Concert Tour, July-August 2016
July – August 2016
Auckland, Upper Hutt, Waikanae, Whitianga and other cities
Concert Tour, July-August 2016
July – August 2016
Auckland, Upper Hutt, Waikanae, Whitianga and other cities
April 23, 2013
New Zealand Debussy, Mussorgsky: Oleg Marshev (piano), Capitaine Bougainville Theatre, Forum North, Whangarei, Northland, New Zealand, 9.4.2013 [PSe]
Debussy: Préludes, Book II
Mussorgsky: Pictures at an Exhibition
Happy accidents don’t happen all that often – but then, I suppose, if they did we wouldn’t think them anything remarkable, would we? What fascinates me is how two completely independent courses of action can worm their ways along two utterly unconnected timelines, end up at the exact same point in the space-time continuum, and strike sparks of fairy-dust (or something on those lines).
What makes the happy accident I have in mind even more remarkable is that it involves a District Council. Some thirty years ago the people of Whangarei acquired, through public subscription, a Steinway grand piano, which they entrusted to the care of the Council. Going on for 29 years later, the Council decided that the piano’s annual service must be about due; – that is, they arranged for the poor, overworked – and fairly dilapidated – beastie to be completely refurbished. This took a year and cost NZ$50,000 (so, naturally, numerous citizens complained about using ratepayers’ money to benefit a well-to-do minority – conveniently overlooking whose piano it was, and just how many diverse “minorities” it benefited).
Now, try to put the last paragraph out of your mind whilst you read this one! About a year ago, Oleg Marshev was busy trying to re-establish his regular NZ recital tours. He negotiated successfully with numerous customers, including Whangarei Music Society (WMS). Although very happy that Marshev’s return had been assured, WMS felt disappointed knowing that Forum North’s Steinway was out of commission, and that Marshev would have to play their own, somewhat less exalted piano.
In his career Marshev – who hails from Baku, the capital of Azerbaijan – has won many laurels and appeared at numerous “prestigious” venues (yet, curiously, remains probably the greatest living pianist never to have appeared at the Proms). You can of course find all that sort of thing in the standard “blurbs”, but less often mentioned is the impressive array of recordings he has made, over the years, for the small (but beautifully marked) Danish company Danacord, many of which have been reviewed by MusicWeb.
These give you a very good idea what sort of pianist Marshev is. You’ll find all the trappings of a “virtuoso showman” – extreme digital dexterity, technical mastery, impressive dynamic range and so on. But you won’t actually find a “showman”, virtuoso or otherwise, for Marshev is one of those rarer birds, one who first and foremost plays music. To him, virtuosity is just another “weapon” in his technical “arsenal”, to be called on when necessary to best serve the music he’s playing.
RADIO NEW ZEALAND
in Auckland, Concert Chamber, July 1st, 2008 Brahms Sonata n.1
Liszt Apres une lecture du Dante
Chopin 3 Walses op.34, Ballade n.4
Scriabin 2 Mazurkas op.40, 2 Poems op.32, Poeme “Vers la flamme”
A reviewer Sarah Watkin interviewed by Eva Radich
What sort of programme did he choose for his recital?
Well, it was a very, richly Romantic programme – music by Brahms, Liszt, Chopin and Scriabin and, of course, all these composers were virtuoso pianists themselves, so it was a very, richly musical evening. When Chopin waltzes are the light music on a programme you know you are in for a treat.
Interesting putting Chopin and Scriabin together, I would have imagined?
Yes, well, what I heard in the music that sort of linked the two obviously Scriabin’s mazurkas that Oleg played were inspired by those of Chopin but there’s this kind of improvisatory quality to the music and a real, almost jazz-like sense of harmony and freedom of timing and I thought it was a really effective paring in the second half.
The Brahms’ Sonata, I imagine that was the major work on the programme, was it?
Yes, it was, it’s a good thirty minutes worth of music and this is a very – it’s Brahms’ opus 1 Sonata, and a very youthful work. He was all of about nineteen, I think, when he wrote it and very authoritative and bold chords, strong, strong writing and, of course, very virtuosic. It took the audience in its grips, he, Oleg strode out on stage and promptly sat down and immediately burst into these really strong chords. It was almost like we hadn’t had a chance to catch our breath and open the programme books. He really asserted his authority on the music, right from the first note.
I thought it was interesting that he chose Brahms’ Sonata no 1 when he is known for his enthusiasm for less well-known composers. How did he make it his own?
This was the first time that I’ve heard Oleg Marshev play and what really impressed me was the effortlessness with which he played the whole programme and it struck me that this is a player whose primary concern is the music and not virtuosity for virtuosity’s sake. It’s incredibly difficult music, all of it, and yet he just played it with this sense of ease and space and beautifully lyrical playing, rich sonorities. You were aware of every note, every line in the music, every little detail was there. At times, for me, maybe the sound was almost too thick and rich, but that evolved as the programme developed as well and I think it was a product of the music as much as anything. But it was quite staggeringly impressive playing.
What: HCMS: Oleg Marshev. Works by: Brahms, Liszt, Chopin and Scriabin Where: Wel Academy When: Saturday, July 12 Reviewed by: Andrew Buchanan- Smart
Hamilton was privileged to hear the brilliant virtuoso Russian pianist Oleg Marshev. His sense of oneness with the music was demonstrated with consummate artistry; a nuanced blend where technique served the music, always proportioned and balanced.
Oleg Marshev (pf.), Capitaine Bougainville Theatre, Whangarei, New Zealand, 17.7.2008 Brahms – Sonata No. 1, op. 1; Liszt – Spanish Rhapsody; Chopin – Three Waltzes op. 34, Ballade No. 4 op. 52; Scriabin – Two Mazurkas op. 40, Two Poemes op. 32, Vers la Flamme op. 72
The auditorium of the Capitaine Bougainville Theatre admirably fulfils its acoustical design criteria. Although it’s splendid for dramatic productions, an acoustic that’s as dry as dust does tend to drain the life out of “live” music. Fortunately the piano, with its largely self-contained ambience, is relatively impervious to such surroundings. However, this won’t prevent some pianists putting their own murk into the music.
The many recordings of the Azerbaijani pianist Oleg Marshev testify to the needle-sharp clarity of his articulation. Hence, not many pianists, it seems, could be as well qualified to do battle with – or, rather, take advantage of – the theatre’s deliberately desiccated acoustics. Marshev’s programme, counterposing the dense, chord-heavy textures of Brahms against the often fingertip filigree of Chopin, Liszt and Scriabin, met the challenge head-on.
Having become acquainted with Marshev exclusively through his Danacord discography, I was truly drooling over the prospect of, at long last, actually seeing him perform. You see, for years I’d been waiting in vain for him to appear somewhere in my native Yorkshire. If you’re thinking that travelling 12,000 miles to catch up with him seems Continue reading musicweb-international. Nz 2008
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.
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.
You couldn’t have wished for a better start to the Purely Piano series than this.
Warm and comfortable in the Town Hall’s great little Concert Chamber, the capacity audience was prepared to be suitably impressed by this young Russian pianist who’s been getting glowing reviews for his recent recordings.
In fact, Marshev swept everyone off their feet. He has a quality of pianism that combines a brilliant technique with breathtakingly expressive effects, and his masterly control of phrases goes hand in hand with an unfailing ability to read, handle and project complex textures with admirable ease.
He approaches the piano like a company director, and stays there, spurning the usual continuous retreats to the wings. He’s here to play, so that’s what he does, beginning with a Bach organ transcription that makes the Steinway piano sound as though it’s housed in a vast cathedral.
Every now and then one gets the opportunity, or rather the privilege, to attend a recital by a visiting artist whose sheer artistry and brilliance makes one sit absolutely goggle-eyed and filled with wonderment by the pure magic of the event.
This was Oleg Marshev, a most charming personality both on and off the keyboard, who presented an excellently varied and representative programme by some of the greatest keyboard composers.
Given the standing ovation and shouts of “Bravo” uncommon at a lunchtime recital, this is the kind of concert that audiences like.