 117
• Two Rhapsodies Op. 79
• Miscellaneous works

Frédéric Chopin

• Ballade No 1 in G minor, Op. 23
• Ballade No. 2 in F major, Op. 38
• Ballade No. 3 in A flat major, Op. 47
• Ballade No. 4 in F minor, Op. 52
• Preludes Op. 28
• Scherzo No. 1 in B minor, Op. 20
• Scherzo No. 4 in E major, Op. 54
• Sonata No. 2 in B flat minor, Op. 35
• Sonata No. 3 in B minor, Op. 58
• Fantasy in F minor, Op. 49
• Barcarolle in F sharp major, Op. 60
• Polonaise-Fantasy, in A flat major, Op. 61
• Polonaise in A flat major, Op. 53
• Polonaise in A major, Op. 40
• Selected Waltzes, Mazurkas, Etudes, Nocturnes

Claude Debussy

• Estampes, L. 100
• L’isle Joyeuse, L. 106
• Selected compositions

Franz Liszt

• Sonata in B minor, S. 178
• Spanish Rhapsody, S. 254
• Mephisto Waltz No. 1, S. 514
• Funérailles
• Selected Transcriptions, Etudes and miscellaneous works

Felix Mendelssohn

• Songs without Words (selected)
• Rondo capriccioso, Op.14

Wolfgang Amadeus Mozart

• Sonata in C major, K. 330
• Sonata in C minor, K. 457
• Sonata in A minor, K. 310
• Sonata in D major, K. 448
• Fantasy in C minor, K. 475
• Fantasy in D major, K. 397

Modest Mussorgsky

• Pictures at an Exhibition

Astor Piazzolla

• Selected works

Sergei Prokofiev

• Sonata No. 3 in A minor, Op. 28
• Visions fugitives, Op. 22
• Miscellaneous works

Sergei Rachmaninoff

• Sonata No. 2 in B flat minor, Op. 36
• Variations on a Theme of Corelli, Op. 42
• Selected Etudes-Tableaux Op. 33 and Op. 39, Preludes
• Miscellaneous works

Maurice Ravel

“Alborada del gracioso” from Miroirs

Nicolai Rimsky-Korsakov

• Scheherazade (arr. by Yuliya Gorenman)

Domenico Scarlatti

• Selected sonatas

Franz Schubert

• Sonata in C minor, D. 958
• Fantasie in C Major, D. 760, (“Wanderer” Fantasy)
• Four Impromptus Op. 90, D. 899

Clara Wieck Schumann

• 3 Romances, Op. 11

Robert Schumann

• Abegg Variations, Op. 1
• Faschingsschwank aus Wien (Carnaval de Vienne), Op.26
• Carnaval, Op. 9
• Fantasiestücke, Op. 12
• Fantasy in C major, Op.17
• Arabeske in C major, Op.18
• Novelette No. 2 in D major, Op. 21
• Novelette No. 8 in F sharp minor, Op. 21

Alexander Scriabin

• Sonata-Fantasy No. 2 in G sharp minor, Op. 19
• Sonata No. 5 in F sharp major, Op. 53
• Deux Poèmes, Op.32
• Miscellaneous Etudes, Preludes, Mazurkas, Nocturnes

Dmitri Shostakovich

• Selected Preludes, Op. 34
• Selected Preludes and Fugues, Op. 87

Pyotr Ilyich Tchaikovsky

• The Seasons, Op. 37a
• Dumka, Op 59
• Selected works

Heitor Villa-Lobos

• Bachianas Brasileiras No.4
• Valsa da dor

CONCERTOS

Johann Sebastian Bach

• Concerto in F minor, BWV 1056

Ludwig van Beethoven

• Concerto No. 1 in C major, Op. 15
• Concerto No. 2 in B flat major, Op. 19
• Concerto No. 3 in C minor, Op. 37
• Concerto No. 4 in G major, Op. 58
• Concerto No. 5 in E flat major, Op. 73
• Triple Concerto in C major, Op. 56

Johannes Brahms

• Concerto No. 1 in D minor, Op. 15

Frédéric Chopin

• Concerto No. 1 in E minor, Op. 11
• Concerto No. 2 in F minor, Op. 21

George Gershwin

• Rhapsody in Blue

Edvard Grieg

• Concerto in A minor, Op. 16

Franz Joseph Haydn

• Concerto in G major, Hob.XVIII:4

Wolfgang Amadeus Mozart

• Concerto No. 12 in A major, K. 414
• Concerto No. 14 in E flat major, K. 449
• Concerto No. 15 in B flat major, K. 450
• Concerto No. 21 in C major, K. 467
• Concerto No. 23 in A major, K. 488
• Triple Piano Concerto in F major, K. 242

Sergei Prokofiev

• Concerto No. 3 in C major, Op. 26

Sergei Rachmaninoff

• Concerto No. 1 in F sharp minor, Op. 1
• Concerto No. 2 in C minor, Op. 18
• Concerto No. 3 in D minor, Op. 30
• Rhapsody on a Theme of Paganini, Op. 43

Camille Saint-Saens

• The Carnival of the Animals

Robert Schumann

• Concerto in A minor, Op. 54

Dmitri Shostakovich

• Concerto No. 1 in C minor, Op. 35

Pyotr Ilyich Tchaikovsky

• Concerto No. 1 in B flat minor, Op. 23

CHAMBER MUSIC

Ludwig van Beethoven

• Sonata for Piano and Violin No. 3 in E flat major, Op. 12, No. 3
• Sonata for Piano and Violin No. 4 in A minor, Op. 23
• Sonata for Piano and Violin No. 5 in F major, Op. 24
• Sonata for Piano and Violin No. 6 in A major, Op. 30, No. 1
• Sonata for Piano and Violin No. 7 in C minor, Op. 30, No. 2
• Sonata for Piano and Violin No. 9 in A minor, Op. 47 (“Kreutzer”)
• Sonata for Piano and Cello No. 2 in G minor, Op. 5 No.2
• Sonata for Piano and Cello No. 3 in A major, Op. 69
• Sonata for Piano and Cello, No. 4 in C major, Op. 102, No. 1
• Seven Variations for Piano and Cello on the Theme “Bei Mannern, welche Liebe fuhlen”, from Mozart’s The Magic Flute, WoO 46
• Piano Trio in E flat major, Op. 1 No. 1
• Piano Trio in C minor, Op. 1 No. 3
• Piano Trio “Archduke” in B flat major, Op. 97

Johannes Brahms

• Sonata for Viola (or Clarinet) and Piano No. 1 in E flat major, Op. 120, No. 1
• Sonata for Viola (or Clarinet) and Piano No. 2 in F minor, Op. 120, No. 2
• Sonata for Cello and Piano in E minor No. 1, Op. 38
• Sonata for Violin and Piano No. 3 in D minor, Op. 108
• Horn Trio in E flat major, Op. 40
• Piano Trio No. 1 in B major, Op. 8
• Piano Trio No. 2 in C major, Op. 87
• Clarinet Trio in A minor, Op. 114
• Piano Quartet No. 1 in G minor, Op. 25
• Piano Quintet in F minor, Op. 34
• Sonata For Two Pianos, Op. 34b

Antonín Dvořák

• Slavonic Dances for Four Hands, Op. 46 & 72 (selected)

Paul Hindemith

• Sonata for Viola and Piano in F major, Op. 11, No. 4

Wolfgang Amadeus Mozart

• Sonata for Piano and Violin in E minor, K. 304
• Sonata for Two Pianos in D major, K. 448
• Sonata for Four Hands in D major, K. 381
• Sonata for Four Hands in C major, K. 521
• Piano Quartet in E flat major, K. 493

Sergei Prokofiev

• Sonata for Cello and Piano in C major, Op. 119
• Sonata for Violin (or Flute) and Piano No. 2 in D major, Op. 94a

Sergei Rachmaninoff

• Suite for Two Pianos No. 1, Op. 5
• Suite for Two Pianos No. 2, Op. 17

Franz Schubert

• Arpeggione Sonata, D. 821
• Fantasy in F minor for Four Hands, D. 940

Robert Schumann

• Märchenbilder, for Viola and Piano, Op. 113
• Adagio and Allegro in A flat major for French Horn and Piano, Op. 70
• Phantasiestücke for Clarinet and Piano, Op. 73
• Piano Quintet in E flat major, Op. 44

Dmitri Shostakovich

• Piano Quintet in G minor, Op. 57

Pyotr Ilyich Tchaikovsky

• Piano Trio in A minor, Op. 50

“She is a pianist without fear.”

– Nicholas Slonimsky

“Her Olympian technique was evidenced especially in her ability to play with perfect clarity and expression the many passages in which Rimsky-Korsakov weaves together several independent voices or melodies. At many points, it was hard to imagine how only 10 fingers could negotiate such complexity, much less how it could be managed with such utterly relaxed musicality. In the Russian School of piano performance, this, rather than purling scales or rocketing octaves, signals the highest level of achievement.

The evening concluded with a performance of the Nocturne for the Left Hand Op. 9 by the late-romantic Russian composer, Alexander Scriabin. Without in any way denigrating the quality of Gorenman’s superb playing of the other works in which we have heard her, it must be remarked that her playing of the Scriabin Nocturne showed a mastery of idiom and a degree of technical finish so high as to suggest that this is the sort of repertoire most native to her, where her training, her natural gifts and her deepest sympathies converge.”

— Larry Lapidus/The Spokesman-Review

“There are dependable performers who always afford insight, there are performers who emit flashes of amazing brilliance and are otherwise dull as dirt, and then, there are the forces of nature. They tap into such an elemental power as to be disturbing, and the words good and bad rapidly become irrelevant. Emotive changes are lightning fast; tempo fluctuates with the natural grace and power of water. Thunder and zephyr dance in alternating frenzy and transparency, mountains rise out of molehills and are then reduced to nothing with one pianissimo chord, or by a silence suddenly sweeping away everything that has gone before. When it’s over, there’s nothing left to do but survey the landscape for changes. Yuliya is one of these performers, the concert experience transforming her playing from excellent to nearly indescribable. Perhaps it’s also the occasion, the culmination of an extended and focused period of study and performance that has been catalytic. The variation movements in Op. 109 and 111 are titanic, the fugue in Op. 110 inexorable, but even more astonishing are the moments of repose! Yuliya revels in those G-Major chords in Op. 110, so much like those in the Eroica variations, where Beethoven seems to be relishing the sounds of a sonority far beyond what the pianos of his day could offer, and she lingers, almost breathlessly, over the far-flung registral dyads in Op. 111. If Op. 109’s third movement theme is taken a bit too fast for my taste, and if a similar over-enthusiasm pervades Op. 110’s second movement, these are mere quibbles beside the power of Yuliya’s vision. She owns the last three Sonatas, and she knows it — fearless indeed!”

– Marc Medwin/Music Web International

“Gorenman’s Beethoven bristled with life. She plays him from the inside out, revealing his interior struggles while making fully incarnate his exterior — the irony, sarcasm, ecstatic beauty, paradox, and the leonine raging against an incipient silence. In short, to hear Gorenman is to hear Beethoven for the first time. ‘He’s got my number,’ she quipped after her nearly two-hour recital.

“A powerful individual with an unaffected stage presence, Gorenman is capable of seismic fortissimos, yet at home with the childlike whimsy of Sonata 27’s second movement. She is also agile, negotiating Beethoven’s trademark hairpin twists and turns deftly, drawing strength from each so that by her fourth encore the audience voiced its astonishment.

– Alfred Thigpen/The Washington Post

“But what impressed even more was her ability to marry seemingly contradictory interpretative styles – emphasizing musical architecture one moment and freely molding rhythms the next, taking in large swaths of a score in a single sweep, then pausing to set off a certain phrase for greater scrutiny. What might have been a muddle of literalism and deconstruction in another pianist’s hands became, with Gorenman, an exciting dialogue between Chopin’s classical and romantic sides.”

— Joe Banno/The Washington Post

Links to Interviews:

• Spokane Public Radio – Part 1
• Spokane Public Radio – Part 2

Solo Program Samples

• S. Bach – The Well-Tempered Clavier, Book 1
• S. Bach – The Well-Tempered Clavier, Book 2
• Schumann – Arabesque in C major, Op.18
  – Fantasy in C major, Op.17
  – Chopin – Four Ballades
• All-Beethoven recital
• Tchaikovsky – The Seasons, 37a
  Mussorgsky – “Pictures at the Exhibition”
• All-Russian recital including Rimsky-Korsakov “Scheherazade” (arranged by Yuliya Gorenman)
• A. Mozart – 2 Sonatas
  Schubert
       – Four Impromptus Op. 90, D. 899
  – Fantasie in C Major, D. 760 (“Wanderer”)
• Beethoven – Sonata 30 in E major, Op. 109
  Liszt
       – La Leggierezza, from Three Concert Études, S. 144
       – The Consolations
       – Mephisto-Waltz, No. 1, S. 514
  Debussy –  Estampes, L. 100
  Rachmaninoff – Sonata No. 2 in B flat minor, Op. 36