Tag Archives: Rachmaninov

The Pianist. Rachmaninov Concertos

October 2002

Complete piano concertos (1-4); Rhapsody on a Theme of Paganini
Aarhus Symphony Orch/James Loughran (cond)
Oleg Marshev (pf)
Danacord DACOCD 582-583

Few British music lovers have heard the young Russian pianist Oleg Marshev live; he seldom appears in the UK, but having listened to his complete recording of the Rachmaninov works for piano and orchestra, I’m hoping that British agents will be rushing out to sign him! Right from the start – from the first movement of the first concerto – Marshev’s technical polish, dramatic sense of timing and dynamic involvement with the music hit me in the face.

Continue reading The Pianist. Rachmaninov Concertos


January 2002

Sergei Rachmaninov (1873-1943)

Piano Works
Morceaux de Fantasie Op.3 (1892)
Elégie in Eb minor; Prelude in C# minor; Mélodie in E major; Polichinelle; Sérénade in Bb minor Piano Sonata No.2 in B flat minor Op.36 (revised version) (1913/1931)
Variations on a theme of Corelli Op.42 (1931)
Oleg Marshev – pianist
Recorded at the Concert Hall in Sønderborg, Denmark April 1999
DANACORD DACD525 / 67.18

This is an excellent disc in a number of ways. One of its characteristics is that it is a condensed survey of the entire piano music output of Rachmaninov. Let me explain.

Continue reading CLASSICAL MUSIC ON THE WEB. Rachmaninov

Classic CD. Rachmaninov

March 2000

very impressive playing from a born Rachmaninov interpreter

Rachmaninov: Morceaux de fantasie op.3, Sonata n.2 in Bflat minor op.36 (revised version), Variations on a theme of Corelli, op.42.
Oleg Marshev / DANACORD DACOCD 525 / 67:18 DDD

Oleg Marshev: shows a natural kinship with Russia’s greatest composer-pianist 

Oleg Marshev scored something of a triumph with his Prokofiev sonata cycle on the Danacord label some years ago both in these columns and elsewhere. He has also recorded the Rubinstein Third and Fourth concertos and the Strauss Piano Sonata for the same label. Listening to these Rachmaninov performances, there is no doubt that he is a player in the grand manner, as befits his Moscow training and subsequent career as a prize-winner at the Pilar Bayona Festival in Spain, in Cincinnati and the Prima Premio Assoluto in Rome in 1992. Of these two Rachmaninov recitals, his conveys the greater authority and the more natural kinship with the composer. His account of all three pieces can be ranked along with the best in the catalogue. He possesses a strong musical personality and commands a wide range of keyboard colour and dynamics.

Continue reading Classic CD. Rachmaninov

Gramophone. Rachmaninov

April 2000


Morceaux de fantaisie, Op 3. Piano Sonata No 2 in B flat minor, Op 36 (rev. ver), Variations on a theme of Corelli, Op 42.
Oleg Marshev (pf) / Danacord DACOCD525 / 67 DDD

Following his highly praised Prokofiev cycle for Danacord, Oleg Marshev turns to Rachmaninov, whom Prokofiev outwardly despised but inwardly admired. Born in Russia but based in Italy, Marshev reveals his roots in every brooding and impassioned bar. Scorning an easy virtuoso aplomb, he takes us to the poetic core of the Second Sonata, a turbulent masterpiece best heard in its original 1913 version rather than the 1931 revision played here. Even given the composer’s lugubrious dismissal of his first thoughts, his feeling that they were overly ornate and extended, his 1931 version is brutally truncated and the sequences so central to his style are modified to a harsh degree. But Marshev offers a magnificent performance, having all the time in the world to make his points, turning what can easily become a mere display piece (so often served up for superficial effect on the competition circuit) into something strikingly sombre and powerful.

Continue reading Gramophone. Rachmaninov

KLASSIK HEUTE. Rachmaninov

March 2000


Morceaux de Fantasie op. 3, Klaviersonate Nr, 2 h-Moll op. 36, Variationen über ein Thema von Corelli op. 42;
Oleg Marshev — Klavier / Danacord DACOCD 525 (1999) / 67′

Oleg Marshevs lange und eindrucksvolle Liste von Danacord-Einspielungen hat im deutschsprachigen Musikraum nicht dazu geführt, diesen fähigen Künstler auch auf den Podien heimisch zu machen, Immerhin legte er bisher unter anderem das originale Gesamtwerk Prokofieffs vor (DACOCD 391-395) sowie Solowerke von Rachmaninoff [525). An diese ebenso kundige und überlegte wie brillante Aufnahme knüpft der aus Baku stammende Marshev nun mit einer weiteren Rachmaninoff-Auswahl an. Marshev möchte offenbar die Wichtigkeit einer oft als “Salongefummel” diskreditierten Musik betonen, Den herabstürzenden Beginn der Sonate beschreibt Marshev sehr artikuliert, nicht einfach als brachiale Geste. Wenn er auch im Folgenden nicht ganz die differenzierte Wucht und Klanglebendigkeit der Kocsis-Yersion erreicht, so ziehe ich seine Deutung doch der jüngst erschienenen Aufnahme mit Igor Kamenz vor. Auch die Coreili-Variationen habe ich seit Ashkenazys frühen Versionen kaum je so verinnerlicht und dennoch so pianistisch agil erlebt wie unter Marshevs Händen!

Peter Cossé