Author: om
Frédéric Chopin—Complete Works for Piano & Orchestra
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 Guidef 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 (more…)
Radio New Zealand
[audio mp3="http://olegmarshev.com/wp-content/uploads/2015/02/nz_interview.mp3"][/audio]
PIANIST — Issue No. 30
His thrilling recordings of Prokofiev and Rachmaninov (among others) leave the critics grasping for new superlatives, but Russian pianist Oleg Marshev resists the virtuoso label. "An artist should serve the music," he tells Harriet Smith
International Piano – Issue No.46
When it comes to piano literature, Russian pianist Oleg Marshev has two big passions: the music of his compatriots and the lesser-known repertoire. He tells Jeremy Nicholas why going boldly where few have gone before can be so rewarding.
Andante Prokofiev War Sonatas
ANDANTE — Turkey «Prokofiev War sonatas»
SEEN AND HEARD INTERNATIONAL. WHANGAREI 2013
Oleg Marshev Test Drives Whangarei’s Refurbished Steinway 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...
MusicWeb International, London Phil
Stravinsky, Prokofiev and Shostakovich: Oleg Marshev (piano), London Philharmonic Orchestra, Vasily Petrenko, Royal Festival Hall, Southbank Centre, London, 24.11.2010 (BBr) Stravinsky: Scherzo fantastique (1909) Prokofiev: Piano Concerto No.3 in C, op.26 (1916/1921) Shostakovich: Symphony No.11 in G minor, The Year 1905, op.103 (1957) It is impossible to claim that Stravinsky’s Scherzo fantastique is anything more than a fragrant morsel, albeit one which set the composer on his path to fame and fortune. Tonight, Petrenko gave it with a delightfully light touch which fully suited the work, and pointed the Firebird connections. I’ve never before understood what it was that attracted Diaghilev to Stravinsky until now, and after hearing this performance it’s so obvious! A nice starter. There's no problem in understanding why Prokofiev’s 3rd Concerto has achieved the popularity it enjoys...
The Independent. London Phil
http://www.independent.co.uk London Philharmonic Orchestra/ Petrenko, Royal Festival Hall What a journey we took here from the muted half-lights of Stravinsky’s Scherzo Fantastique to the tumultuous bell-laden prophecy at the close of Shostakovich’s 11th Symphony. Vasily Petrenko was at the helm of the London Philharmonic taking time out from his Scousers to probe and reveal with his customary precision a repertoire that is so plainly at the very heart of his being. Stravinsky’s Scherzo is essentially a dress rehearsal for the Firebird’s entrance with every section of the richly adorned but discreetly muted orchestra whirring to the perpetual motion of as yet only imagined choreography. Three harps pick out the iridescence of the Firebird’s plumage, the scoring so light as to...
Commanding performances of three works in homage to Chopin https://musicwebinternational.com/2025/01/chopin-variations-rachmaninov-mompou-busoni-danacord/
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