International Record Review
PABST Piano Concerto in E fiat RIMSKY-KORSAKOV Piano Concerto in C sharp minor SCRIABIN Piano Concerto in F sharp minor
Oleg Marshev (piano); South Jutland SO/Vladimir Ziva Danacord DACOCD 660 73:52 mins. Producer Lennart Dehn. Engineer Stephan Flock
Listening to these captivating performances, with all concerned playing as though they believed in every note, reminded me of Vox’s 1970s heyday in the UK on Decca Turnabout when 99p would buy you Michel Ponti playing Balakirev, Lyapunov or Tchaikovsky’s Second with a scorching abandon and imperativeness that in many ways has never been surpassed on disc.
Continue reading International Record Review. Pabst/Scriabin
BBC Music CHOICE
Virtuosity with charm:
Oleg Marshev gives winning accounts of three concertos
MARSHEV’S STYLISH TRIO
DAVID NICE welcomes Oleg Marshev back in sparkling form.
PABST Piano Concerto in E fiat RIMSKY-KORSAKOV Piano Concerto in C sharp minor SCRIABIN Piano Concerto in F sharp minor Oleg Marshev (piano); South Jutland SO/Vladimir Ziva Danacord DACOCD 660 73:52 mins
This is Oleg Marshev’s finest disc since his stylish accounts of the two Shostakovich concertos.
Continue reading BBC Music Magazine. Pabst Scriabin Concertos
Pabst; Rimsky-Korsakov; Scriabin
This is Oleg Marshev’s finest disc since his stylish accounts of the two Shostakovich concertos. He includes a genuine rarity which has not even surfaced on Hyperion’s Romantic Concertos series, the rather ordinary specimen by Königsberg-born, Russocentric Pavel Pabst (1854-97). Calum MacDonald’s liner notes suggest that ‘the date of the work, its tonality and its thematic structure’ may have been tailored to the 1883 coronation of Tsar Alexander the Third. Be that as it may, it’s short on truly distinctive grandeur, but it does give Marshev a chance to display both muscular virtuosity and light transcendentalism, executed as well as anyone could wish. The other concertos on the disc are touched by genius, though neither shows its composer at his most characteristically flamboyant. The 17-year-old Prokofiev was learning the Rimsky-Korsakov Concerto when he learnt of the master’s death in 1907, and wrote in his diary how the work ‘enchanted me with its refinement, clarity, simplicity and sincerity’. Those are characteristic of this interpretation both from Marshev and his team, the South Jutland Symphony Orchestra and Vladimir Ziva. Scriabin was only 18 when he wrote his only concerto (unless we count Prometheus), so don’t expect mystic fireworks; but there is a lovely virginal candour in parts, especially for the theme of the central movement’s variations, and these sensitive players do it justice, flaming only for the final blaze. The sound is as crisp and clean as the performances. David Nice
Fantasie on “Mazeppa” (Tchaikovsky). Paraphrase on “Eugene Onegin” (Tchaikovsky).
Reminiscences of “The Demon” (Rubinstein). Paraphrase on “Sleeping Beauty” (Tchaikovsky).
Illustrations of “The Queen of Spades” (Tchaikovsky).
(arr. Pabst) Cradle Song, Op. 16 No. 1.
Pavel Pabst (1854-97, his name is often anglicized to Paul Pabst) did not achieve the fame of his pianistic colleagues mainly because he chose to concentrate on teaching (his pupils included Lyapunov and Goldenweiser) rather than performing. He is known today chiefly through his Paraphrase on “Eugene Onegin”, and his other paraphrases remain largely unfamiliar. In adopting Liszt’s model Pabst inherited many of the essential ingredients, but his piano textures are generally more contrived and he is less inventive and original, although, like Thalberg, he knew how to decorate a good tune. This is musical confetti, and it relies heavily on the personality and charisma of the pianist for its success.
Fortunately Oleg Marshev is fully attuned to the task. He has all the technique required for the taxing pianistic acrobatics and he infuses the music with charm and character.
Continue reading GRAMOPHONE, Pabst
Opera and Ballet Paraphrases Ciajkovsky and Anton Rubinstein (first recording)
Danacord DACOCD 450
E. von Sauer
Etudes de concert and Valses (first recording)
Danacord DACOCD 487/488
Piano Music (Sonata op.5, Piano Pieces opp.3 and 9)
Danacord DACOCD 440
Le esplorazioni del repertorio pianistico che in genere non interessano ai nomi più conclamati del momento (o forse alle loro case discografiche, attaccate ai soliti compositori e ai soliti pezzi), interessano invece, per fortuna degli studiosi o degli appassionati, alle piccole case, che in pochi anni hanno dimostrato di gran lunga la maggior vitalità: non so se di mercato, certo culturale. I loro cataloghi, a differenza di quelle delle grandi case, non si possono ignorare: sono miniere, pozzi senza fondo, spesso piccoli trattati di musicologia. Questi dischi della casa danese, quasi presi a caso dal catalogo – una panoramica dedicata al pianista russo, residente in Italia da alcuni anni, Oleg Marshev – si permettono lusso di offrire ben tre (su quattro) prime incisioni assolute.
Continue reading Piano Time. Sauer, Pabst, Strauss