Tag Archives: Chopin

American Record Guide Chopin

American Record Guide May-June 2015

CHOPIN Piano Concertos Nos. 1 and 2. Fantasy on Polish Airs. Krakowiak.Variations on Mozart’s “Là ci darem la mano.” Andante spianato and Grande Polonaise brillante  Ÿ  
CHOPIN Piano Concertos Nos. 1 and 2. Fantasy on Polish Airs. Krakowiak.Variations on Mozart’s “Là ci darem la mano.” Andante spianato and Grande Polonaise brillante  Ÿ  
Oleg Marshev (pf); David Porcelijncond; South Denmark Phil.  ŸDANACORD 701-702 (2 CDs: 136:06)



American Record Guide Chopin review1

American Record Guide Chopin review2

Fanfare. Chopin Concertos

CHOPIN Piano Concertos Nos. 1 and 2. Fantasy on Polish Airs. Krakowiak.Variations on Mozart’s “Là ci darem la mano.” Andante spianato and Grande Polonaise brillante  Ÿ  
CHOPIN Piano Concertos Nos. 1 and 2. Fantasy on Polish Airs. Krakowiak.Variations on Mozart’s “Là ci darem la mano.” Andante spianato and Grande Polonaise brillante  Ÿ 
Oleg Marshev (pf); David Porcelijncond; South Denmark Phil.  ŸDANACORD 701-702 (2 CDs: 136:06)
Chopin pianists are a breed apart. Sovereign technique must be taken for granted. Yet Chopin playing never can be mere bravura. Of all the great composers, Chopin is the one who speaks most to the masses. A pianist must identify fully with the popular elements in his music, the singing line and the dance rhythms. Chopin playing rarely succeeds if it descends to the abstract or the arcane. Then there is the issue of Chopin’s harmony, which a player must master to create the special ambience of his music. Put all together, these elements should coalesce into a sound one regards as quintessentially Chopin. One of the reasons Arthur Rubinstein was widely regarded as a fine Chopin player is that, whatever you thought of his interpretations, his sound after a few bars made you think, “Chopin.” Oleg Marshev has this same gift. I love his playing. It was interesting to compare his set of the complete works for piano and orchestra with that of Garrick Ohlsson, certainly an eminent Chopin player. Where Ohlsson is concerned with the microeconomics of Chopin playing, Marshev is more in tune with the macroeconomics. For Ohlsson, playing these works is about getting a rhythm right here, an accent right there. Marshev, however, is more interested in the sweep of the music, its cascading structures. No matter how intricately he spins out its expression, the pulse of Chopin’s long line always is maintained. Ohlsson is like a riveter working on a building, while Marshev is its architect. Marshev is the kind of complete artist for whom the entire layout of his interpretation of a piece of music is implicit right from the very beginning of his playing it. And here, after a few bars, you hear yourself think, “Ah, Chopin!” No recording of Chopin’s music in the past few years has given me more pleasure than this one.

Continue reading Fanfare. Chopin Concertos

Frédéric Chopin—Complete Works for Piano & Orchestra

Chopin DACOCD 701-02
Oleg Marshev, Piano
David Porcelijn, Conductor
South Denmark Philharmonic


He is simply great here, in every respect – a real poet of the piano – American Record Guide

No recording of Chopin’s music in the past few years has given me more pleasure than this one – Fanfare

This is some of the finest Chopin playing – International Record Review

Marshev rides high in this well-recorded and admirably comprehensive album – Gramophone

a splendid release – Musicweb International


Continue reading Frédéric Chopin—Complete Works for Piano & Orchestra

KultuNaut.dk OM in recital


Oleg Marshev in recital

kilde: KuItuNaut, Caspar Andreas Dyrehauge Man. 17. nov. 2008

Oleg Marshev spiller overbevisende materialet pв sin nye CD Un recital”. Forse og fremmest er det en god blandning af vaerker – polske Chopin, ungarske Liszt og russiske Scriabin – dernaest er det en pianist, der kan noget mere end blot lire ballader af. Marshev er skraemmende god pв tangenterne, og man nyder hans selskab – han har noget pa hjertet.

Oleg Marshev far virkelig tangenterne til at danse pв sin nye udgivelse fra det danske pladeselskab Danacord. Hans 3 valse af Chopin er ikke blot velvalgt,men i hoj grad ogsб velspillet. Selvfolgelig er Chopin en yderst prekaer komponist, og hans vaerker er mesterstykker for piano – hvilket ikke gor Marshevs projekt nemmere. Albummet бbner med tre vaerker af ungarske Frans Liszt.

Marshev spiller sig elegant og stilsikkert igennem, isaer Rhapsodie espagnole er vaerd at fremhaeve. Dernaest de omtalte valse af Chopin plus en ballade. Sа er tiden kommet til den russiske komponist Scriabin, der med sine vaerker stаr som en af Ruslands allerstorste. Han levede i perioden 1872-1915 – en periode, der ogsб rummede det russiske komponist- og klavergeni Rachmaninov – og man kan uden tvivi fornemme de romantiske suk i Scriabins musik. Marshev har et godt tag i Scriabin, og speciale de to marzurkaer (Op. 40) er flot fremfort.

Oleg Marshev, pt. bosiddende i Italien, er blevet rosi til skyerne i forskellige internatinnale sammenhaenge, ikke mindst klassiske tidsskrifter som Pianist Margazine har givet den russiskfodte pianist venlige ord med pа vejen.

Marshevs spillestil er da ogsб praeget af en eminent forstаelse og laesning af de respektive vaerker. Han kender sit materiale til fingerspidserne, og det er disse fingerspidser han med omhu og elan saetter pа klaveret. Ikke mindst udvalget pа denne CD repraesenterer Marshevs greti; Scriabins Preludes, op. 15 af en ung mand pа 23, et sted mellem 1895-96, bliver i haendeme pа Marshev til en brusende folelse af vemod og laengsel.

Det romantiske suk haenger ved en laenge efter man har Iyttet til CD’en. Det er tydeligt, at Marshev giver lidi af sig selv pб denne udgivelse, og man fornemmer et behageligt temperamene, der indfanger den osteuropaeiske tone, som alle tre komponister pа hver deres mаde repraesenterer. Og det er ikke en bedrift, det er alle vel undt at slippe godt fra, men Marshev far sin CD til at haenge sammen pа en mаde, der vel mбs siges at vaere hans stil, hans saerkende.

Marshev har i sine tidligere udgivelser taget favntag med de allerstorste, og man kan kun opfordre manden til at fortsaette. Og gerne mere fra de osteuropaeiske mestre, tak.

Ude pв CD fra Danacord

2007 KuItuNaut.dk – Email: kuItunaut@kuItunaut.d

Pianist. OM in recital

The Pianist



In Oleg Marshev’s new disc the revelation comes with the Scriabin pieces, which are quite simply ravishing.

Oleg Marshev has recorded all of Tchaikovsky’s works for piano and orchestra, and is one of the few pianists who has inhis discography more works for piano and orchestra than solo recitals. Critics around the world praise his releases, however, this new recording, made straight after a successful New Zealand concert tour, may be his best. Never has the Liszt Funerailles sounded so devastatingly tragic, the Spanish Rhapsody so super virtuosic and the Chopin so stylish and brilliant. The real revelation comes with the last Scriabin pieces which are quite simply ravishing in their beauty and where one really can say that the piano sings. Round up many of the younger pianists mentioned earlier in this review, and they will sound grey by comparison. If ever you wake up one night and question what piano playing is all about, the answer lies right here.


Gramophone. OM in recital

Oleg Marshev displays a super-size virtuosity

Oleg Marshev in recital

An astonishing release from a pianist perfectly attuned to this repertoire.

Chopin Three Waltzes, Op 34. Ballade No 4,Op 52 Liszt Funerailles, S173 No 7. Rhapsodie espagnole, S254. Etudes d’execution transcendante, S139-No 10 Scriabin Mazurkas–Op 25No 3; Op 40 Nos 1 & 2. Poemes, Op 32. Preludes, Op 15. Vers la flamme, Op 72

Oleg Marshev pf

Danacord DACOCD677 (79′ • DDD)
This recital shows Oleg Marshev’s formidable powers in a dazzling, ultra-Romantic light. Yet his super-size virtuosity – a place where muscles bulge and ripple – is backed by a no less enthralling musicianship. Marshev’s earlier record of the Liszt-Tausig Tasso will have alerted even the most blase virtuoso-fancier to exceptional powers and here in the Rhapsodie espagnole he sets all guns blazing, sinking up to his shoulders rather than mere elbows in an engulfing brilliance. His Funerailles, too, is hypnotically graphic and threatening, building remorselessly to a ferocious climax, and in the tenth of the Transcendental Etudes there is a superb sense of its appassionato F minor turbulence. Such virtuosity is scarcely less visceral in Chopin, with the closing pages of the Fourth Ballade heated to boiling-point, though relaxing in a selection of waltzes into an open-hearted relish of everything the composer has to offer. Poised and patrician in Rubinstein’s or Lipatti’s sense he may not be, but he makes it impossible to resist such character and liberation, such rich and lavish musical breathing. Marshev is on home ground in Scriabin, memorably attuned to his volatility and introspection, to those startling shifts of mood and emphasis at the heart of his bewildering genius. This is an astonishing, all-stops-out release, beautifully recorded. And how gratifying to know that there are many more on the way.

Bryce Morrison