Marianna Shirinyan, Piano

Month

Biography

Winning five prizes at the 2006 ARD International Music Competition in Munich kickstarted Marianna Shirinyan’s international career as soloist and chamber musician and  it has developed impressively steadily since. She is a welcome guest at a string of international festivals, among them the Schleswig-Holstein Music Festival, the Schwetzinger Festspiele, Festspillene in Bergen, the Stavanger International Chamber Music Festival in Norway, MDR Summer Music Festival and many others.  Simultaneously she has won the reputation of being one of this generations leading pianists through solo appearances with such leading Scandinavian orchestras as the Danish National Symphony Orchestra, Oslo/Helsinki/Copenhagen Philharmonic, Göteborg Symphony, Trondheim Symphony, Tapiola Sinfonietta, Helsinborg/Norrköping/Umeå Symphony Orchestras in Sweden as well as Odense/Århus/Ålborg and South Jutland Symphony Orchestras in Denmark.  Outside Scandinavia, she has performed with the Bavarian Radio Symphony Orchestra, the Potsdamer Kammerakademie, the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Hamburger Camerata, the Munich Symphony Orchestra, Würzburg Philharmonic, Munich Chamber Orchestra the Armenian Philharmonic Orchestra, I Pomeriggi Musicali di Milano, Arnhem Symphony Orchestra, Master Symphony Orchestra(Valencia) in collaboration with Hans Graf, Zoltan Kocsis, Jun Märkl, Antonello Manacorda, Lan Shui, Thomas Søndergård, Krysztof Urbanski, Joshua Weilerstein.
Future engagements include concert tour with the Reinische Philharmonie Koblenz under the button of Daniel Raiskin, Arthur Rubinstein Philharmonic Lodz, Hiroshima Symphony Orchestra, as well as re-invitations to Helsinki/Oslo and Copenhagen Philharmonic orchestras.
As a chamber musician she is regularly performing with artists like Anthony Marwood, Vilde Frang, Pekka Kuusisto, Sergey Malov, Lars Anders Tomter, Maxim Rysanov, Andreas Brantelid, Torleif Thedeen.

From autumn 2015 Marianna Shirinyan is appointed professor at the Norwegian Music Academy in Oslo, Norway.
2004 Marianna has been teaching at the chamber music summer academy of the 'Jugend Musiziert' in Schloss Weikersheim, Germany. In addition, in the period 1998 to 2006, she held a part-time position as a teacher/coach of piano accompaniment at the Musikhochschule Lübeck in Germany. Between 1999-2003 Marianna returned regularly to the Orchestra Academy of the Schleswig Holstein Music festival as a coach for piano chamber music. From 2003-2011 she has been a member of the Esbjerg Ensemble in Denmark and from 2007-2010 she taught at the Royal Academy of Music in Copenhagen. In Autumn 2014 Marianna Shirinyan will appear as a jury member at two major international Piano competitions, the ARD International Music Competition in Munich and the Edvard Grieg International Piano Competition.
 
Marianna herself has received high acclaim in many national and international competitions. In 1994 she placed 1st in the 'Youth Chamber Music Competition' in Paderborn, Germany(Junge Ensembles Musizieren). She was also a prizewinner in the 'International Competition for Young Pianists' in Ettlingen, Germany, 'Gaillard', France, and twice in Spain - 'Maria Canals' and 'C.I.P.C.E.'.

In 2001 Marianna received the support prize of the Schleswig Holstein Music Festival, as well as  'the Possehl Music Award' in Lübeck/Germany. In 2002 she won 1st Prize in 'The International Lion's Competition'. And in 2004, playing together with Finnish violinist Laura Vikman in the chamber music competition 'Premio Vittorio Gui' in Florence, Italy, she won 1st prize once again. In the ARD Music Competition in Munich she took home Second Prize, 'the Audience Prize', 'the Special Prize of Münchner Kammerorchester', 'the Brüder-Busch Prize' and finally 'the Prize of Symphonieorchester des Bayerischen Rundfunks'. 

The Association of Danish Music Critics awarded Marianna Shirinyan their Annual Prize in 2009. In 2010 she received Danish Radio's P2 Artist Prize for her contributions to the musical and artistic life in Denmark.  She was featured as Carl Nielsen Artist during the Carl Nielsen International Violin Competition and Festival 2012 in Odense and held a residency by the Odense Symphony Orchestra during the season 2013-14, which included three orchestra concerts and chamber music projects, in addition the orchestra commissioned a piano concerto by the jazz-pianist and composer Carsten Dahl, which was premiered with a big success during the residency. From the season 2014 Marianna will embark a two years term of Residency at the Diamant Ensemble in Copenhagen.

 Marianna’s first CD was released by EMI in January 2010, presenting chamber music by Frédéric Chopin, and also featuring Danish cellist Andreas Brantelid and Norwegian violinist Vilde Frang. The CD won the Danish "Grammy" (P2 Prize). In 2012 Marianna released two CD’s, her solo recital album “Il Viaggio” and piano concertos by Beethoven no.1 and Kuhlau together with Copenhagen Philharmonic, another orchestra she is enjoying a tight collaboration with, in March 2014 she was on tour with the orchestra and their chef conductor Lan Shui in Spain with Brahms no.1 piano Concerto. Her recent release has been in May 2014, with Mozart Piano concertos no.12 and no. 23 together with Odense Symphony Orchestra. All the CD’s has been very positively received by listeners and the international press.
 
Marianna was born in Yerevan, Armenia. She commenced her musical studies at the age of seven, when she attended the Tchaikovsky music school in her home town, under the guidance of Margarita Hakobian. In 1997 she went on to study with Igor Javrian at the Komitas Music College in Yerevan. Marianna completed her studies at the Musikhochschule Lübeck with Konrad Elser in 2007, with top grades. Mariannas artistic advisers in recent years have been  Elisabeth Leonskaya and Leif Ove Andsnes.

Calendar

Marianna Shirinyan's appearance world wide.

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Repertoire

Please note: this repertoire list is for reference only. The choice of repertoire for a particular project remains at the artist’s discretion.

Solo pieces

Alban Berg

Piano Sonata, Op. 1

Arnold Schönberg

3 Klavierstucke, Op. 11

Klavierstucke, Op. 33a/b

César Franck

Prelude, Choral et Fugue

Claude Debussy

Estampes

Images (Book 1)

Preludes

Dmitry Shostakovich

24 Preludes Op. 34

Felix Mendelssohn

Variations Serieuses,Op.54

Franz Liszt

Rhapsodie espagnole, S254/R90

Dante Sonata, S 161

Franz Schubert

4 Impromptus, Op. 90, D. 899

Piano Sonata No. 19 in C minor, D. 958

Piano Sonata No. 20 in A major, D. 959

Frédéric Chopin

Ballade No. 2 in F major, Op. 38

Ballade No. 3 in A flat major, Op. 47

Ballade No. 4 in F minor, Op. 52

Barcarolle in F Sharp Major, Op. 60

Berceuse in D flat major, Op. 57

Impromptu No. 4 in C sharp minor, Op. 66, "Fantaisie-impromptu"

Piano Sonata No. 3 in B minor, Op. 58

Polonaise No. 7 in A flat major, Op. 61, "Polonaise-fantasie"

Scherzo No. 1 in B minor, Op. 20

Scherzo No. 3 in C sharp minor, Op. 39

Johann Sebastian Bach

English Suite No. 2 in a minor, BWV 807

Italian Concerto in F Major, BWV 971

Partita in B minor BWV 825

Partita no. 2 in C - minor BWV 826

Preludium and Fuga in C Major BWV 870

Preludium and Fuga in C sharp Major BWV 848

Preludium and Fuga in c sharp minor BWV 849

Preludium and Fuga in e flat minor BWV 853

Johannes Brahms

6 Piano Pieces, Op. 118

Piano Pieces, Op. 119

Two Rhapsodies Op. 79

Ludwig van Beethoven

Piano Sonata No. 17 in d - minor Op. 31 No. 2 "Sturm Sonata"

Piano Sonata No. 21 in C major, Op. 53, "Waldstein"

Piano Sonata No. 30 in E major, Op. 109

Piano Sonata No. 31 in A flat major, Op. 110

Piano Sonata No. 32 in C minor, Op. 111

Piano Sonata No. 7 in D Major, Op. 10 No. 3

Maurice Ravel

Gaspard de la nuit

Sonatine

Valses nobles et sentimentales

Robert Schumann

Abegg Variations Op. 100

Arabeske in C major, Op. 18

Kinderszenen, Op. 15

Kreisleriana, Op. 16

Symphonische Etüden Op. 13

Sergei Rachmaninov

Variations on a Theme by Corelli, Op. 42

Sergej Prokofiev

Piano Sonata No. 3 in A minor, Op. 28

Piano Sonata No. 4 in C minor, Op. 29

Piano Sonata No. 7 in B flat major, Op. 83

Piano Sonata No. 2 in D minor, Op. 14

Concertos with orchestra

Edvard Grieg

Piano Concerto in A minor, Op. 16

Frédéric Chopin

Piano Concerto No. 1 in E minor, Op. 11

Piano Concerto No. 2 in F minor, Op. 21

Johannes Brahms

Piano Concerto No. 1 in D minor, Op. 15

Ludwig van Beethoven

Piano Concerto No. 3 in C minor, Op. 37

Piano Concerto No. 4 in G major, Op. 58

Robert Schumann

Piano Concerto in A minor, Op. 54

Sergei Rachmaninov

Piano Concerto no. 2 in C-minor, op. 18

Rhapsody on a Theme of Paganini, Op. 43

Sergej Prokofiev

Piano Concerto No. 3 in C major, Op. 26

Wolfgang Amadeus Mozart

Piano Concerto No. 12 in A - Major KV 414

Piano Concerto No. 20 in D minor, KV 466

Piano Concerto No. 21 in C Major, KV 467 "Elvira Madigan"

Piano Concerto No. 23 in A Major, KV 488

Review

One of Our Best Pianists

Berlingske

Mon, 2015-04-13

.."Marianna Shirinyan remains the main attraction of the evening. Grieg's lovely piano concerto from 1868 has rarely sounded more captivating. She has lived in Denmark for some ten years and has made her mark as one of the vest pianists overall. Her musicality is intense and passionate. Her technique is flawless and uniquely smooth.."

Unpretentious Grieg

Helsingborgs Dagblad

Fri, 2014-10-24

Long time ago I considered Edvard Grieg's piano concerto a mawkish and sentimental piece of no greater value. It didn't have enough drama and strong feelings and I thought that especially the dissonances were to few. With time, I have put these aesthetic glasses aside. Now, I can perceive the values of the piano concerto much better: it's natural beauty, the simple, but not banal, melodies and it's character which is like an emollient bath for the soul. And pianist Marianna Shirinyan elaborated these in the best thinkable way. Nothing pretentious, nothing dodgy was found in her performance. Her humility towards the inner essence of the music also showed in the encore, Percy Grainger's version of Gershwin's "The man I love". She softly unfolded the melody like a piece of beautifully patterned fabric. (...) By: Henrik Halvarson

W. A. Mozart: Piano Concerto no. 12 in A major, K.414 and Piano Concerto no. 23 in A major, K.488

Music-Web International

Sat, 2014-06-14

So a Steinway and a symphony orchestra; these then are unashamed ‘full-on’ performances with modern resources. That however is not to say they are insensitive or lacking in style, and I enjoyed the disc enormously. Shirinyan has a true feeling for Mozart’s music, and her playing is full of elegantly turned phrases and lyrical cantabile. She doesn’t apologise for her Steinway, and produces a tone which, though always beautiful, does reveal the resonant depths of tone available. Gwyn Parry-JOnes

http://www.musicweb-international.com/classrev/2014/Jun14/Mozart_PCs_9408.htm

Mainly Mozart

Fyens Stiftstidende

Sat, 2014-05-03

Marianna Shirinyan's farewell concert as Artist in Residence increased the melancholy in Mozart. Concerto no. 23, where even the worn second movement, misused by films, was with Marianna Shirinyan's unpretentious, lark light playing lifted out of the shadow of the cliché. The melancholy was increased by the thought of it being Marianna Shirinyan's last concert as Artist in Residence with Odense Symphony Orchestra. Marianna Shirinyan has been a delightful acquaintance - technically strong, expressive with a definite flair for telling stories with her playing. Lene Kryger

We Were Given a Feast

VLT

Tue, 2014-04-22

.."In addition we were given a pianist in world class with a fine orchestra. A real feast". "When Marianna Shirinyan, Armenian pianist performing worldwide, played Grieg's Piano Concerto, her interpretation was beyond the audience's ordinary references. Her playing was fiery but yet stringent and balanced with a lively lyrical expression. Grieg would have enjoyed and liked her interpretation". Birgit Ahlberg-Hyse

Exciting and Enthralling Premiere

Fyens Stiftstidende

Sat, 2013-11-02

Artist in Residence Marianna Shirinyan premiered Carsten Dahl's piano concerto together with Antonello Manacorda and Odense Symphony Orchestra, and there was tension from the start. Carsten Dahl is known as a jazz musician and one could clearly hear this in the first movement. The main theme was based on a folk song from Marianna Shirinyan's homeland Armenia, which was clearly heard through the changing rhythmical figures and harmonies. One could have wished for more space for the soloist in this concerto, as in the Ravel she played after the intermission. In the second movement there was ample possibility for Marianna to show what a wonderful interpreter she is and she played the piece with an intensity and empathy which enveloped the stage in a peculiar silence". Martin E. Seymour

One of the best Beethoven Firsts of the Digital Era

Fanfare

Mon, 2013-03-11

Marianna Shirinyan is a young Danish-Armenian pianist with a career in Europe. She is an engaging and thoughtful artist. Her tone is lovely and beautifully modulated, if not especially large. Shirinyan commands an excellent legato in passage work, while her articulation is febrile and vivid. She uses rubato with taste and good judgment. Above all, Shirinyan has a firm and thorough conception of the music she plays, something which cannot be taken for granted even from some famous pianists performing a Beethoven concerto. Unlike some young pianists who use their concerto debut album to display a glittering technique, Shirinyan employs hers to present musicianship purely at the service of the composer. This represents a welcome change from our celebrity-saturated musical culture, and I only can wish for Shirinyan more endeavors of the kind we have here. From the start of the Beethoven concerto, one is aware of the brilliant framework conductor Michael Francis provides the pianist. His accompaniment is crisp and passionate, with pungent contributions from the brass and timpani, and especially brilliant rhythmic articulation. With Shirinyans first entrance, we encounter the pianist as hero of this concerto, with bravura playing yet without pomposity or empty theatrics. Shirinyan plays truly Allegro con brio , with an almost combustible energy. Note that this is the same tempo marking as in the first movement of the Eroica Symphonyfor Shirinyan and Francis, both movements share nobility of utterance. Shirinyan has the ability to maintain tension even in the quietest moments. The cadenza possesses psychological depth, with character and refinement. In the Largo , Shirinyans playing is warm and unaffected. The interchanges between her and the first clarinet are particularly delectable. As presented here, the solo part seems a precursor of John Fields nocturnes, offering a proto-romantic subtext to a classical concerto. Shirinyans initial statement of the principal theme of the rondo has marvelous rhythmic lift and poise, in keeping with the Scherzando marking. She preserves this delicacy throughout the movement, without ever being fey. The coda is touching. This must be one of the best Beethoven Firsts of the digital era. Friedrich Kuhlaus concerto resembles Beethovens First in a number of ways. They are in the same key, their opening movements both have a catchy rhythmic figuration, their slow movements each open with the piano accompanied by stringsboth giving an important role to the first clarinetwhile the finales are both rondos opening with the solo piano. However, the content of these concertos differs hugely, with Kuhlaus resembling Hummels in style and substance. It is a well constructed work, pleasant and agreeable. From the lovely second theme of the opening tutti, one notes that we are not in the Olympian world of Beethoven. The piano part is highly revealing of the character of the performer, and Shirinyan plays it with elegance, repose, delicate shadings, and charm. She and conductor Rolf Gupta give the slow movement a diaphanous quality, with freedom in phrasing and a light footed warmth in texture. The piano part of the rondo, both virtuosic and gnomic, could have inspired Schuberts Moments Musicaux . Shirinyan gets everything out of this movement, without appearing to exert herself unduly. To make Kuhlaus concerto the discmate to standard repertory is a welcome change from usual record company practice. I found myself listening to the Kuhlau as often as to the Beethoven. The sound engineering in both concertos is excellent, clear, balanced, and unfussy. Of the classic recordings of the Beethoven, I like Rudolf Serkin with Eugene Ormandy and Sviatoslav Richter with Charles Munch. From the digital era there are notable performances by Lisa Smirnova and Lars Vogt, the latter using cadenzas composed by Glenn Gould. If you wish to explore Kuhlaus music further, Michael Schønwandt directs a fine recording of his overtures. I hope Marianna Shirinyan does not get lost in the shuffle of emerging young pianists. She is a distinguished artist who merits our attention. Her Beethoven and Kuhlau disc is a keeper. Dave Saemann

Masterful

Nordjyske Stiftstidende

Sat, 2013-01-19

Rachmaninov's Piano Concerto no. 3 is both dark and slavic in tone, here we have big and violent feelings in play, the late romantic heritage after Tchaikovsky. Marianna Shirinyan breathed life into the concerto, which relates with its wonderful dreaming feeling of poetic expression. That she in equally high measures masters the muscular pianistic in the highly dramatic expression, which the concerto also contains, was a delight to hear. Tore Mortensen

Strong Piano Fingers Maintain High Level

Politiken

Thu, 2012-12-20

Marianna Shirinyan has received a fan of prizes, both in Germany where she graduated with top marks from the academy in Lübeck and in Denmark where she is 'Artist in Residence' with the Odense Symphony Orchestra from the autumn of 2013. She has released two cd's which portray her as soloist with orchestra in piano concertos by Beethoven and Kuhlau, the other is a solo cd. The first is recorded with the Copenhagen Phil. Beethoven was Friedrich Kuhlau's great idol and he brought Beethoven's early concerto in C Major, no. 1 with him when German Kuhlau moved to Denmark to avoid military service. Enyone can by listening to this cd ensure himself that Beethoven's concerto certainly was a model for Kuhlau's own, which is in the same key and shares many other characteristics. Two conductors are leading the orchestra. Whether it is the fine flowing period inspired sound, Michael Francis brings forward in Beethoven or Rolf Gupta's efforts in Kuhlau, the recording is noticable for its drive. Marianna Shirinyan plays the solo parts with fine points and beautiful sound. In Kuhlau she draws the listener completely into the composer's world. The tritonus interval is the main theme in the solo cd where Shirinyan shows her abilities. The interval's falling character plays a role in Liszt, where the pianist with a steady hand establishes her calibre. First with the strongly articulated "Après un lecture de Dante" followed by the visionary piece "la lugubre gondola" with depth and understanding. Alban Berg's early piano sonata lasts only ten minutes, but stands tight, clear romantic and modernistically condenced. Shriinyan plays it with a whiff of sensuality which suits the wienerisch piece. Mozart's piano sonata in C Major KV 330 gets as much soul between the music lines as in the interview in the booklet, where the artist lets her thoughts go to Vladimir Horowitz, the romantic pianistic icon of all times, who played the sonata in his famous concert in Moscow in 1986. Mozart's three sonatamovements are mirrored in the intense folk music mirror of the Armenian composer Tigran Mansurian, who in three short pieces for the lower part of the piano presents virtuosity in sharp rhythmical sauce! The tritonus interval again shows its develish face, and one may think that "Il viaggio" is a strange title for this cd. With the choice of pieces and strong interpretations it holds a very high level. Thomas Michelsen

Poetic Pianist Soul

Politiken

Sat, 2012-06-09

"...Once again Marianna Shirinyan showed her impressive competence as pianist with a Danish orchestra. Not only one but two performances as soloist in one evening is in any case a giant undertaking, but the 34 year old virtuoso showed no weaknesses. The great span between Gershwin's enticing 'Rhapsody in Blue' and Rachamaninov's 'Paganini Variations' was taken care of with all possible insight and competence". "Marianna Shirinyan was the greatest highlight of the evening with lots of heart for the lazy blues in Gershwin and with irrestistible precision in the wonderful fabulations in Rachmaninov's variations". Henrik Friis

Daring

Potsdamer Neueste Nachrichten

Fri, 2012-02-03

"The applause grew to new heights when the Armenian pianist Marianna Shirinyan entered the podium. She had jumped in to replace a sick colleague at very short notice. She played the Beethoven Piano Concerto no. 4 impressively. Her performance shone of a mixture of poetic keyboard touch and passion. The orchestra was behind her body and soul, moving like a rippling wheat field with perfect contrasts between deep quiet and intensity. The pianist's crystal tone sparkled of clarity and dynamic touch. She hammered exclamation marks, blossoming colourful trills and lovedthe furious runs. As an Orpheus Marianna also conquered the furies at the gates of hell, celebrating the victory over the dark powers. The orchestra and conductor were with her on the same wavelength. She thanked for the ovations by playing Franz Liszt: Le Peregrines".

Deep Respect and Cheers

Fyens Stiftstidende

Sat, 2011-09-10

Beethoven's first piano concerto is uncomplicated to approach, close to Mozart in tradition but yet it has its own character both in length (nearly 40 minutes) and in the surprising themes. Marianna Shirinyan chose to play the longest cadenza in the first movement, which is almost a sonata in itself, a microcosm of the whole concerto with passion, humour and playful elegance. This is precisely how she played the whole piece. And with wonderfully elevated serenity, listening to the details in the orchestra, for which Simon Gaudenz has a fantastic understanding.

Highlight of the Concert

Jyllandsposten

Fri, 2009-10-30

The young Armenian pianist, who has delighted the audiences in West Jutland, was soloist in Rachmaninov's Paganini Variations. It is a devilishly difficult piece. Marianna Shirinyan played very clearly both regarding sound and precision.

Virtuoso

Berlingske Tidende

Fri, 2009-10-02

Marianna Shirinyan comes from Armenia and hopefully she will stay in Denmark for the rest of her life. We know that she is extremely versatile, but that she is a great virtuoso came as a surprise. Not only is she on top of Rachmaninov's music, not only does she play the romantic passages infinitely clear, not only does she sparkle like fireworks, but she owns the most important thing of all: the understanding of music down to the smallest detail. Call it musicality.

Show Piece

Politiken

Fri, 2009-10-02

Marianna Shirinyan played a focused, well shaped performance of Rachmaninov's show piece Rhapsody over a theme by Paganini. She displayed technique and a poetic disposition which few of her colleagues in this country master. That she played another of Rachmaninov's terribly difficult concertos when she received the Danish Music Critics' Award only a couple of months ago say a lot about her calibre. Shirinyan had no scruples regarding living out her ideas. No matter how neckbreaking were the passages, the Armenian born pianist could concentrate on shaping an inviting expression and not only hit the right keys.

Expressive Playing

Siegener Zeitung

Sat, 2009-05-09

This evening Marianna Shirinyan could have played whatever she wished - the audience would have loved her anyway. In the fast movements the Armenian born pianist with the excellent technique delighted with wonderful virtuoso runs where every note was clear - where nothing was left wanting. And in the famous Andante her playing was pleasing with a clear interpretation underlining the structure in the piece. Not only did the soloist and Philharmonie Südwestfalen under the baton of Russell Harriss harmonise beautifully. It was a performance which triggered emotions, clearly to be seen and heard in the deeply emotional performance of the pianist.

A Special Musical Experience

Westfalenpost

Sat, 2009-05-09

Together with the Philharmonie Südwestfalen, lead by Russell Harris the young pianist gave the audience a musical experience of a very special kind. It was hardly believable how this young pianist with her unbelievable dexterity could make the piano sound. She is an artist who obviously merges completely with the music. It was an undescibable music and sound experience. She played Rachmaninov for an encore.

Bewitching Pianist

Dagbladet

Thu, 2008-09-18

From the first note the entire audience held its breath - not from fear but from the intensity in expression. In Bach's Partita in C minor nothing was coincidental. Every phrase was shaped most beautifully with ornaments and exquisite touch. The modern piano's possibilities were all used to the limit, but with suitable moderation. It is difficult to remember when one last heard more beautiful Bach-playing. In Debussy's Image I everything was transparant and logical and above all dominated by an admirable virtuosity.

Storms of Passion

Mainpost und Volksblatt

Sat, 2008-02-02

The young Armenian pianist Marianna Shirinyan proved herself with a masterful performance of Brahms Concerto no.1. With an unbelievable commitment and elastic technique, she played the lovely concerto by the local composer Herman Zilcher. Shirinyan mastered the sensitive transformations in Brahms and also showed tremendous power and strength in the big passages. In Zilcher the lightness bubbled, and several surprises and entertained the audience and she displayed numerous small treasures in the music. Klaus Linsenmeyer

Burghofspiele - Chopin Soirée

Wiesbadener Kurier

Fri, 2014-08-22

..."surging and filled with melancholy, Marianna Shirinyan began her recital with the Ballade No. 3 in A flat Major op. 47. With a precise use of the pedal Shirinyan carved out the outline of the music. Secretive but not without edge and occasionally through wafts of mist, she played the Ballade no. 4 in F minor op. 52. In spring Lang Lang played this piece in der Alten Oper in Frankfurt. He is a great pianist. His thundering and banging interpretation of the Ballad seemed compared with Shirinyan's rugged and chasing effects. The Armenian also has a technique which enables her to play with full throttle, but in addition she has kept her individuality without forced originality. Chopin composed Piano sonata no. 3 in B minor op. 58 in 1844. Light and shadow dominate the Allegro Maestoso. Marianna Shirinyan played the second movement with humour nad playfulness. The pianist showed in this sonata that she knows how to unite bold power and noble withdrawal. Marianna Shirinyan is of course obliged to observe the romantic style of interpretaton in Chopin, but there is also a considerable measure of impressionism in her playing. Both Liszt and Ravel sensed a world which later was developed by Debussy and Ravel. This is particularly apparent in Nocturne op. 9 no. 1 in B minor. Shirinyan's interpretation was drunk with night, quiet and slowly breathing with occasional lights blinking through the from the hazy atmosphere. The pianist let the Mazurka op. 68 no. 2 in A minor force a gentle reaction from the audience. She played the Etudes with high virtuosity. The applause which broke out between the pieces she received respectfully but not for long. The ending Andante Spianato op.22 awoke associations with waterfountains. Marianna Shirinyan was celebrated with enthusiastic cheering. After yet another mazurka by Chopin she bade farewell with a fiery musical greeting from her Armenian homeland.

Discography