Surrendering to the Music with Alexander Gavrylyuk

Our 2025 season will open with a bang this March when we bring some of the orchestral works to Perth’s iconic Winthrop Hall. As well as Beethoven’s dramatic Fifth Symphony and the world premiere of James Ledger’s The Light Fantastic, the Orchestra will also perform Rachmaninov’s Rhapsody on a Theme of Paganini with Gavylyuk taking centre stage.

Before he sits down at the keys, we spoke with Alexander Gavrylyuk about preparing to bring Rachmaninov’s vision to life, how his relationship with the piano has changed over time, and his advice for someone experiencing a live orchestra for the first time.

Can you share your journey in preparing to perform Rachmaninov’s Rhapsody on a Theme of Paganini and what challenges the piece presents?

As my personal perception of life continues to change and evolve over the years, so does my relationship with music. This includes works like the Rhapsody which “grow” with the process. I view my preparation of this work as an opportunity to diminish the idea of any forced control over the so-called interpretation and, rather, surrender to the natural demands of the music itself. With this kind of mindset, I manage to avoid any resistance against the natural flow of the Rhapsody, its heartbeat, its pulse and its soul. This way it’s easier to move closer to the artistic truth of this music. 

Is there a particular aspect or moment in the Rhapsody that you are eagerly anticipating bringing to life on stage?

The humour! Rachmaninov was a seasoned composer by the time this masterpiece was written, at his very best, so there are numerous witty and clever moments and dialogues within the piece. I feel that, compared to his earlier piano concerti, the Rhapsody perhaps has somewhat of an American flare which melds well with Rachmaninov’s famous unique, slavic emotional depth. 

Rachmaninov famously took inspiration from Paganini’s Caprice No.24 for violin when composing his Rhapsody, expanding it for piano and orchestra. How would you describe the relationship between the soloist and the orchestra in this piece?

I particularly enjoy the feeling of a chamber music-like approach which includes the conductor, the orchestra and myself. This mindset brings out spontaneity of the moment, opening doors for everyone’s natural musical talents on stage. In turn, this gives birth to many magical moments which are sort of expected and unexpected at the same time. This aspect of the Rhapsody performance is most precious to me. 

How has your relationship with the piano changed since you started studying the instrument at age seven?

Very much. Having started playing as a kid, I had at the time been conditioned to simply follow instructions of heavy-handed, individuality-crushing Soviet methods. It took me many years of inner work to break free from such constraints and my relationship with the piano has reflected this evolvement. At some stage, playing piano began having a much broader meaning and purpose.

Music has the power to unite people on a deeper level, disregarding their immediate differences on the surface. It has the power to communicate ideas, notions and truths beyond words and reasoning, arriving directly at one’s heart. So, my relationship with the instrument evolved with these ideas in mind. 

2025 is a season of new adventures for WASO. What would you tell someone who is experiencing a symphony orchestra for the first time?

I think someone who is experiencing a symphonic concert for the first time might be completely shocked at how powerful this experience might be. The idea of being one with the audience without any distractions, with everyone’s attention focused on one source - the music. This is a rare and precious experience in our fast paced, information-overloaded society. A classical music concert is a unique way to meditate our way back to our inner world and reflect upon the many emotions being provoked by the music. They say everything is frequency and vibration in this universe, after all. 

You’ve worked with orchestras all over the world. What is it about WASO that keeps you coming back?

I have been fortunate to have a long history with WASO. An amazing group of driven, dedicated and sincere musicians. Every time it is a pure joy not only on a musical level, but on a personal level too. I am especially excited to work with the wonderful Asher Fisch once again! 

Beethoven’s Fifth
6-8 March, Winthrop Hall
Tickets on sale now.