Liudmila Georgievskaya

Concert pianist, recording artist, and an internationally highly-regarded pedagogue, Liudmila Georgievskaya was hailed for her “absolute art, technique, and musicality” by Scherzo Magazine (Spain) and “a sharp, inquisitive mind shaping the performance” by The Guardian (UK). Winner of top prizes in more than a dozen national and international piano competitions, she has performed across Russia, Italy, Uzbekistan, Ukraine, France, Netherlands, England, Hungary, Panama, and the United States. Her performances were broadcast on radio and television programs in Russia, the United States, Uzbekistan, Italy, and Vatican City.

Dr. Georgievskaya has appeared as a soloist with orchestras in Russia, Asia, Latin America, and the United States. Her 2013 solo CD featuring works by Beethoven and Schumann, released by Odradek Records, received widespread acclaim from the international press and won two Global Music Awards.

She is a member of Voices of Change, one of the most distinguished new music ensembles in the United States, and frequently performs in piano duos with her husband, Thomas Schwan, and her sister, Olga Georgievskaya.

An inheritor of the Russian piano school, she studied in Moscow with Tatiana Galitskaya and Liudmila Roschina, both students of the legendary Russian pianist Samuil Feinberg, Alexander Goldenweiser’s pupil and disciple. She graduated summa cum laude from the Moscow State Tchaikovsky Conservatory, completed a post-graduate course with Sergio Perticaroli at the Santa Cecilia National Academy in Rome, and earned her artist certificate from Southern Methodist University with Joaquín Achúcarro. She completed her doctorate in piano performance under Pamela Mia Paul at the University of North Texas.

She is a full-time Assistant Professor of Piano at the renowned University of North Texas in Denton, USA, and is in high demand for recitals and masterclasses worldwide.

Selected Reviews

“Transcendent in her search for the universal[...]Georgievskaya gives a pure, correct, elegant interpretation[...]her approach to Beethoven's classicism is very accurate, variations like the fourth one are executed in a pristine way, and the runaway finale borders on perfection,” Ritmo

“Her subtle way of shaping and differentiating lines works miraculously,” Pizzicato

“Light-fingered, unrhetorical and supremely articulate playing[...]What a joy is this performance,” Herald Scotland

“In Ginastera's Danzas Argentines (1937) pianist Liudmila Georgievskaya delivered driving, pounding rhythms with pizzazz, dreamy music with poetry,” Dallas Morning News

“She plays Beethoven’s fifteen Eroica Variations almost seamlessly[...]She has perfect balance in the canon in variation VII and she crosses hands so smoothly in VIII and XI that you’d swear you could hear three octaves at once[...]The last movement’s complex fugue on the simple theme has the Russian pianist at her most brilliant,” Words and Music

“The program she presented...and, above all, the way she interpreted it, left many people open-mouthed: absolute art, technique, and musicality[...]Georgievskaya was an exemplary messenger of Beethoven's pianism, delivering some stupendous dynamic contrasts and achieving a delightful sonority in pianissimo[...]great sound control in pianissimo as well as a stunning interpretative security[...]formidable performance[...]she knew well how to express the lyricism of this work submerging the audience in a game of contrasts and virtuosity of great beauty[...]Georgievskaya left many people astounded while achieving the sound climax at vertiginous speed and without apparent effort,” Scherzo Magazine