Press
Ivan Gusev in Review
Born in Kazakhstan, Ivan spent his early childhood there before his parents relocated to a small town near Moscow, Russia to continue his musical training. A graduate of the Tchaikovsky Moscow Conservatory (with highest honors, Profs. Eliso Virsaladze, Mikhail Voskresensky) and Mannes School of Music in New York (Prof. Jerome Rose), Ivan very naturally combines different performing traditions in his performances. As musicologist Prof. Allan Evan once described Ivan, "he is a profound, genuine musician who makes each note live and transport you to another existence".
On November 17, 2018 Ivan's recital program will take the audience on a historic journey of musical works of different epochs and styles: from subtle and intimate Scarlatti's Sonata in F minor to Mendelssohn's very romantic Variations Serieuses, two Etudes-Tableaux by Rachmaninoff that evoke vivid visual images, Scriabin's very lyrical and passionate Sonata-Fantasia, and then from two Debussy preludes to Mussorgsky's mysterious Pictures at an Exhibition.
Ivan is a winner of the 3rd Gershwin International Music Competition in New York, as well as a laureate of several international piano competitions. His concert engagements include solo recitals and performances with orchestra in the US and abroad.
On November 17, 2018 Ivan's recital program will take the audience on a historic journey of musical works of different epochs and styles: from subtle and intimate Scarlatti's Sonata in F minor to Mendelssohn's very romantic Variations Serieuses, two Etudes-Tableaux by Rachmaninoff that evoke vivid visual images, Scriabin's very lyrical and passionate Sonata-Fantasia, and then from two Debussy preludes to Mussorgsky's mysterious Pictures at an Exhibition.
Ivan is a winner of the 3rd Gershwin International Music Competition in New York, as well as a laureate of several international piano competitions. His concert engagements include solo recitals and performances with orchestra in the US and abroad.
by Nicolas Sterner
"Performances, such as this, that speak to the core of the musical work, are perhaps the peak achievement––the particulars of which often come through best in uninhibited, sincere musicianship. A refreshing change from the “commercial” aspect of American classical music performance, Sound Ways’ presentation of Rudin and Derzhavina made a strong case for the satisfying, professional authenticity of the Russian school."
The Boston Musical Intelligencer, February 9, 2026
"Performances, such as this, that speak to the core of the musical work, are perhaps the peak achievement––the particulars of which often come through best in uninhibited, sincere musicianship. A refreshing change from the “commercial” aspect of American classical music performance, Sound Ways’ presentation of Rudin and Derzhavina made a strong case for the satisfying, professional authenticity of the Russian school."
The Boston Musical Intelligencer, February 9, 2026
by Ian Wiese
"Sound Ways knows whom to present. Lukas Geniušas and Anna Geniushene, two of the world’s top pianists showed their synchronicity on top of their individual musicality. If you are interested in the state of the world of music outside Boston, especially from Russian performers, go to another one of their concerts soon."
The Boston Musical Intelligencer, September 16, 2025
"Sound Ways knows whom to present. Lukas Geniušas and Anna Geniushene, two of the world’s top pianists showed their synchronicity on top of their individual musicality. If you are interested in the state of the world of music outside Boston, especially from Russian performers, go to another one of their concerts soon."
The Boston Musical Intelligencer, September 16, 2025
by Stephen Wigler
"It is the conquest of light over darkness in this often-dark work that Rachmaninoff celebrates with the most brilliant sounding colors of the orchestra. This is quite impossible to do on a piano ― even two of them. But Gryaznov nearly accomplishes it in the coda. He calls upon the full resources of the pianists and their instruments, creating a level of sheer sound that I do not believe can be attained in Rachmaninoff’s own two-piano arrangement. I don’t think I’ve ever heard such clangor coming from one or two or however many pianos — and neither, apparently, had most of the audience. At the conclusion, the audience appeared to have suffered concussive shock. For a few seconds, they sat in stunned silence until some brave soul yelled out Bravo! and only then applause ensued.
On records and off, I’ve heard several two-piano performances that matched the brilliance and ensemble coordination of Gryaznov and Rumyantsev — among them those by Freire and Argerich, by Berezovsky and Lugansky and by Alexeev and Demidenko — but I can’t think of any that surpassed this one in First Church Boston. That’s a remarkably extravagant complement because ― with the possible exceptions of Schubert’s Fantasy in F Minor, D.940, and Mozart’s Sonata in D Major, K.448 — Rachmaninov’s Symphonic Dances may be the greatest work ever written for two pianos."
The Boston Musical Intelligencer, June 3, 2024
"It is the conquest of light over darkness in this often-dark work that Rachmaninoff celebrates with the most brilliant sounding colors of the orchestra. This is quite impossible to do on a piano ― even two of them. But Gryaznov nearly accomplishes it in the coda. He calls upon the full resources of the pianists and their instruments, creating a level of sheer sound that I do not believe can be attained in Rachmaninoff’s own two-piano arrangement. I don’t think I’ve ever heard such clangor coming from one or two or however many pianos — and neither, apparently, had most of the audience. At the conclusion, the audience appeared to have suffered concussive shock. For a few seconds, they sat in stunned silence until some brave soul yelled out Bravo! and only then applause ensued.
On records and off, I’ve heard several two-piano performances that matched the brilliance and ensemble coordination of Gryaznov and Rumyantsev — among them those by Freire and Argerich, by Berezovsky and Lugansky and by Alexeev and Demidenko — but I can’t think of any that surpassed this one in First Church Boston. That’s a remarkably extravagant complement because ― with the possible exceptions of Schubert’s Fantasy in F Minor, D.940, and Mozart’s Sonata in D Major, K.448 — Rachmaninov’s Symphonic Dances may be the greatest work ever written for two pianos."
The Boston Musical Intelligencer, June 3, 2024
by Aaron Keebaugh
"Convincing as these readings were, Rachmaninoff’s Symphonic Dances offered the evening’s greatest fireworks. Composed in 1940, Rachmaninoff’s final orchestral score reflects scenes long vanished from a world gone mad. He made his own two-piano arrangement of the score. So, there was quite a bit at stake with Gryaznov’s transcription for two pianos, which we heard Saturday. For starters, how can a pair of pianists best capture the sheer force of the tutti hits in the outer movements? And can they depict the flute and saxophone solos in the original with the right amount of shape and color?
But Gryaznov and Rumyantsev pproduced seismic force when the music called for it. Chords rang heavy without tipping into crash-and-bang clamor. And their soft tones allowed for the opening gestures to build to those moments naturally. Rumyantsev made his line—the saxophone solo in the original—sing during the first movement’s middle section."
The Boston Musical Intelligencer, June 4, 2024
"Convincing as these readings were, Rachmaninoff’s Symphonic Dances offered the evening’s greatest fireworks. Composed in 1940, Rachmaninoff’s final orchestral score reflects scenes long vanished from a world gone mad. He made his own two-piano arrangement of the score. So, there was quite a bit at stake with Gryaznov’s transcription for two pianos, which we heard Saturday. For starters, how can a pair of pianists best capture the sheer force of the tutti hits in the outer movements? And can they depict the flute and saxophone solos in the original with the right amount of shape and color?
But Gryaznov and Rumyantsev pproduced seismic force when the music called for it. Chords rang heavy without tipping into crash-and-bang clamor. And their soft tones allowed for the opening gestures to build to those moments naturally. Rumyantsev made his line—the saxophone solo in the original—sing during the first movement’s middle section."
The Boston Musical Intelligencer, June 4, 2024
by Stephen Wigler
"The two-concert series, “The Art of the Piano Duo,” which concluded Saturday at Boston First Church, left listeners wanting to hear more. Sound Ways, the not-for-profit that has for six years introduced extraordinary musicians [...], decided to sponsor a duo piano series because its repertory of masterpieces belong to what is possibly the most misunderstood and unappreciated genre in all of what is called classical music."
The Boston Musical Intelligencer, June 17, 2024
"The two-concert series, “The Art of the Piano Duo,” which concluded Saturday at Boston First Church, left listeners wanting to hear more. Sound Ways, the not-for-profit that has for six years introduced extraordinary musicians [...], decided to sponsor a duo piano series because its repertory of masterpieces belong to what is possibly the most misunderstood and unappreciated genre in all of what is called classical music."
The Boston Musical Intelligencer, June 17, 2024
by Christopher Hodges
"My condolences go to all who missed 2022 Cliburn silver medalist Anna Geniushene’s Boston debut Sunday evening. It was difficult to find a chair at First Church, Boston as the crowd of young pianists and members of Boston’s Russian community filled the room to the rear-most rows. Presented by Sound Ways Inc., [...], Geniushene inspired with works by young artists and Russians. Paul Rudolf’s angular space seemed to vibrate in excited conversation as all waited eagerly to hear the rising star."
The Boston Musical Intelligencer, January 24, 2024
"My condolences go to all who missed 2022 Cliburn silver medalist Anna Geniushene’s Boston debut Sunday evening. It was difficult to find a chair at First Church, Boston as the crowd of young pianists and members of Boston’s Russian community filled the room to the rear-most rows. Presented by Sound Ways Inc., [...], Geniushene inspired with works by young artists and Russians. Paul Rudolf’s angular space seemed to vibrate in excited conversation as all waited eagerly to hear the rising star."
The Boston Musical Intelligencer, January 24, 2024
by Lee Eiseman
"Pianist Ivan Gusev, a relatively unknown artist, delivered a recital better-played and more worth hearing than many from some famous names. The Saturday night concert at First Church in Boston for SoundWays revealed a limpidist from Kazakhstan (via Moscow Conservatory and Mannes) who took great care, in a well-mixed but also well-connected program, to make gorgeous sounds and voice with exquisite care."
The Boston Musical Intelligencer, December 20, 2021
"Pianist Ivan Gusev, a relatively unknown artist, delivered a recital better-played and more worth hearing than many from some famous names. The Saturday night concert at First Church in Boston for SoundWays revealed a limpidist from Kazakhstan (via Moscow Conservatory and Mannes) who took great care, in a well-mixed but also well-connected program, to make gorgeous sounds and voice with exquisite care."
The Boston Musical Intelligencer, December 20, 2021