Category Archives: Concert reviews

DOMINION EVENING POST 2006

DOMINION EVENING POST
Aug. 22, 2006

VISITING PIANIST A PURE PRIVILEGE

Sonata No 26 ‘Les Adieux’ (Beethoven); Three Piano Pieces, D 946 (Schubert); Rachmaninov: Corelli Variations, Op 42, Etudes-Tableaux, Op 39 Nos 1 and 2, Preludes Op 23 Nos 2 and 5

Oleg Marshev told Charlotte Wilson on Concert FM’s Upbeat on Tuesday that this was his fifth tour of New Zealand; each managed by that model impresario Helen Collier of Taihape. Each tour involves performances in many, mainly provincial towns: this time he will have given 12 performances.

One would not expect a pianist of Marshev’s calibre to undertake such a tour: he records for an international label and has played, inter alia, at the Lincoln Centre in New York and the Concertgebouw in Amsterdam; he is one of the most talented of the brilliant group of younger Russian pianists. But he simply said he enjoyed playing for two as much as for 2000.

Marshev has all the spectacular virtuosity you could wish for – see the Rachmaninov works in the second half of the concert – but most interestingly, he understands the nature of Schubert and the extent of the liberties he can take with dynamics, in distinguishing the layers of music from each other, in stretching the limits of rubato and rhythmic variety.

The Three Piano Pieces of Schubert’s last year emerged with stature comparable to the three great piano sonatas of later in that year. In particular, the second piece – the Allegretto – took on the character of a great if somewhat unorthodox sonata movement. The concert had begun with Beethoven’s sonata in which he described his leaving to escape Napoleon’s army’s advance on Vienna – one of the few of Beethoven’s works that tells a story. There was a particularly slow, reflective beginning, but in later passages Marshev brought sudden energy, romantic expressiveness and a varied and imaginative palette of colours.

Though the pairs of Rachmaninov’s Etudes-Tableaux and Preludes served well to display his range of his technical and interpretive powers, the major work was the Corelli Variations – on the once popular Iberian tune, La Folia.

Maintaining interest in the essentially simple tune is a great challenge to a pianist: in Marshev’s hands one was more aware of the encompassing shape of the work than with individual variations, which is how it should be.

In response to the highly appreciative applause, Marshev played three encores: Bach’s Organ Prelude in F minor arranged by Siloti, a Concert Galop by Emil von Sauer and Prokofiev’s piano -wrecking study No 4.

Reviewed by Lindis Taylor

L’ECO DI BERGAMO. Michelangeli Festival

L’ECO DI BERGAMO
March 14, 2002

Marshev, degno prologo con Prokof’ev

Il pianista russo ha proposto anche pagine di Rachmaninov e Cajkovskij/Pabst

Oleg Marshev ha dato una prova, in poco piú di venti minuti, di quello che ci aspetta nel prossimo Festival pianistico.

Il pianista russo, talento di primo piano, anche se non celebre come altri “incoronati” dal sistema concertistico internazionale, ha debuttato ieri pomeriggio al “Festival” davanti alla platea affollata del Circolo della Stampa di Milano, mostrando una particolare sintonia con le capricciose evoluzioni di Prokofiev. Evoluzioni che svariavano dalle minuzie vellutate e richiuse sopra se stesse, come assorte in contemplazioni tenerissime e un po’ alienate, passando velocemente a esplosioni di virtuosismo possente e violento, quasi lacerato e brutale.

La difficoltà tecnica, ben nota, che richiede il compositore russo, era accompagnata da Marshev a una più rara immedesimazione stilistica vissuta in prima persona, quasi per sintonia di spirito.

In Marshev c’era poco di pirotecnico, e anche i passaggi più spettacolari erano gestiti con occhio attento all’imprevedibilità del tracciato compositivo. Una ricerca oculata e ponderata razionalmente, in questo lontana da quella di certi esponenti della scuola pianistica russa, anche assai rinomati. La sua ricerca stilistica era già chiara nei quattro Preludi di Rachmaninov che aprivano l’esibizione, con il celebre Preludio in sol minore op. 23 n. 5, lontano dalla tumultuosa cavalcata del grande compianto Vladimir Horowitz, e trasformato in un percorso fantastico e inquieto, tutt’altro che lineare. La stessa Suggestione Diabolica n. 4, prossimo di una scrittura pianistica incredibilmente densa, non si esauriva nel possente virtuosismo ma sfumava nella cornice evanescente di inizio e fine.

Solo l’inedita Parafrasi dal balletto “La bella addormentata” di Caikovskij/Pabst era campo aperto per un gioco scopertamente bravuristico. E Marshev non s’è certo tirato indietro.

Bernardino Zappa

L’ECO DI BERGAMO Michelangeli Festival

L’ECO DI BERGAMO
June 3, 2002

Oleg Marshev al festival pianistico, virtuosismo ma non solo

Lo strumentista russo ha offerto una prova maiuscola al teatro Donizetti, destreggiandosi con maestri in Bach/Siloti, Liszt e Rachmaninov

Non solo grande pianismo per Marshev, ma anche una grande attenzione alla suggestione delle armonie

 

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L’ECO DI BERGAMO 2003

L’ECO DI BERGAMO
February 8, 2003

Bergamo recital

Dopo le bizzarrie eccentriche di Francesco Tritano Schlimé, il russo Oleg Marshev ha ricondotto il pubblico della Società del Quartetto, presente in buon numero (circa duecento spettatori), a un pianismo secondo coordinate più consuete.

Il virtuoso russo ha articolato la sua serata in due parti abbastanza chiaramente distinte, una “occidentale” se così si può dire, l’altra destinata agli autori della sua terra. Nella prima è emerso parimenti un volto per così dire “accademico” del pianista, attento a rispettare con cura quasi “didattica” gli elementi stilistici e tecnici dei vari Haydn, Czerny e Brahms; nella seconda invece il “fuoco” di una adesione interiore istintiva e appassionata ha caratterizzato le interpretazioni da specialista fuoriclasse le pagine di Shostakovich e Prokofiev.

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THE SACRAMENTO BEE

THE SACRAMENTO BEE
August 16, 2000

Rachmaninoff rendered enrapturing by Marshev

It’s an annual date that seems to be becoming a relationship: before scattering to their various hometowns across the country, the musicians of the Bear Valley Festival Orchestra drive to Sacramento’s Community Center Theater for one more concert in the hometown of their boss, Carter Nice.

In their fourth visit Monday night, the players were greeted more warmly than ever. As before, the solid professionalism of the playing and the dynamism of the conducting clearly earned the ovations. But the soloist, pianist Oleg Marshev, just as clearly raised the pitch of the excitement to a higher level with a fiercely performance of Sergei Rachmaninov masterpiece, the “Rhapsody on a Theme of Paganini”.

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THE EVENING POST 98

THE EVENING POST
May 29, 1998

RUSSIAN PIANIST FORMIDABLE TALENT
What: Oleg Marshev (piano), Prelude in G minor (Bach/Ziloti), Polonaise in C sharp minor Op 26 No 1, Barcarolle Op 60 (Chopin), Petrarch Sonnet No 104 and Study in F minor (Liszt), Sonata No 2 Op 36 (Rachmaninov)
Where: St Andrew’s On The Terrace, Wednesday lunchtime

Oleg Marshev is a formidable talent. Trained at the Gnessin School in Moscow Marshev is also an all-round disarmingly nice person. Responding to a standing ovation from the audience, he played Shchedrin’s A la Albeniz as the first encore, and then with a wry gesture, he sat down and played another finger-smashing piece – Prokofiev’s Suggestion Diabolique.

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