Denis Matsuev

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10th Anniversary of Crescendo festival

This year "Crescendo" celebrates its 10 years anniversary. This unique festival brings talented young musicians, who are at the beginning of their career, and eminent artists to different cities of Russia, France, Israel, USA. The list of cities changes every year, but there is only one that remains in each list every year - Pskov.

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Denis Matsuev Presented Tutorials and Printed Music to Novosibirsk Region's Music Schools

November became a memorable month for cultural life of Novosibirsk. Publishing House "Music"- "P.Jurgenson" with International Charity Foundation of P.I. Tchaikovsky and with participation of Bank Group ZENITH accomplished the joint project. All music schools of Novosibirsk got a considerable amount of tutorials, textbooks and sheet music from Publishing House "Music".

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Blog # 37

Today we are opening the season with "the Israeli-Siberian" orchestra, it is fair to call it so, because it is still fresh in memory how IPO came to Irkutsk for participation in the festival "Stars on Baikal". That was a great event not only for Irkutsk, but the whole of Russia, as well as the diving of Maestro Meta in the waters of lake Baikal.

Everyone is excited. Musicians from IPO come to me to talk about what they remembered during the trip, to make a declaration of love to Irkutsk and lake Baikal and to say that they definitely want to visit Irkutsk again. Maestro Mehta said that when we build a new concert hall, he with IPO will definitely come and play at its opening. So that is settled. And we know that Zubin Mehta’s word is law.

IPO is an outstanding, versatile team led by a unique man, Zubin Mehta, with whom I was fortunate enough not only to perform, but also to talk and be friends. This season opening concert in Tel Aviv for me gives the start to a series of six concerts where I am going to perform Third Concerto for piano and orchestra by S. V. Rachmaninoff and Third Concerto by L. Beethoven.

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First reviews on Denis Matsuev's concert in Barbican Hall. London Evening Standard

The highlight, though, was Prokofiev’s Third Piano Concerto. This is not for the faint-hearted pianist; it demands muscular dexterity and an ability to deliver, not only a quality of ardent longing but also something of the cocktail lounge. Matsuev responded with thrilling virtuosity, his fingerwork faultless, his rhythmic drive flexible and imposing.

Nick Kimberley

London Evening Standard


Music Festival STARS ON BAIKAL 2014

As always Irkutsk welcomes gathering of classic music stars in September. Denis Matsuev’s festival “Stars on Bailkal” starts these days. This year festival includes performances with the Israel Philharmonic orchestra under baton of Zubin Mehta, this is the first time ISO comes to Irkutsk. Vladimir Spivakov also comes to the festival right after celebrating his jubilee in Moscow. Thanks to eloquence of Denis Matsuev, maestro Spivakov is going to restart his career as a violinist during this Festival, which is for sure very important for world music industry. 

The show takes place at two sites: in Zagursky Musical theatre and in the Concert Hall of the Irkutsk Philharmonic. The opening was made by the young pianist, Okui Shio performed during the Grand opening of the Festival. She is only nine years old and she is familiar to viewers of Kultura channel as a participant of the TV-contest "the Nutcracker". Okui Shio performed Beethoven’s First Concert. Violinist Ivan Pochekin played the Second concerto of Niccolo Paganini. Denis Matsuev was the soloist in "Blue Rhapsody" by Gershwin.

Igor Belza, son of Svyatoslav Belza, world famous TV-anchorman, music critic, music researcher and historian, who passed away just over three months ago, becomes the compere of festivals’ concerts.

As Svyatoslav Belza had been the host of the Festival Stars on Baikal for many years, this year’s Festival Denis Matsuev dedicated to him.

"It was a unique person, a man of unique dignity, a musketeer. In his youth he was keen on fencing. A man of amazing emotional subtlety. And there was something of a Siberian in him, that's for sure. His warmth, his kindness, and simplicity in communication with different people, whether it is high-ranking people or any person that comes to him after the concert," says pianist Denis Matsuev.


Annecy Classic Festival et son mécène russe providentiel

Jusqu’au 29 août, le Annecy Classic Festival s’installe sur les bords de celle qu’on surnomme la Venise des Alpes. Une cinquième édition qui se joue à guichets fermés. Une réussite que savourent d’autant plus les organisateurs que le festival a bien failli disparaître. Il doit sa survie et une partie de son succès à un mécène russe, Andreï Cheglakov.

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Les musiciens russes enflamment le lac bleu

Le pianiste Denis Matsuev a notamment brillamment ouvert le 5e Annecy Classic Festival.

S'il est un compositeur qui justifie toutes les audaces virtuoses, c'est bien lui. Franz Liszt, le visionnaire transcendantal du clavier romantique, n'a pas laissé que des pièces de bravoure solistes. Ses deux concertos pour piano, ainsi que sa danse macabre Totentanz, sont aussi des sommets de technicité véloce qui, pour peu qu'ils trouvent interprète à leur mesure, font toujours un effet bœuf. Il y a trois ans, le pianiste russe Denis Matsuev interprétait les trois œuvres d'affilée pour le bicentenaire du compositeur, à Budapest. Prouesse qui lui valut le surnom de «Liszt de Sibérie».

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Champion Plays Ravinia

He calls Chicago Blackhawks goaltender Nikolai Khabibulin “a big friend of mine.” His heroes are Vladimir Horowitz and star hockey center Sergei Fedorov. Russian pianist Denis Matsuev, who has “epic technique” according to the Boston Globe, is not shy about talking sports. In a 2009 Impromptu, he told WFMT that as a youth in Siberia, he could hardly be kept indoors. He played either soccer or ice hockey “about seven hours a day. Music was second.” Speaking with a gentle Russian growl, he laughs about breaking his fingers three times, “My parents was shocked. My parents is musician, my mother and father – all pianists.”

“Sochi’s closing ceremony…[had] piano virtuoso Denis Matsuev emerge from a cloud of smoke and blast through a Rachmaninov composition like he was playing Metallica. It was amazing.”

—Alex Heigl, People magazine

Although Matsuev chose the piano over hockey, his competitive nature hasn’t softened. In 1998, he won the gold medal at the Tchaikovsky Competition.

During his 2009 visit to WFMT, Matsuev described receiving a challenge of a different kind from one whose name is Rachmaninoff: “It was two and a half years ago, grandson of Rachmaninoff – his name Alexander, Alexander Rachmaninoff – came in my concert at Théâtre des Champs-Elysées in Paris. After my recital, he told me (very fun), he told me, ‘when you don’t smoke, I give you some present.’ I don’t smoke but maybe one cigarette after the concert…no more! I told him I never smoke, I don’t smoke, where is my present? He told me, ‘I present you new piece of Rachmaninoff – unknown piece of Rachmaninoff.’”

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Zoltan Kocsis et Denis Matsuev: un duo de choc

Denis Matsuev est une nature. Un phénomène. On le sait. Mais dans le 2e Concerto et la Totentanz de Liszt, on ne peut qu’être saisi par l’adéquation entre la virtuosité visionnaire des œuvres et celle du pianiste. Matsuev fond le clavier dans le métal, l’air et l’eau, et provoque des jaillissements sonores d’un autre monde. Puissance, pyrotechnie digitale, liberté musicale: dans ce registre, le Sibérien dépasse les touches pour atteindre directement le son. Et le bonheur de son jeu est électrisant. Pas une note ne lui échappe, pas un soupir ne lui résiste. La folie instrumentale de la Totentanz semble s’effacer sous ses doigts implacables et insaisissables. On peut chercher la petite bête. La palette des couleurs, la hauteur d’esprit, une certaine délicatesse musicale. Rien ne tient. L’interprète balaie d’un revers de glissando les arguments de la raison, du style et des codes. Il arrache le piano du sol et transporte Liszt dans la quatrième dimension. La sienne, en somme…

Sur l’estrade, Zoltan Kocsis met son regard à l’écoute, et son corps, traversé de notes, répond à chaque mélodie. Il connaît ces partitions diaboliques pour les avoir jouées, lui aussi. A la baguette, cette intimité de pianiste à pianiste rend le meilleur: un accompagnement fusionnel, attentif, sensible et aimant. Suivi dans cette complicité par un Philharmonique de Saint-Pétersbourg compact, souple et engagé, le chef et pianiste hongrois peut lâcher les rênes dans les Danses slaves de Dvorák. Tout roule, tout coule, tout chante. Avec chaleur, tendresse et vitalité. La rythmique est tenue serré, les harmonies rayonnent et les mélodies livrent leur beau miel d’Est. Un régal.

Le Temps