Simon Fraser University
Yaroslav’s Pianistic Highlights


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Yaroslav Senyshyn is an exclusive performing and recording artist with Platon Promotions

Selected Pianistic Highlights

Yaroslav Senyshyn was one of two pianists chosen to represent Canada at the International Tschaikovsky Competition, 1974 in Moscow.

Special performance at the John F. Kennedy Center Washington, D. C., “Critic’s Pick” column in the Washington Post. “Senyshyn has enormous power”, “sophisticated finger work”, (his Chopin was) “sensitively conceived and delicately played(The Washington Post).

Georgetown University radio broadcast: “Empire Far-Flung, Part V: Canada II”. Performance Citation and Interview.Appeared in a Georgetown University radio broadcast in Washington, D. C., on the “most important” Canadian pianists including Glenn Gould, Louis Lortie, Anton Kuerti and Angela Hewitt in “Empire Far-Flung, Part V: Canada II”; Air Date: May 26, 1988; Producer: Eileen D. Curtis; WGMS 570AM~103.5FM 11300 Rockville Pike, Rockville, Maryfield 20852.

Sponsored by the Canadian Embassy in Washington D. C., and Rene Picard, Conseiller Culturel

Weill Recital Hall at Carnegie Hall in New York City

Invited to give a special recital and recording to celebrate the formal joining of OISE (The Ontario Institute for the Study of Education) with the University of Toronto.

Bolshoi Hall at the Conservatory of Music in Moscow, Russia

Recorded 20 CDs

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Selected Review Notices

Reviews Written by

Juliette de Marcellus


Most recent reviews

Most recent comments

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Live At Von Kuster Hall
Live at Von Kuster Hall – Yaroslav Senyshyn & Susan O’Neill-Senyshyn, January 19, 2010

This review is from: Live At Von Kuster Hall (MP3 Music)


For those who enjoy an unusual setting of a familiar work, the Live at Von Kuster Hall CD offers an attractive and intriguing setting of César Franck’s Sonata in A major, beloved of violinists, violists and cellists, but this time for flute and piano. This is fresh and expressive and offers something a little different.

This CD, live and in recital format, is well recorded and presents the husband and wife team of pianist Yaroslav Senyshyn and Susan O’Neill-Senyshyn in a four work programme of which the César Franck is the centerpiece.

Ms. O’Neill is a flutist who plays seamlessly, with intensity of feeling and a convincing sense of phrase. As might be expected, the partnership of husband and wife is very successful and they sound as one throughout the rapid and passionate passages of the second movement. This is a wonderful partnership.

The third Recitativo-Fantasia movement is particularly well suited to the flute with its meandering recitative and bird-like passages. After hearing this performance it is hard to imagine this movement being played on any other insturment. In the final Allegretto the close partnership between piano and flute is heard again to excellent effect.

Throughout the playing is admirable – full of passion, freedom and charm.

This recording opens with Yaroslav Senyshyn performing Liszt`s Sonnetto 104 from Années de Pèlerinage 2ème année. This familiar work was played with remarkable breadth and sonority of which its composer would have approved. The sense of the poet’s declamation is well rendered and very true to the Romantic period.

The CD also includes a short work by Ibert for the flute and piano, Jeux from sonatine pour flute et piano.

It closes with a work by contemporary Canadian composer, Larysa Kuzmenko that is designed to give a dramatic ending to the programme. This piece makes use of all the sounds that have become the hallmarks of contemporary efforts. It opens and closes with sounds reminiscent of Petruchka and builds to a predictable forte climax of pianistic sound effects. The pianist’s execution makes the best of this work lending it intensity and urgency. Like many compositions today it has been given a title, In Memoriam to the Victims of Chernobyl that is meant to predispose us to listen with sympathy.

Juliette de Marcellus is an author and prize winning music critic, who has written for the Cox newspapers, Opera News and other publications. She currently lectures on classical music at the Society of the Four Arts in Palm Beach, Florida.

The following review is from The Enterprise Bulletin:

Critic Says Tour Will Be Successful

Saturday evenings’ (March 28) recital by Yaroslav Senyshyn at Toronto’s Jane Mallett Theatre marked a debut of sorts. Not that Mr. Senyshyn has not appeared previously on the Toronto concert stage, but this recent recital marked Mr. Senyshyn’s return as a finished, mature, artist.

From the outset there was no question of the pianist’s no nonsense and determined approach to his music. Briefly acknowledging his audience as he shot to the piano, he seated himself and immediately plunged into Beethoven’s Sonata Opus 10 No.3. This D major Sonata is an early work that is often favoured by pianists as its four contrasting movements offer a seemingly infinite variety of musical expressive possibilities. Mr. Senyshyn favoured a rapid tempo in this work and as it eventually turned out a rapid tempo in most of the pieces on the program.

Harold Schonberg has claimed that modem pianists tend to favor much slower tempi when compared to the performance practices of the masters of the 19th and early 20th centuries. Mr. Senyshyn apparently agrees with him. Coupled with the accelerated tempo was a rhythmical thrust that demonstrated the artists’ mastery in the articulation of left-hand parts which allowed him to underscore interesting harmonies and in turn, bring melodies into bold relief. This was especially evident in the Chopin Sonata. Here once again, the pianist followed the school of the old masters in his performance of the Funeral March. Like Anton Rubinstein and later Rachmaninoff, Mr. Senyshyn tinkered with Chopin’s dynamics and adopted a fortissimo immediately after the trio with a steady decrescendo to the Presto. An altogether interesting touch that raises pianistic spectres!

The opening Brahms Intermezzi after intermission continued the romantic tone of the program. Two Revutsky [a 20th century Ukrainian composer] Preludes written much in the vein of Scriabin were given impassioned renderings with an especially scintillating performance of the Opus 7. The concert closed with a Chopin group commencing with the G Minor Ballade which was built to a thunderous climax. The last page of this Ballade was especially noteworthy in its power and intensity. The two Chopin Nocturnes were given poised and sensitive performances and the closing B minor Scherzo was dashed off with great panache.

Especially impressive were the dynamic contrasts employed by Mr. Senyshyn. The dynamics were as great as any pianist and certainly greater than most. Even in spite of the great volumes of sound, there was never any annoying pounding which is so often the case with many young pianists.

Mr. Senyshyn’s present tour continues with recital appearances in Quebec, Washington and New York. Judging by the standing ovation and the tumultuous applause accorded the pianist on Saturday night, the tour promises to be an extremely successful one.

Dr. Frank Csik,

Freelance music critic,


“His [Senyshyn’s] concerts reveal extraordinary qualities of youthfulness and maturity.”

René Picard

Conseiller Culterel

Canadian Embassy

Washington, D. C.

“Senyshyn is a lion on a throne…Once he places himself on the throne he attacks as a lion would, with class, style and strength. He is in full control of the keyboard. It is almost in one move that he sits and plays, There is no delay. He knows what he wants to do and he does it….

Just when the audience was brought upright in their seats, he sent it into soundless hush as he gave the keys his special caress….he played with decreased magnitude. He played with grandeur and dignity. He brought the audience to its feet. He brought this writer to a sweat. If this writer could fondle the typewriter the way this student of Antonina Yaroshevich touches the piano, a Pulitzer award would follow.”

Don Wilcox of the Enterprise-Bulletin


— New York Tımes

‘‘Enormous power. . .

— The Washington Post

Yaroslav Senyshyn’s appearances have won him acclaim in many major concert halls throughout the world including New York’s Carnegie Recital Hall, Toronto’s St. Lawrence Centre and Massey Hall and the Bolshoi Hall at the Moscow Conservatory. Most recently he has performed at Ann Arbor, University of Michigan, Simon Fraser University (a scholarship benefit performance) at the SFU Theatre and was invited to give a special recital in Toronto to celebrate the joining of OISE and the University of Toronto. He has been featured in a Georgetown University radio broadcast in Washington D.C. on Canadian performers including Glenn Gould, Louis Lortie and Anton Kuerti. While playing at the John F. Kennedy Center in Washington, D.C., he appeared in the “Critic’s Choice” column of the Washington Post and after his debut there was referred to as a pianist of “enormous power” and “sophisticated finger work”. (The Washington Post)

Senyshyn is a Professor of philosophy of music aesthetics and moral education at Simon Fraser University’s Faculty of Education. As well he has published extensively in international and national journals such as the Philosophy of Music Education Review, Musica-Realta, Interchange,  the Journal of Educational Thought, Educational Leadership, the Canadian Journal of Education, and other publications. He is Past President of the Simon Fraser University Faculty Association and a member-at-large on the national Executive of CAUT (Canadian Association of University Teachers). His performances have won him acclaim  in major concert halls throughout the world.

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