With the following programm Serhiy Salov won an excellent second prize in Salt Lake City, Utah:Round one
Johann Sebastian Bach Ricerar à 3 from the Musical Offering
Igor Stravinsky / Salov Le sacre du printemps
Johann Sebastian Bach Ricercar à 6 from the Musical Offering
Johannes Brahms Concerto No. 2 in B-flat Major, op. 83
Salov’s own solo arrangement of Stravinsky’s savage, ground-breaking score (also the subject of his current doctoral thesis) is the centrepiece of a forthcoming CD on the Canadian label Analekta; it is complemented by six pieces by the Ukrainian composer Ihor Shamo (1925-1972).
“I have long been nurturing the idea of arranging the Rite of Spring for solo piano,” explains Salov. “The orchestral score, with its 30-plus staves, isn't exactly a walk in the park – and it demands the application of more than old-school pianistic bravura! It just isn’t possible to accommodate all the independent voices without sleight of hand – or, as I’d rather put it, trompe-l'oreille. But it’s even harder to translate the atmosphere of the piece idiomatically for the piano, especially some of the eerier passages. This sometimes calls for rather unorthodox solutions in terms of both transcription and interpretation. Though I have now recorded the transcription, I am still revising and refining it … it is probably destined to remain an eternal palimpsest, a work constantly in progress.
(More details about this release soon under "Discography".)
Though he was born in the Ukraine and has made his home in Montreal for several years, the pianist Serhiy Salov is looking forward to returning to London for Beethoven’s ‘Emperor’ Concerto at Cadogan Hall on 28th April, when he performs with the City of London Sinfonia under Andreas Delfs. Salov studied at the Guildhall School between 2001 – 2002 having spent the previous four years as a teenager at the conservatory in the German city of Freiburg.
He settled in Quebec following his triumph in the 2004 Montreal International Music Competition. As he says: “The competition changed my life in many ways: it advanced my career, I met a great many friends, not to mention my wife. But I miss Europe and the countries in which I spent my student years. The concerto appearance in London is a lovely opportunity to catch up on that.” He has already played in the UK with the Philharmonia and the Royal Philharmonic, while dates around the world include engagements with l’Orchestre Symphonique de Montréal, l'Orchestre National de Radio France, the Berlin Symphony and Tokyo Symphony and with conductors including Leonard Slatkin, Christopher Warren-Green, Lawrence Foster, Jacques Lacombe and Yannick Nézet-Séguin.
The ‘Emperor’ is, as Salov says “quite a concerto … The size of the first movement is impressive in itself, as is its intricate and masterly architecture. To build this musical edifice is a true test of stamina, of creativity in phrasing, and of nuances in dynamics and articulation. The predominant major-key heroism of the work leaves comparatively little space for human warmth and expressions of self-doubt…There is the slow movement, of course, and the delicate passages in the first movement which exploit the extreme treble of the keyboard – the work was composed at a time when the range of the Hammerklavier had recently been extended at both ends. You cannot convey the true complexity of this concerto by simply riding on the back of its heroism: those searching moments of reflection play a vital role.”
When faced with a challenge such as the ‘Emperor’, Salov draws on his wealth of training. “In my teenage years I had two teachers, one Ukrainian and the other Hungarian, whose touch was both versatile and sublime. They taught me that, in nearly all romantic cantilena, you should start off by letting your finger sink gradually into the key and you then join one note to the next when the sound is at its peak. This is a way of moving beyond the essentially percussive nature of the piano’s sound production. Many people suggest that a pianist should emulate the sound of the human voice, but maybe that’s going too far – the piano has strings, so maybe we should think in terms of stringed instrument. Over the years I have worked at discovering different methods of sound production for my playing, both actively as a student and passively as a listener.”
Serhiy Salov was born in Donetsk, Ukraine. It's there that his vast musical training began, extending well beyond the technique of the piano to composition, improvisation, the multiple disciplines of musicology, as well as to language studies, a subject which provides another passionate outlet for his highly expressive nature. M. Salov gave his first public concert at age 11, playing Grieg's A minor concerto with the Ukrainian National Orchestra, and his first solo recital a year later at the Philharmonia Hall of Donetsk.
At age 15, Serhiy Salov left for Germany to study at the Freiburg Musik Hochschule with the great Michel Béroff. Having graduated, he then moved to London for another four years, to complete a masters at the famed Guildhall School of Music and Drama.
M. Salov has a broad and wide ranging performing experience (chamber music, piano solo or soloist with orchestra) and has performed with such outstanding conductors as Leonard Slatkin, Christopher Warren-Green, Lawrence Foster, Jacques Lacombe and Yannik Nezet-Seguin, and major orchestras like the Montreal, Salt Lake City, Hallé, Tokyo and Berlin Symphonies, l'Orchestre National de Radio France, the Philharmonia and Royal Philharmonic Orchestra and the Royal Liverpool Philharmonic.
Serhiy Salov's musical parcours is replete with awards and Prizes. Apart form academic recognition such as his Solo Recital Diploma (Premier Prix) from the Guildhall School of Music and Drama, he has garnered three international First Prizes on the piano competition circuit (Dudley 2000, Épinal 201 and Montréal 2004), one second (Gina Bachauer 2010) and three thirds (Long-Thibaud 2001, Hamamatsu 2003 and Tromso 2009), as well as Audience Prizes in Montreal and Tromso.
Fascinated by the dimension of a 20th century symphony orchestra, M. Salov has become an avid champion of arrangement for the solo piano of some of its seminal works. He is one of the very few pianists to arrange, interpret and record his own version of Stravinsky's "Rite of Spring". Among his other arranged works are the solo piano version of the complete "Pétrouchka" ballet as well as that of Debussy's "Fêtes" and Poulenc's D minor piano concerto, originally written for two pianos.
Serhiy's first commercial CD, Shostakovich's circle (Analekta, 2007), showcasing the highly sophisticated albeit rarely performed piano concertos by the master's acolytes Galynin and Ustvolskaya, received the Prix Opus for best classical recording of the year. His most recent CD, The Sacred Spring of Slavs" (Analekta, 2010), was released to great public and critical acclaim, due in large part to M. Salov's glorious transcription of Stravinsky's aforementioned masterpiece.
Ihor Stravinsky (1882-1971)
The Rite of Spring
Arr. : Serhiy Salov
II. The Augurs of Spring:
Dances of the Young Girls
III. Ritual of Abduction
IV. Spring Rounds
V. Ritual of the Rival Tribes
VI. Procession of the Sage;
The Kiss of the Earth
VII. Dance of the Earth
II. Mystic Circleof the Young Girls
III. The Naming and Honoring of the Chosen One
IV. Evocation of the Ancestors
V. Ritual Action of the Ancestors
VI. Sacrificial Dance (The Chosen One)
Label: Analekta, AN 29932
Release date: May, 2010
Ihor Shamo (1925-1972)
I. Sunrise in the Montains
II. Musicians Head Into the Mountains
III. Little Sheperd Boy
IV. A Spring Rain
V. A Ritual Song for Spring
VI. Shepherds' Dance
Hermann Galynin (1922-1966)
Klavierkonzert Nr. 1
Dimitri Schostakowitsch (1906-1975)
Kammersymphonie op. 73a
Galina Ustvolskaya (1919-2006)
Serhiy Salov, Klavier
I Musici de Montréal, Dirigent Yuli Turovsky
Label: Analekta, AN 29898
J. S. Bach
Ricercar à 3 (from "Musical Offering" BWV 1079)
Ricercar à 6 (from "Musical Offering" BWV 1079)
Partita in C minor
Partita in D major
Prelude and Fugue in C# minor, Book 1
Prelude and Fugue in D minor, Book 1
Prelude and Fugue in G major, Book 1
Prelude and Fugue in D major, Book 2
Sonata No. 50 in C major
Sonata No. 52 in E flat major
W. A. Mozart
Sonata in B flat major
Sonata in D major
Fantasy in D minor
Variations D major on the Duport Theme
Sonata in C major KV 330
L. van Beethoven
Sonata op. 3 No. 2 in C major
Sonata op. 10 No. 3 in D major
Sonata No. 14 in C# minor "Moonlight"
Sonata op.28 in E flat major
Sonata op. 53 in C major "Waldstein"
Sonata op. 101 in A major
Sonata op. 106 in B flat major ' Hammerklavier"
Sonata op. 109 in E major
Sonata op. 111 in C minor
Toccata op. 7
Fantasy in C Major op.17
Symphonic Studies op. 13
Humoreque op. 20
Sonata op. 35 in B flat minor
Scherzo No. 3 op. 39
First and Second Ballades
Fantasie Brillante in F minor, op 49
24 Etudes from Op.10 and Op. 25
Selected Nocturnes and Mazurkas
Polonaise-Fantaisie op. 61
Sonata in B minor
Hungarian Rhapsodies No. 10
Hungarian Rhapsody ("Carnaval de Pesth"), No. 12 in C# minor
Mephisto Valse No. 1
"La Campanella" (Study No. 3 d'après Paganini)
Etude transcendante No.4, "Mazeppa"
Klavierstücke op. 76
Variations Book 1
Rhapsody op. 79 No. 2
3 Intermezzi in E flat major, Op. 117
Oriental Fantasy "Islamey"
Pictures at an Exhibition
P. I. Tchaikovsky
Second Rhapsody "Dumka-Shumka" Op 18
Impressionistic and 20th century
"Les Collines d'Anacapri",
"Des Pas sur la Neige",
"Ce qu'a vu le vent d'Ouest",
"La Danse de Puck", "Feux d'artifice".
Images Book 1
"Fêtes" (from "Nocturnes", arr. S. Salov)
"Gaspard de la Nuit"
Sonata No. 3
Study No. 4 "Fanfares"
Study No. 5 "Arc-en-ciel"
Hutsulski akvareli [Hutsulian watercolours]
Three movements from "Pétrouchka"
"Le Sacre du Printemps", arr. S. Salov
L. van Beethoven Sonata for Violin and Piano No. 7 op. 30 No. 2 in C minor
L. van Beethoven "Kreutzer" sonata for Piano and Violin
J. Brahms Piano Quintet in F minor
J. Brahms Sonata for Cello and Piano in E minor
J. Brahms Piano Quartet in G minor op. 25
J. Brahms Trio for piano and strings in B Major op. 8
J. Brahms Sonata for Violin and Piano No. 1 in G Major op. 78
J. Brahms Sonata for Violin and Piano No. 3 in D minor op. 108
D. Shostakovich Piano trio in E minor
D. Shostakovich Sonata for Cello and Piano in D minor
C. Franck Sonata in A Major
L. Janacek "Pohadka" for cello and piano
Salle Claude-Champagne, Montréal Québec
Serhiy Salov, piano
L'Orchestre de l'Université de Montréal
Alain Trudel, conductor
Cadogan Hall, London
Serhiy Salov, piano
Andreas Delfs, conductor
Mozart Symphony: No.35 ‘Haffner’
Schreker Chamber: Symphony
Beethoven: Piano Concerto No. 5 ‘Emperor’
Canadian pianist Serhiy Salov is known as a true sculptor of sound, possessing a rare ability to create colours and moods.
Mozart’s popular ‘Haffner’ symphony is one of the finest of his earlier years. Franz Schreker was condemned as ‘decadent’ by the Nazis; this is a rare opportunity to hear his luscious orchestration. Beethoven’s ‘Emperor’ Concerto has a monumental piano introduction, powerful themes and heroic tone, justifying its later nickname.
Palais Montcalm, Québec
Andrew Staniland: Only Darkness
Schumann: Concerto pour piano
Soliste: Serhiy Salov, piano
Schumann: Symphonie no. 4
l’Orchestre de la Francophonie Canadienne
Jean-Philippe Tremblay, conductor
Festival International du Domaine ForgetSerhiy Salov, Piano
Schumann, Klavierkonzert in a-moll
Festival du Mont-Tremblant, Canada
Symphonie No 1, op. 25 (Symphonie classique) - S. Prokofiev
Rhapsodie sur un thème de Paganini, op. 43 - S. Rachmaninov
Symphonie No 1, op. 10 en fa mineur - D. Chostakovitch
Serhiy Salov, Piano
Orchestre symphonique de Sherbrooke
Stéphane Laforest, conductor
Serhiy Salov, Piano
Drummondville Symphony Orchestra
Pierre Simard, conductor
Tchaikovsky, 1. Klavierkonzert
At the Piano Nobile (Place des Arts)
12.10 p.mPro Musica - Les Mélodînes Serie
Salle Wilfrid-Pelletier at Place des Arts
Tribute to Joseph Rouleau and to Jeunesses Musicales
Sergei Prokofiev: Piano Concerto No. 3 in C major
Orchestre Symphonique de Montéal
Jean-Philippe Tremblay, conductor
Cinquième Salle, Place des Arts
3.30 pmSerhiy Salov, Piano
L. van Beethoven, Sonate op. 53 in C Dur ('Waldstein')
J. Brahms, 3 Intermezzi op. 117
F. Chopin, Sonate op. 35 in b-moll
I. Stravinsky, 'Petrushka' - das Ballet in derSolo Piano-Version
Chapelle historique du Bon-Pasteur
Sonate en si mineur
Rhapsodie Hongroise no. 12
Six Études d'après Paganini
Studio-théâtre (Place des Arts)
Mussorgski, Tableaux d'une expostion
Lubbock, TexasChopin, Piano Concerto no.2, Lubbock Symphony
St Johns, Newfoundland
Rachmaninov, Concerto no. 3
Newfoundland Symphony Orchestra
St Johns, NewfoundlandShostakovich, Piano Quintet op. 57
Montréal, Maison Symphonique
Liszt, Concerto no. 2
Orchestre Symphonique de Montréal, Kent Nagano conductor
"Mr. Salov gave an astounding interpretation of Liszt's colossal B-minor sonata. Thirty minutes at the end of which I was brought to tears. Inspired, thoughtful, with a clarity of play allowing drama to circulate from one hand to the other. Yes, I was listening to a great pianist."
Claude Gingras, Cyberpresse, 16.12.2011
Reading the RITE
Serhiy Salov makes Stravinsky's masterpiece his own
(...) "At least Salov's glittering technique and splendid ear for nuance and tone colour make the best case on Shamo's behalf. His own transcription of (non-watered down) Stravinsky's The Rite of Spring is bound to raise purists' eyebrows by way of its textual emendations and massive, arguably unidiomatic rubatos. No bassoonist would be caught dead wigggling around the opening motive as Salov does, nor would any conductor wishing to keep his or her job dare to stretch "Spring Rounds" to the edge of immobility. (...)
Imagine Messiaen rewriting the Rite, and you'll get the gist of Salov's remarkable and beautifully engineered tour de force. Better still, hear it for yourself."
Gramophone, October 2010
Virtousic and sensuous
"If you want to know what real piano virtuosity sounds like, you have to listen to this CD.
Salov's performance is characterised by great sensitivity and a very strong feeling for the colours of the music.(...)
The main event on this disc is of course Stravinsky's 'The Rite of Spring'. Here Salov sets out his credentials as both pianist and arranger with phenomenal success, using every resource to convey the impact of the archaic in Stravinsky's music. The rhythms, which have his fingers scuttling across the keyboard like millipedes, are not his only concern. His main priority is to bring out the orchestral colours and moods as intensely as possible, in order to reflect the sensuous quality of the music. And he succeeds brilliantly!
Pizzicato, September 2010
The Sacred Spring of Slavs
(... ) "Salov's performance of these two works merits the greatest admiration, for sheer virtuosity and the discrete quality of tone he achieves in all areas of attack and wariness of touch. This is a CD that deserves to outsell most other recordings in these days, weeks and months.
Klassik heute, 2010/07/28
"In this astonishing and mind boggling transcription for solo piano, Serhiy (Sergei) Salov has managed to retain and even enhance the music's magic. The mysterious and bold harmonies, the savagery of the rhythms, the orchestral colours and shadows, the inner spirit of the score, all of that has been adapted directly to the keyboard and re-constructed faithfully to bring out every minute little detail ranging from the strangely evocative opening notes to the wildest passages in the Dance of the Earth. Salov must have poured over every single note in the orchestral score many times over in order to determine which ones would make the final piano cut and in which role."
Classical Music Sentinel, 2010/06/10
The Rite of Spring, version for solo piano
Analekta AN 29932
"The Sacred Spring of Slavs CD features the work of an unknown Ukrainian composer, Ihor (or Igor) Shamo, whose pleasant Hutsulian Watercolours are a fitting tribute to their name, as well an exceptional creative feat: an arrangement for solo piano by Serhiy Salov of Stravinsky’s Rite of Spring. It’s a daring wager, when one considers the complexity of the orchestral work and the composer’s virtuostic deployment of the four-hand arrangement for piano—a composer who, in 1916, also created a piano reduction for pianola, a hiccoughing thing that can be heard on conductor Benjamin Zander’s website and that in no way compares, from a musicality standpoint, to the sheer frenzy of Salov’s arrangement. The Ukrainian pianist could well make a name of himself with this daring though masterfully-executed project. My only reservation has to do with some of the calmer sections (e.g. Spring Rounds), which seem a little disassembled and bring down the level of excitement. A minor reservation in the face of such a feat."
Le Devoir, 2010/05/14
"Salov made a positive impression, a pianist to hear again, a wish delivered quicker than expected with an encore, one of Brahms’s numerous miniatures – the Intermezzo in A (I believe), the second piece of the Opus 118 collection – to which Salov brought a hauntingly susceptible response to some of Brahms’s most private thoughts captured in music, and also found deeper tones from the Steinway. This resonating ‘extra’ was altogether special from Salov who is just about to release a CD on Analekta entitled “The Sacred Spring of Slavs”, which includes the pianist’s transcription of The Rite of Spring."
The Classical Source, 2010/04/29
"Yesterday night, Serhiy Salov has managed to stay remote from the sheen of a superficial bravoura. His commanding presence at the piano has contributed to powerful yet warm tone and phrasing. Not one gesture was rushed or incongruous. The score seemed to be breathing with inspiration, the sound production exquisite. In the slow movement, these qualities contributed to a truly sublime moments. In the other three, they have allowed a better contemplation of the architecture of this imposing edifice, introducing its every small detail, from every angle. " (...)
Lucie Renaud ,
"Clavier bien tempéré", 2010/04/11
"Salov and Trudel - a double success"
(...) " One of the most consummate works of the concerto repertoire, the 2nd piano concerto by Brahms is an immensely demanding work for the soloist, as well as for the conductor and the orchestra. We have witnessed at the piano a sparkling virtuoso who had won the 2004 competition. Salov's sheer power of sound production was complemented by the maturity of the interpretation of this 30-year old, a finesse of the phrasing as well as variety of the sound gradations". (...)
"La Presse" Montreal, 12/04/2010
The Sacred Spring of Slavs
The musician's own concert transcription of Igor Stravinsky's 20th century orchestral masterpiece The Rite of Spring was a revelation, while showcasing his highly impressive arranging skills. Although it still begs the question why anyone would invest several years not just painstakingly transcribing from several sources, but also memorizing and performing this musical beast, Salov's virtuosic delivery presented a unique opportunity to hear the work's complex harmonies in all their dissonant glory.
Winnipeg Free Press, 11/01/2010