"A variety of artistic roles were displayed tonight by the viola-player Y.Tkanov. He showed a heartfelt lyricism in Ravel's "Pavana" and a splendid virtuosity in its best meaning in the own orchestrated Miyo's "Scaramouch". Muzikal'naya Zhizn', #16, 1992

"Everyone who heard the Shostakovich's Sonata for Viola performed by Yuri Tkanov will prove the artist's perception of the deep essence of this music and genius to bring it to listeners. He is rendering his dialog from the ridge of human maturity as carrying the heaviness of a long life time. This is the level when single shortcomings are not taken into consideration and single achievements are not wondered. The cantilena's infinite lasting, the tragic richness of sound in junction with an almost religious enlightening - altogether prove an impeccable professional background and a richest inside, without one the interpretation of Shostakovich is an absurdity." Muzikal'naya Zhizn', #1, 1993

"Yuri Tkanov is undoubtedly a phenomenon of the Russian musical classics" Gorod i Gorojane, #28, 1993

"What more could be played after the Schnittke Chamber Symphony was just concluded? When listener had partaken the author's deepest philosophical thoughts about this world? When silence is required?.. The audience would not let the musicians to leave the stage. Yet, probably, everyone understood: nothing could be played and listened any more." Severny Komsomoletz, #7, 1993

"A thrill feeling of a sensed miracle persists after the concert is over." Rabochaya Tribuna, #10, 1996

"The Sonata for Viola and Piano by Shostakovich - one of the prominence piece of world's chamber music - requires the viola-player's virtuous skills as well as the deepest penetration into this musical work conception and emotional coincidence with author's tragic opus. The violin-player Tkanov matches excellent this appeal. The performance of a marvelous couple Y.Tkanov - E. Nikitenko proved a powerful impact of Shostakovich music: sharpness and tension, thorny grotesque, a slow and painful ascension to heavenly light of The Final prompted to forget the real existence and to endure the music again and again." Rossiysky Muzicant, #1, 1997

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