Boris Giltburg was born in Moscow in 1984 and now lives in Israel. He won the second prize (top prize awarded) of the 2002 Paloma O'Shea International Piano Competition in Spain, where he performed Bartok's Third Piano Concerto with the London Symphony Orchestra. Since then Boris has performed with the Philharmonia Orchestra, Royal Liverpool Philharmonic, Bournemouth Symphony, City of Birmingham Symphony Orchestra, Frankfurt Radio Symphony Orchestra, and the Israel Philharmonic with conductors such as Philippe Entremont, Christoph von Dohnányi, Mikhail Pletnev and Marin Alsop. On 2 June 2013 he won the international piano competition Queen Elisabeth in Brussels.
He seems to have it all - leading man good looks, extraordinary facility in rapid passagework, and an intuitive poetic sense of line. Here he performs deeply moving accounts of Prokofiev's Piano Sonatas 6, 7, 8 - the so-called War Sonatas. The focal sonata of Prokofiev's wartime triptych is the Seventh, completed in 1942, a year after the Soviet Union entered the conflict. But images of war, its destructive power and the feelings of apprehension and introspect
As one critic praises, Giltburg plays with `terrific panache and personality, digging deep into the fabric of the music to illuminate its emotional content and harnessing an authoritative bravura to underline the savagery and nervy energy that the scores often convey. He has the confidence and facility of technique to tackle some movements at intrepid speed: the inexorable propulsion of the second movement of the Sixth Sonata is taken at a true allegretto rather than the andante that its textural complexities sometimes impose, and the finale of the Seventh Sonata starts -- and moreover maintains -- a terrifying impetus in response to Prokofiev's precipitato marking. If you can do it at this speed, while still ensuring that all the cross-keyboard leaps and offbeat accents are firmly in place, why not? But this is only part of Giltburg's skill in these sonatas, for he also has the measure of Prokofiev's dark-hued, haunted melody and the details of dissonance that can shatter an ostensible idyll. These are powerful, intuitive performances, executed with stylistic understanding and arresting presence.'
There is a grace in Giltburg's laying that echoes the full symphonic ballet scores of Prokofiev, as though he is able to transport these tight sonatas into a much more grand form that simply keyboard presentations. There is sorcery here but there is also dreamy magic that makes his interpretations soar. Repeated listenings only reinforce the substantial artistry of this gifted pianist. Highly Recommended. Grady Harp, June 13