Yegor Dyachkov


“Dyachkov is undoubtedly a cellist of great stature: the natural bowing, the rich, deep sound, the total concentration, the interpretative sense, he has it all.”

— La Presse

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About Yegor Dyachkov

Lauded for his remarkable stage presence, depth of insight, nuance and generosity, cellist Yegor Dyachkov is an inspired musician. Since being proclaimed Artist of the Year by the Canadian Broadcasting Corporation in 2000, Dyachkov has gone on to perform throughout Europe, Latin America, Asia, and North America. 

A champion of new music, Dyachkov has premiered works dedicated to him such as the Sonata by Jacques Hétu, Atonement by Christos Hatzis, Vez by Ana Sokolovic, as well as the concerti Ironman by Michael Oesterle and Menuhin: Présence by the late André Prévost. He was invited by Yo-Yo Ma and Sony Music to take part in the Silk Road Project. Dyachkov has a special kinship with the works of Messiaen and the sublime in music, as witnessed by his performances of the Quartet for the End of Time, a work he has performed over a dozen times. 

In addition to his regular recitals in Montreal and Quebec, Yegor recently performed Tchaikovsky's Rococo Variations with the Vancouver Symphony Orchestra and with the Orchestre Symphonique de Québec.

Loué pour sa remarquable présence sur scène, sa qualité d’écoute, son jeu nuancé et sa générosité, le violoncelliste Yegor Dyachkov est un récitaliste, chambriste et soliste inspiré. Depuis qu’il a été proclamé Artiste de l’année par Radio-Canada, il se produit en Europe, en Asie, en Amérique latine, au Canada et aux États-Unis, où il fait ses débuts au Lincoln Center de New York en octobre 2000. 

Yegor Dyachkov accorde une place de choix à la création musicale d’aujourd’hui. Il crée plusieurs œuvres qui lui sont dédiées : la Sonate de Jacques Hétu, Ironman pour violoncelle et orchestre de Michael Oesterle, Vez pour violoncelle seul d’Ana Sokolovic, ainsi que Menuhin : Présence, un concerto écrit pour lui par le regretté André Prévost. Yo-Yo Ma et Sony Music l’ont invité à participer au Silk Road Project

En plus de ses récitals réguliers à Montréal et Québec, Yegor a récemment interprété les Variations rococo de Tchaikovsky avec le Vancouver Symphony Orchestra et l'Orchestre Symphonique de Québec.

Programmes and projects

Beethoven was the first to empower the cello and give it life as a major solo instrument. The sonatas offered here are representative of the major creative periods of the giant. The variations are masterful manifestations of important aspects of Beethoven’s creative genius: simplicity, humour and virtuosic fantasy.

This recital traverses Russian musical spirit, from emotional weight and gravity to farce and satire. The listener will be equally enthralled by the fairy tale humour of Prokofiev’s Chout and Cinderella, as by the powerful and deeply moving Sonata by Schnittke. The commedia dell’arte spirit of Prokofiev’s Pulcinella contrasts sharply with the dark and sarcastic humour permeating expansive passages of Prokofiev’s Sonata. This eclectic programme explores a truly surprising range of Russian cello and piano repertoire. Expect to be even more surprised by the encore!..

This programme combines thoughtful musical substance and pleasure.Two short pieces by Martinu provide an artful conduit between Schumann’s heartfelt Adagio & Allegro and the world of Kapustin’s jazz and Piazzolla’s tango. Atonement by the internationally-renowned Canadian composer Christos Hatzis impressively fuses tango, jazz elements and a Jewish theme. Finally, profound emotion and sarcastic wit permeate expansive passages of Shostakovich’s Sonata, a great masterpiece of the chamber music repertoire. 


“The velvet smoothness of Dyachkov's cello, due in equal parts to technical skill and expressiveness, is remarkable.” 

—  Ultra High Fidelity Magazine

“Dyachkov is undoubtedly a cellist of great stature: the natural bowing, the rich, deep sound, the total concentration, the interpretative sense, he has it all.” 

—  La Presse

“Dyachkov makes sure there are moments to wonder at. His tone is beautiful, each note is exquisitely, easily placed, and he has a way of seeing a phrase, however long, as a whole and delivering it in one shapely, perfect gesture.” 

—  The Globe and Mail





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