Alexander Doronin Piano !!link!!

Most pianists play the key. Doronin plays the string. He visualizes the hammer hitting the string and commands the sound after the attack. This results in a tone that, even at fortissimo , retains a vocal, non-brittle quality. In recordings of Prokofiev’s Toccata (Op. 11), Doronin executes the relentless motoric rhythm without ever allowing the sound to become harsh. The upper register rings like bells, while the bass growls.

RCM Concerto Competition (2022), which led to a performance of Prokofiev’s Second Piano Concerto with the RCM Symphony Orchestra. Nutcracker Competition (2012): alexander doronin piano

Moscow Piano Open (2019) and RCM Concerto Competition (2022). Top Prizes: Most pianists play the key

This philosophy is evident in his recorded performances of Liszt’s Transcendental Études . Where other pianists turn these pieces into athletic exhibitions, Doronin reveals the hidden lyrical lines and the harmonic tension beneath the virtuosity. His pedaling is a study in restraint; his touch, whether producing a crystalline pianissimo or a thundering fortissimo , is always in service of the music’s soul. Collectors of rare recordings have noted that the sound is unmistakable—a warm, singing tone that seems to breathe between phrases. This results in a tone that, even at

Let there be no doubt: Doronin excels in Rachmaninoff. His recording of the Piano Sonata No. 1 in D minor (based on Goethe's Faust ) is a tour de force of stamina. Unlike pianists who treat the sonata as a thick, muddy texture, Doronin uses voicing techniques to isolate melodic lines in the left hand while the right hand executes chords. This is the "orchestral illusion." When asked how he manages the infamous cadenza of Rachmaninoff's Third Concerto, Doronin replied, "I don't fight the piano. I ask it to sing."