Andrey Gugnin’s impressive achievements might have seemed complete with his recent victory at the Classic Piano International Competition in Dubai. The award, which includes a €100,000 prize and ten concerts worth €50,000, has certainly added a significant accolade to his career. Yet, even with this triumph, the 37-year-old Russian pianist remains driven and self-critical.
“The prize money was unprecedented for a classical competition, making it feel incredibly substantial,” Gugnin shares during a video call from his tour in Australia. “But once the initial excitement fades, it’s important to consider what comes next.”
Gugnin’s career took off when he won the Sydney International Piano Competition in 2016. There, he met British violinist Tasmin Little, who invited him to be her final duo partner before retiring, thus introducing him to UK audiences. His debut album with Hyperion, featuring Shostakovich’s 24 Preludes and Piano Sonatas Op.12 and Op.61, earned BBC Music Magazine’s Instrumental Award.
The Dubai prize has been a “tremendous practical help” during a period of significant personal upheaval. On his website, Gugnin prominently displays the hashtag #standwithukraine and a statement against war, reflecting his personal stance and the turmoil caused by the conflict. He acknowledges his Ukrainian ancestry and expresses deep remorse over the actions of his home country.
“I left Russia and initially moved to Croatia,” Gugnin explains. “Last year, I relocated to Amsterdam with my girlfriend. These transitions are challenging, and the prize money and additional concerts have come as a much-needed blessing.”
Born in Moscow, Gugnin grew up in a family with limited musical background, apart from an aunt who studied at the Moscow Conservatory. His father and brother are mathematicians, and he might have followed a similar path had he not pursued music.
Starting piano lessons at age seven, Gugnin followed a common path for many Russian children, engaging in music as an extra-curricular activity. He studied under Lev Naumov, a pupil of Heinrich Neuhaus, but after Naumov’s passing, he continued with Vera Gornostayeva, Vadim Kholodenko, and Lukas Geniusas, recording a tribute to Gornostayeva on her 90th anniversary.
Gugnin’s influences include Mikhail Pletnev and Emil Gilels, whose artistry left a lasting impression on him. He also admired recordings by Arturo Benedetti Michelangeli and Glenn Gould, particularly Gould’s interpretation of Beethoven’s Hammerklavier, which captivated him during his early years.
Despite the challenges posed by the war in Ukraine, Gugnin finds solace and purpose in music. “I often hear that music provides comfort to others, and I’m pleased to know that,” he says. “However, from the performer’s perspective, while music can offer a temporary escape, it doesn’t solve the deeper issues. Sometimes, I feel disconnected from my performance, but these moments can lead to new insights.”
Gugnin’s latest album with Hyperion, featuring Grieg’s Holberg Suite, Ballade, and Lyric Pieces, has received praise. International Piano describes him as “a true poet of the keyboard,” and his previous recording of Shostakovich Preludes and Piano Sonatas was deemed “spectacular.” Gugnin’s upcoming album will feature colorful transcriptions of Tchaikovsky and Stravinsky ballet music.
This season, Gugnin is set to debut at Vienna’s Konzerthaus, performing Liszt’s complete Transcendental Etudes on October 2nd. He is enthusiastic about the narrative intensity of Liszt’s cycle and the profound experience of playing Rachmaninov’s preludes.
Looking ahead, Gugnin hopes to explore Shostakovich’s complete Preludes and Fugues and Messiaen’s Vingt Regards, acknowledging the challenge of performing extended cycles in today’s fast-paced world. With increasing travel commitments, particularly in Asia and Australia, and plans for chamber music collaborations with violinist Roman Simovic, Gugnin remains focused and dedicated. He also looks forward to a series of concerts at London’s new Bechstein Hall. “So,” he humorously adds, “I need to practice!”
