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1960 – 1967
Primary Arts School in Bratislava (piano - Gabriela Holičová and Eva Pappová)
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1968 – 1972
Bratislava Conservatory (Eva Pappová)
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1972 – 1973
Academy of Performing Arts in Prague (Valentína Kameníková and František Rauch)
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1973 – 1980
P. I. Tchaikovsky Conservatory in Moscow (Mikhail Voskresensky), P. I. Tchaikovsky Conservatory in Moscow, doctorate (Mikhail Voskresensky and Stanislav Neuhaus), participation in performance master classes (e.g. Eugen Indjić)
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1980 – 2015
Academy of Performing Arts in Bratislava, chamber partner and shortly afterwards piano lecturer, teacher at Bratislava Conservatory, lecturer on methodology for piano teachers of primary and secondary music schools in Ústí nad Labem and Prague
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1998
presentation of papers at the Premio Valentino Bucchi international symposium in Rome and at the International Musicologists Conference in Bratislava
"From the beginning of his piano career, Dianovský captivated both audiences and critics with the high standards of his performance and his unique musical intelligence."
(Vladimír Čížik: Slovník slovenského koncertného umenia I., Music Center, Bratislava 2002, p. 34).
Cyril Dianovský collaborated with several performers (Jindřich Pazděra, Juraj Čižmarovič, violin, Eva Virsíková, and Magdaléna Bajuszová – four-hand piano), conductors (Rastislav Štúr, Eduard Fischer, Karel Kühn, Vladimír Válek, and others), and performed with the East Bohemian Chamber Orchestra, the Symphony Orchestra of the Capital City of Prague FOK, and the German Staatliches Sinfonieorchester Thüringen. He regularly engaged in the interpretation of Slovak piano compositions, which he promoted on stage and recorded for Slovak Radio in Bratislava.
"Cyril Dianovský's playing is characterized by the clarity of texture, mature musical intelligence, firm rhythm, and a rich spectrum of nuances; he subordinates the piano's fine details to a well-thought-out and effective construction of the overall lines. 'The Fantasy... in Dianovský’s interpretation (Franz Schubert: Fantasy in F minor – note by VČ) avoids crossing into over-romanticized territory. Their 'fantasizing' is overseen by a sharp intellectual nerve. It allows for tenderness, but doesn’t relent.' (Lýdia Dohnalová: In HŽ 2000/9, p. 30)."
(Vladimír Čížik: Slovník slovenského koncertného umenia I., Music Center, Bratislava 2002, p. 35)