Oleg Solokov

Oleg Nikolayevich Karavaichuk (Russian: Оле́г Никола́евич Каравайчу́к; 28 December 1927 – 13 June 2016) was a Soviet and Russian composer, author of music for many films and theater performances. Some call composer Oleg Karavaychuk a genius, others a spook. For the third one he is unknown, although, by and large, his works are known to all. Karavaychuk composed the music for 200 films.

Oleg Nikolayevich Karavaichuk is a legendary St. Petersburg composer known mainly for his work for movies and theatre spanning about 200 films and several dozen stage performances. He is also a brilliant virtuoso performer and improviser. This CD contains waltzes and improvisations recorded at different times and at different venues in St. Petersburg between the years of 1989 and 2004. The recordings were made at the State Hermitage Museum, where Karavaichuk's favourite piano is housed, at the painter Ilya Brodsky's Memorial Museum and at the State Capelle Hall where in one of the waltzes the most significant instruments of Karavaichuk’s music - single tone horns - can be heard.

Early & Modern Music for Organ - Oleg Yanchenko (1988)
Melodiya | USSR | SUCD 10-00009 | 1988 | 1 CD | EAC Rip | FLAC (img + cue), LOG | TT 53:14 | Covers (jpg 300 dpi) | RAR 196.65 MB + 3% Recovery
Classical / Instrumental / Organ

This CD presents a Soviet musician Oleg Yanchenko performing works both by the composers of the 16th — 17th centuries and modern organ music.

Oleg Marshev has recorded several very good CDs of the piano music of Emil von Sauer (1862-1942), thus rescuing this forgotten composer from undeserved obscurity. Sauer was a pupil of Liszt and Nikolai Rubinstein and he became one of the preeminent virtuosos of his day, along with d'Albert and Godowsky. These etudes are incredibly finely crafted dainties, which require a brilliant technique - something Marshev has in abundance. The Etudes de Concert are not works of great profundity or emotional depth, but they explore some of the furthest reaches of Romantic pianism, marshaling countless colours, textures and effects.

Although each significant players in the Russian School of the nineteenth and early twentieth centuries, the piano concertos of Pavel Pabst, Rimsky-Korsakov, and Scriabin have been largely neglected by comparison to the other titanic piano concertos to come from the likes of Prokofiev, Tchaikovsky, and Rachmaninoff. Unlike their contemporaries, each of these three composers wrote but one piano concerto and in one way or another were writing outside of their comfort zone. Rimsky-Korsakov, for example, was a fine orchestrator, but had little experience writing for the piano. By contrast, Scriabin was a brilliant pianist and writer for his instrument, but his concerto represents his first attempt at writing an orchestral work.