“Stylistically his performance followed a rarely chosen path of the legendary Glen Gould. Slavchev, concentrating on the rhythmic layers of the musical pieces, played without unnecessary fireworks and with a wonderful swing feel.
Georgi Slavchev unveiled the mathematical beauty and simplicity of all compositions and at the same time controlled the mood exquisitely and delicately.”
Tomasz Rozwadowski, Dziennik Baltycki, Dec. 29, 2004, Gdansk
“HOUR OF GLORY IN DAHN: What the young pianist Georgi Slavchev presented on Tuesday in the Dahn Concert Hall was phenomenal. While piano concerts have always been the highpoints of the chamber music performances staged here, this event was truly a great moment and it's safe to say that no one among the considerable number of people in attendance will forget their two hours in the hall.
The question whether one should emphasize Slavchev's technical brilliance or his ability to shape a work that seems to derive from an almost ideal understanding [Ueberschau – translates as an ability to see the work in all its complexity as a whole] can be answered by saying that with this initial offering Slavchev had written himself an enthusiastic letter of introduction.
The selection of works from Opus 10, … revealed the pianist to be fascinatingly versatile.
Cesar Franck's "Prelude, Choral, and Fugue", as a reconciliation, concluded the concert -- and certainly for many -- the personal encounter with a great talent.
-- Richard Strauss, Die Rheinpfalz, 14 December 2000, Germany
“The crowded auditorium witnessed the explosion of an awesome talent -- a talent without limitations; intertwined with ambition for self-perfection.”
Culture newspaper, Sofia, 21 June, 1994
“PLAYED WITH FURIOUS ENERGY: With his energetic playing he opened up the musical world of the Romantics to his audience. Demanding chords and virtuosic cascades of notes were mastered with visible pleasure. The program continued with the first piano sonata of Shostakovitch as well as one of the three great piano works of Cesar Franck: the Prelude, Choral, and Fugue.
Slavchev played the stormy early work of the Russian Shostakovitch with furious energy, while imparting an almost mystical coloring to the slow sections. In the magnificent final climax he practically brought the piano to its breaking point.
Here, as in the presentation of Franck's compositions, the pianist displayed great virtuosity, but above all a finely developed touch (Anschlagskultur) and clear phrasing, so that despite the tumult of notes the work itself remained transparent.
In his stylistic mastery of the Russian pieces as well as the French, Georgi Slavchev proved himself to be a truly international pianist. The audience thanked him with uninterrupted applause.”
Bettina Geyer, Mainzer-Rhein Zeitung , 15 December 2000
“Georgi plays the piano with admirable virtuosity, beautiful sound and refinement. His musical sensitivity and maturity are rare for one so young. It is quite possible that he is the most talented undergraduate to have attended the Shepherd School.”
Michael Hammond, February 12, 1997.
Chairman, National Endowments for the Arts
Dean, Shepherd School of Music
“In the First Concerto by Brahms he was in his element and demonstrated subtle knowledge of the complex structure and figuration of the score. Ostentatious display is not a characteristic of the performing style of Georgi Slavchev. The virtuoso piano part sounded perfectly balanced with a sense of aesthetics, diligently worked-out details; but also with that artistic freedom, which, void of overexposure of emotions, unveiled movingly the breadth and diversity of the romantic pathos of young Brahms. It was a pleasure to listen to such a carefully thought-out and at the same time impressive with its spontaneity interpretation.”
“VIRTUOSO BRILLIANCE: Ballad No. 2 in B minor (by Liszt) is a piece that is seldom performed since it sometimes stands in the shadow of Chopin - unjustly, as Slavchev showed: lyrical playing alternated with refined interpretations, and the pianist gave form to the dark, ominous aura of the ballad just as easily as he did to the peaceful theme, which stands in contrast to the chromatically daring main motif of the piece. It was here that Slavchev showed that he doesn't "only" play the piano, he simultaneously identifies with the music, breathes life into the compositions, and makes them an experience for the listener in an impressive manner.”
Jan-Geert Wolff, Rhein-Main Presse, 16 December 2000
AMONG THE PIANO-ELITE: And what the young Bulgarian presented this evening -- and above all how he presented it -- led to an indescribable fascination all around. The selection of works was one that we are accustomed to seeing among the elites of the piano world, and then there was his playing, which served to put the considerable crowd of listeners in exceptionally high spirits. Even if there have been a considerable number of pianists on display in the Dahn Convention Hall, he has attained an "exceptional status" among them.
The "Sonata in E flat major, Hob.XVI:52",… revealed Slavchev to be a truly original interpreter, who imparted an unexpected tempo to the rippling cascades of notes as well as to the unusual ornamentation of the final movement and who bestowed tremendous breadth to the marvelously melodious middle section.
This was followed by "Five Etudes from Op.10" by Frederic Chopin. These piano exercises -- are in reality first-rate master works that serve the double function of being virtuoso exercises and estimable pieces of music, each one demanding perfect technique as well as formidable expressive abilities. And the highly talented pianist possesses both of these to the highest degree, as was amply demonstrated here.
Pirmasenser Zeitung (PZ), Cultural Section, 15 December 2000
“Georgi possesses an unusual degree of passion and emotion in his playing, as well as the technical ability to dish it out in spades! He is capable of great depth and poetry and can literally bring an audience to tears through the sheer beauty of his playing.”
John Perry, artist and pedagogue
“The performance of Georgi Slavchev was full of enthusiasm, expressiveness and excellent understanding of the piano scores. The diverse pieces that he had chosen were some of the most difficult, but everywhere he demonstrated his perfect technique and ability to interpret the works of the masters – Haydn, Bach, Brahms, Scriabin, Ravel. During the “Ondine” by Ravel, it was as if he was drawing pictures – impressionistic images. He was narrating a tragic story; we heard the splash of the waves, the romantic seduction, as well as the end of the betrayed soul. The audience was holding its breath and as soon as the sound of the last chords died out, it rewarded Georgi with raving applause.”