Tag Archives: Danacord

Piano News. Ravel, Debussy, Franck

Piano News March 2010

Ravel Two Concerti; Debussy Fantasie, Franck Symphonic Variations Oleg Marshev pf Sonderborg Symphony Orchestra / Vladimir Ziva Danacord DACOCD 672

Maurice Ravels Klavierkonzert G-Dur ist dem Jazz verschrieben, und vielleicht hatte der Komponist gar einkalkuliert, dass kaum jemand die synkopisch ineinander verschachtelten, rasenden Akkord-Repetitionen allesamt trifft. Der aus Bаku stammende aserbaidschanische pianist Oleg Marshev trifft sie, meistert die kräftezehrenden Trillerketten  in der rechten Hand und das komplette Akrobatik-Programm dieses Konzerts überhaupt bravours. Glänzend geht das Sonderjyllands Symfoniorkester unter Vladimir Ziwas Leitung dabei mit und lässt sich von den kraftvollen Grooves mitreissen. Marshevs technische Brillanz ist ein Genuss genau wie seine hohe Musikalität und der Witz, der mit Zivas Lesart dieses Werkes korrespondiert. überwältigend agiert auch die Soloharfenistin, die die Klavierkaskaden plötzlich aufgreift und in Nebelschwaden verschwimmen lässt.

Continue reading Piano News. Ravel, Debussy, Franck

PIANIST. Ravel, Debussy, Franck

PIANIST 53 2010

Ravel Two Concerti; Debussy Fantasie, Franck Symphonic Variations Oleg Marshev pf Sonderborg Symphony Orchestra / Vladimir Ziva Danacord DACOCD 672

Who needs Ludwig and Wolfgang over-played concertos when there are so many brilliant but unknown concertos out there? Marius Dawn applauds Oleg Marshev and other explorers of neglected repertoire.

Continue reading PIANIST. Ravel, Debussy, Franck


CLASSICALSOURCE—MUSSORGSKY Pictures at an Exhibition—piano version, orchestral version (orch Ravel)

Oleg Marshev pf Odense Symphony Orchestra / Jan Wagner Danacord DACOCD656 (70′.DDD)

Although this release is not the first to juxtapose Pictures at an Exhibition in Mussorgsky’s original version for piano with Maurice Ravel’s orchestration of it (Ashkenazy/Mehta, on Decca, and Brendel/Previn, on Philips, spring immediately to mind), it is instructive to have two versions of this popular work side-by-side and, in particular, an opportunity to savour how the composer himself wrote the piece (there are so many transcriptions of it that there is a danger of losing sight of Mussorgsky’s intentions!) Oleg Marshev gives a particularly illuminating account of Mussorgsky’s original (beautifully recorded, too, in its presence, clarity and balance). Marshev’s approach to the linking ‘Promenades’ is particularly thoughtful and varied, and his characterisation of the canvases themselves is descriptive enough without losing the line of the work as a whole. It’s an impressive performance, overall, avoiding extremes, quite symphonic yet not denuding the pictorial elements and played with plenty of feeling; a strong candidate as a ‘library choice’.



CLASSIC FM—MUSSORGSKY Pictures at an Exhibition—piano version, orchestral version (orch Ravel)

Oleg Marshev pf Odense SO/ Jan Wagner Danacord DACOCD656 (70′.DDD)

The enterprising Danacord label has come up with the novel (though not unique) idea of coupling the original piano version of Mussorgsky’s masterpiece (1874) with Ravel orchestration (1922). Oleg Marshev is on top form with a well-paced, deftly characterised account with startling bursts of virtuosity that can hold its own with the best in a competitive field. By comparison, Wagner and his Odense players are merely staid and workmanlike. Some sluggish tempos (“Tuileries”, “Limoges” and the finale) and unimaginative takes on “Bydlo” and “Ballet of the Chicks” do not illuminate the full potential of this wonderful score. Both performances are vividly recorded.


GRAMOPHONE—MUSSORGSKY Pictures at an Exhibition—piano version, orchestral version (orch Ravel)

Oleg Marshev pf Odense Symphony Orchestra / Jan Wagner Danacord DACOCD656 (70′.DDD)

A fascinating opportunity to compare the piano and orchestral Pictures

Coupling Mussorgsky’s original piano version of Pictures at an Exhibition with Ravel’s celebrated orchestral transcription makes for fascinating listening. This is largely because the ferocity of much of Mussorgsky’s piano-writing is tempered by Ravel with a dazzling but typically Gallic elegance. And this makes it no exaggeration to claim that a single instrument comes to exceed the impact of full orchestra.

Such ironic grandeur is made abundantly clear by Oleg arshev, whose all-Russian mastery takes nothing for granted providing, even in a crowded marketplace, one of the finest Pictures on record. From him every “Promenade”, whether triumphant or introspective, is a refreshing break from th dazzling and awe-inspiring pictures on view. His “Il vecchio castelllo” is alive with incidental but never surplus detail, his “Bydlo” a pulverizing, uncompromising vision. His trills in the trio of the “Ballet des poussins dans leur coques” are delicate and luminous, and his virtuosity in “Limoges” and in the final magisterial pages gloriously uplifting.

All of which makes Jan Wagner and the Odense Symphony Orchestra a less thrilling experience, particularly in the lack of the composer’s prescribed vivo in the “Ballet des poussins” or in the tame view of the con brio and force indications above Baba Yaga’s infernal flight. Elsewhere the playing is warmly affectionate even when it contributes to a view (shared by Vladimir Ashkenazy) that Ravel’s orchestration is Mussorgsky gentrified with too many rough places made plain. Danacord’s sound, while less vivid than from some, is fine and there are excellent accompanying notes by Malcolm MacDonald.

Bryce Morrison

MUSSORGSKY Pictures at an Exhibition

Musicweb International – Schumann


Robert SCHUMANN (1810-1856)

 Piano Concerto in A minor, Op.54 (1845) [30:33]
 Introduction and Allegro appassionato in G major, Op.92 for piano and orchestra (18:49) [15:48]
 Introduction and Allegro Concertante in D minor, Op.134 for piano and orchestra (1853) [13:49]
 Clara Wieck SCHUMANN (1819-1896)
 Concerto Movement in F minor for piano and orchestra (1847)[13:09]
 Oleg Marshev (piano)
 South Jutland Symphony Orchestra/Vladimir Ziva
 rec. Alsion, Sønderborg, Denmark, 3-7 August 2009. DDD
 DANACORD DACOCD 688 [73:41]

 I was first introduced to Robert Schumann’s Piano Concerto in A minor whilst still at school. I had been listening to my girlfriend of that time playing the opening salvos of Grieg’s concerto in the same key. I was impressed, naturally, and borrowed the score and an LP recording.
The sleeve-notes suggested that Grieg owed much to the Schumann concerto – in fact he had heard Clara play it in Leipzig in 1858. So the following day I began to explore the earlier piece. I must confess that it did not appeal to me quite as much as Grieg’s but as I have got older, I have come to enjoy and appreciate the exemplar as a beautiful and ultimately celebrated work.

 It is beyond my ken to compare the 200 or so recordings of this concerto that are currently available. My criteria for awarding a gold star to any performance of this work are threefold. Firstly, do the soloist and the orchestra explore and reveal the structure and architecture of this work? It has been described in terms of being a ‘chamber’ work rather than a work in ‘heroic’ style, yet its ’emotionally charged’ nature should never be in doubt. Secondly, the technical requirement of this work is more in terms of a subtle exchange of views between piano and orchestra rather than in pyrotechnics. Does this work? And lastly – and perhaps most importantly – does the performance move me personally. On all these counts the present performance is extremely successful.

Continue reading Musicweb International – Schumann

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