Oleg Marshev is one
of the jewels in the crown of the outstanding
Danish Danacord label. Yet he is perhaps
not as well known in the United Kingdom
as his impressive playing and equally
impressive catalogue would demand. He
achieved international recognition when
he won the First Prize in the 1988 ‘Pilar
Bayona’ International Piano Competition
in Spain. This was followed by gold
medals in the United States and Italy.
Since that time he has toured extensively
in Europe, North America and the Pacific
Rim. But it is his legacy of recording
that concerns us here. I have reviewed
most of his Danacord releases and have
always been totally impressed. He cut
his teeth with a complete cycle of Prokofiev’s
solo piano music. He has made an impressive
survey of the largely forgotten music
of Emil von Sauer. His recent CD triumphs
have included the piano concertos of
Rachmaninov and Shostakovich. He has
been enthusiastic about introducing
largely forgotten Romantic piano concertos
from Denmark.
As usual with any Danacord
product the presentation is second to
none. The feel of the disc just exudes
quality. The liner-notes are extensive
and leave out little information that
is required for an educated and sympathetic
appreciation of these works.
The playing by the
orchestra is splendid. Willén
sensitively supports the soloist at
all times. There is virtually no point
at which I feel that the balance between
piano and orchestra has been upset.
My only slight concern is that just
occasionally the piano tone is a little
harsh. This may simply be a matter of
taste. Generally the playing by the
soloist matches the required virtuosity
of these complex and demanding works.
The greatest of pianists best reveal
their art in the quieter and even ‘easier’
moments of a monumental work. It is
perhaps all too easy to thunder out
octaves and work through horrendously
complex figurations so that it is impossible
to judge the accuracy of the notes.
It is another matter to play the intimate
reflective moments in which these five
works abound. Marshev impresses me across
the board.
Now when it comes to
recommendations it is always a difficult
matter. Just a brief look at the CD
catalogue reveals dozens of recordings
of these five masterpieces.
If we look at just
the Third Concerto for a moment there
are some 46 editions. These include
interpretations by Vladimir Ashkenazy,
Jorge Bolet, Van Cliburn, Byron Janis,
Nikolai Demidenko, Evgeni Kissin, Byron
Janis and my own particular favourite
Martha Argerich. Now how on earth does
one choose between all these great names?
The answer is one cannot. All one can
do is ask if a given recording moves
and impresses. I do not claim to be
familiar with all of the above versions
by any means. I was introduced to these
five works by way of Ashkenazy and have
largely stuck with this over the last
third of a century. However I find the
present two CD set stunning in every
way. My method of testing is to listen
to the concerto I like least. That is
the Fourth for left hand! Marshev’s
playing has made me reconsider its place
in the pantheon! The slow movement is
heart-achingly beautiful. The second
test is to listen to the opening of
the First Concerto with its almost Addinsellian
film music feel. Marshev again passed
the test with flying colours. The final
hurdle for him to cross is the last
movement of the Third Concerto. This
is extremely demanding and frighteningly
difficult – not only the notes, but
the balance of material as well. Once
again the pianist is totally successful
in jumping all the fences – to mix my
metaphors slightly.
So the bottom line
is this: these Five Concertos are essential
listening to anyone interested in piano
music, 20th century masterpieces
and great pianism.
If you know these works
already – and you have a preferred version,
enjoy it. But why not buy this present
disc for contrast. It really is stunning
and superb.
If you are new to these
works you will not be disappointed with
this recording. Perhaps in thirty-three
years time this will be the one that
you stick with.
One last thought. I
am not a Prokofiev scholar, but I do
know that there is an incomplete Piano
Concerto No.6. I wonder just how incomplete?
Have the sketches been published and
has any of the music ever been recorded?
John France
Oleg Marshev, piano 
