“Ashkenazy, Rubinstein, and Argerich …Senyshyn belongs in this august company.”

Jerry Dubins, Fanfare

“Senyshyn is a lion on a throne…Once he places himself on the throne he attacks as a lion would, with class, style and strength. He is in full control of the keyboard. It is almost in one move that he sits and plays, There is no delay. He knows what he wants to do and he does it…. Just when the audience was brought upright in their seats, he sent it into soundless hush as he gave the keys his special caress….he played with decreased magnitude. He played with grandeur and dignity. He brought the audience to its feet. He brought this writer to a sweat. If this writer could fondle the typewriter the way this student of Antonina Yaroshevich touches the piano, a Pulitzer award would follow.”                                               

Don Wilcox, Enterprise-Bulletin

“That Senyshyn possesses a fluidly suave jeu perle reveals itself early, supported by an innate sense of tempo rubato. The exquisite, solo roulades and lyrical chains of poetically rhetorical flourishes proceed in a manner easily reminiscent of the past world of Malcuzynski and Cortot. Senyshyn does not mind injecting a chordal thunderbolt or percussive cluster when the impulse strikes him…                                                                                   

Gary Lemco, Audiophile Audition

“He possesses a big, rich, highly individual tone, while being unafraid to create a very wide dynamic range… Senyshyn’s opening movement [of Chopin’s Second Concerto] is truly Maestoso, without ever turning overly majestic; a confiding intimacy always is present. The slow movement is a breathtaking reverie, while the finale takes the profusion of pianistic ideas and lets each one sing.  In the last movement of Chopin’s Second Concerto…Senyshyn finds depth in figurations that most pianists just treat as bravura passage work …”

Dave Saemann, Fanfare

“There is no question that in his performances of the Chopin and Liszt, Senyshyn revels in exploring striking contrasts of dynamics, tempo, and phrasing. While it is possible that Senyshyn calculated these juxtapositions when preparing for the recording, the impression is of an artist giving himself to the music, the moment, and the emotions they inspire within him. Senyshyn’s flexibility of phrasing, and willingness to linger over certain moments, is definitely within the grand Romantic tradition. So, too, is his willingness to adopt hair-raising tempo choices, particularly in the fleet moments of the Liszt.”                                                    

Ken Meltzer, Fanfare

“When he wishes, he’s capable of a truly colossal sound…He can also play with great delicacy and refinement… of a beguiling, other-worldly atmosphere…. music masterfully performed.” 

Robert Schulspaer, Fanfare