Press

Twenty five clippings,
reproduced in full.

Reviews, interviews, and the story of the composer she premiered, from New York to Nouméa.

“Grineva gave the audience a lovely lyrical rendition of this work, letting the music speak for itself without the slightest hint of any affectation.”

Jan Jezioro, The Buffalo News, 6 March 2000 Read the clipping (PDF)

25 clippings: 1999 to 2010
Four languages: English, French, Spanish, Russian
Four interviews: In her own words
One rediscovery: Marcel Tyberg, premiered 2006

One story in the file

The sonatas that waited sixty two years for a pianist

Genius found: unraveling the work of composer Marcel Tyberg The Buffalo News, Gusto, Friday 23 June 2006. Herman Trotter, News Music Critic Emeritus.

The full Buffalo News Gusto page, with a photograph of Katya Grineva at the piano during the Tyberg recital at Temple Beth Zion

Photograph by Robert Kirkham. Open the full page (PDF)

Marcel Tyberg was an Austrian composer living on the Adriatic coast. In 1943, expecting to be seized, he handed his entire musical portfolio to his friend Dr Milan Mihich and asked him to keep it safe by any means necessary. He was sent to Auschwitz and did not come back.

The scores went with Mihich’s son Enrico, a cancer researcher who was invited to Buffalo, New York in 1957 and kept them there for another forty nine years. Somewhere along the way he made a visit to Russia, where a fifteen year old girl sat down and played the piano for him.

When Mihich and the conductor JoAnn Falletta decided in the 1990s to bring Tyberg’s music into the open, he remembered her.

On the first of March 2006, Katya Grineva gave the American premiere of both Tyberg piano sonatas in the sanctuary of Temple Beth Zion in Buffalo, and recorded them the next day in Kleinhans Music Hall. On the first of June she closed a Carnegie Hall recital with the First Sonata, the first time it had been heard by an international audience. She was still carrying them four years later, when her Hong Kong programme set Tyberg beside Chopin and Schubert.

“My first impression is that Grineva is an ideal interpreter of these sonatas. The tape of her live performance reveals all the poetry and nuance one could want, but there is also a great reserve of power for the surging allegros.”

Herman Trotter, American Record Guide, July / August 2006

In her own words

What she told the reporters

“When you play, the walls disappear and the sound takes you away, beyond the room into a music dream, a huge rolling space, a musical infinity.”

To Toni Schlesinger, The Village Voice, 19 November 2004 Read the clipping (PDF)
“The best thing about a concert is that I never actually know how it’s going to come out. I prepare, rehearse, but I get inspired by whatever connection I have with the audience. Something moves through me, and it becomes almost free-form.”

Hong Kong Tatler, June 2010 Read the clipping (PDF)