Young Artists’ Platform: Yaroslava Trofymchuk

40 Brunswick Square London WC1N 1AZ
07 Jun 2021 — 31 Aug 2021
  • Music
Cellist Yaroslava Trofymchuk joined us as a Young Artist in 2016, and is now a permanent member of the Philharmonia Orchestra. She discusses her musical career to date in a short film made especially for the Museum.

The Museum hosts a Thursday lunchtime concert each month which features some of the finest young players of the moment, from students at the Yehudi Menuhin School to those studying for undergraduate and postgraduate qualifications at UK conservatoires – including players from the Philharmonia Orchestra’s scholarship programme. Since current circumstances have prevented our young artists from coming to the Museum, we caught up with them at home and asked them to talk about their musical careers to date, plus share some performances with us.

Yaroslava Trofymchuk is a Ukrainian cellist based in London. An alumna of the Royal College of Music where she was mentored by Natalie Clein and Thomas Carroll, Yaroslava is a member of the Philharmonia Orchestra.

Yaroslava has won several prestigious national and international competitions, prizes and awards. Most notably The IV International Lysenko Competition; ‘Best Performer’ Kiev Open Cello Competition for which she received the prize – XIX century cello made by Charles Jeaucout. During her studies at the RCM, she was the recipient of The MMSF John E Mortimer Award, The Zetland Foundation Award, Stephen Bell Charitable Trust Award, and The Albert Cooper Musical Award, as well as ABRSM and RCM scholarships. Yaroslava is also supported by the Talent Unlimited Charity and Help Musicians UK. As a soloist Yaroslava appeared at such venues as Wigmore Hall, Royal Festival Hall and Royal Albert Hall.

Yaroslava has been missing the huge, solar-plexus-thumping sounds of Mahler’s Second Symphony, which you can listen to here.

In this next video, Yaroslava plays Tchaikovsky’s Pezzo Capriccioso. ‘I love this piece from the bottom of my heart!’, she writes. ‘It is a very genuine and passionate piece that Piotr Ilyich wrote in less than a week for his friend Nikolay Kondratyev, who was suffering in the final stages of syphilis. It’s not ‘capricious’ as one might translate, but rather devastatingly helpless sounding theme, with expression of deep sorrow. It has a virtuosic middle section which has been a challenge for many cellists.’