Maxim Rysanov

“The performances are as formidably assured as the roster of musicians would suggest...If not revelatory, Tabakova's is still a thoughtful and approachable new voice which ought to secure an enthusiastic following.” Gramophone Magazine, June 2013

“They generate an intoxicating mix of heady passions in Schoenberg’s Verklärte Nacht, at the same time maintaining impressive clarity of texture and shaping what can seem a sprawling work. And in a fresh-sounding performance of Schubert’s late quintet, they bring a relish of its boldness as well as an ambiguous poignancy.” Sunday Times, 12th May 2013

“There's no trace here of starry individualism, but instead a real feeling of collegiate responsibility in the way that all the players constantly listen to each other and shade their own contributions accordingly. But, for my taste at least, it's much too strongly flavoured” The Guardian, 25th April 2013 ***

“All-star line-ups can be problematic in chamber music, but the depth of drama and colour in the stinging, swooning timbres identified by the Dutch violinist Janine Jansen and her friends...makes this Verklärte Nacht impressive.” The Independent, 20th April 2013 ****

“they bring silky skills and subtle touches to two great string pieces...The dapper phrasing and translucent textures are wonderfully calculated, but the emotions sound a little lightweight, and the Schubert needs a sense of profundity.” The Times, 20th April 2013 ***

“Arranging and unearthing are key words here...Hard though it might be to sum up this assortment in a simple category, it is chamber music playing of intimacy, range and flair.” The Observer, 5th August 2012

“the individuality and strength of idea that Beethoven brings to a classical format is dynamically vivified; the Clarinet Trio sounds thoroughly idiomatic in its viola manifestation; and Katsnelson and Blaumane give a sublime, sinewy performance of the Fifth Cello Sonata. A fascinating disc.” The Telegraph, 10th August 2012

“This is the kind of disc that could easily get overlooked, offering as it does a potpourri of mostly lesser-known Beethoven. But that would be a great shame, for it's packed full of delicious surprises, superbly played...there are plenty of opportunities to relish the beauty of Maxim Rysanov's sound in the upper reaches...The rip-roaring finale [of the Clarinet Trio] is particularly effective, dancing with wit and rhythmic elan.” Gramophone Magazine, Awards Issue 2012

“In the Clarinet Trio, Rysanov has adapted the violin part (itself Beethoven's own alternative for the perkier wind instrument) for viola. No harm in that, especially when the playing is as polished as this. But the lone masterpiece here is the Cello Sonata, Op. 102 No. 2, and Kristina Blaumane and Jacob Katsnelson really plumb the depths of its great Adagio.” BBC Music Magazine, November 2012 ****

“Rysanov makes the best possible case for hearing this version [of the Arpeggione], delivering a wonderfully poetic account of the solo part with subtle and sensitive accompaniment from the Swedish Chamber Orchestra...Rysanov's dazzilng performance [of the Rococos] makes us believe that the work was tailor-made for his instrument.” BBC Music Magazine, December 2011 *****

“His playing has his instrument sounding impressively like a cello, although some of the viola's capacity for subtle light and shade has been ironed out in this relentless quest for powerful tone. Max Bruch's Romance (a rare viola original) brings out a likeable, gentler streak in Rysanov's artistry.” Classic FM Magazine, November 2011 ****

“Needless to say, Rysanov plays with consummate artistry and stylish aplomb throughout. I can also confirm that he benefits from razor-sharp yet always warmly affectionate backing from an eager Swedish CO under the excellent Muhai Tang.” Gramophone Magazine, December 2011

“Maxim Rysanov's version of the Tchaikovsky Rococo variations for cello is one of the most successful steals, not tampering with the orchestral score but simply shifting the solo part, sometimes up an octave to give its virtuosic writing brilliance and allure. Rysanov's viola sound is warm, lyrical but with an edge to it that suits Schubert's "Arpeggione" sonata” The Observer, 7th August 2011

“Max Bruch’s meltingly beautiful Romance makes for a serene envoi to this delectable disc...[Rysanov] makes [the Rococo's] viola transformation sound thoroughly idiomatic. His burgundy timbre brings lustre to the music; his transpositions of passages into higher registers capitalise on the viola’s own spectrum of sonority, and his agility and subtlety are a marvel.” The Telegraph, 11th August 2011 *****

“Rysanov eschews both puritan authenticity and inappropriate Romantic emoting. His phrasing pays due acknowledgement to the suites' dance roots.” BBC Music Magazine, October 2010 *****

“Rysanov really claims the music for his lush-toned 1780 Guadagnini viola in a manner that few can rival...He gives a spring to the dance rhythms that sounds spontaneous, irresistibly so...No admirer of great viola playing should forgo the pleasures of Rysanov’s playing.” Sunday Times, 22nd August 2010 ****

“Hymns and Prayers combines three works from disparate eras whose moods fit together in a pleasingly astringent manner...The modern pieces are separated by César Franck's "Piano Quintet in F-minor", the lachrymose tone of which works surprisingly well in the context.” The Independent, 27th August 2010 ****

“Buniatishivili delivers a bravura performance of the first movement's powerful arpeggios and octaves, and the finale is strongly characterised, the almost modernistic sul ponticello tremolando strings creating a real sense of forward momentum” BBC Music Magazine, November 2010 ***/****

“Two recent pieces by post-Soviet east Europeans...frame a febrile, sinewy account of César Franck's Piano Quintet, in which Kremer is joined by the pianist Khatia Buniatishvili and a group including the outstanding viola player Maxim Rysanov.” The Guardian, 4th November 2010 **

“No one could accuse Gidon Kremer of taking the easy option when it comes to programming, and so it proves on this disc...this new account [of the Franck], lucidly recorded, is one to reckon with - heard in context or isolation.” Gramophone Magazine, December 2010

“In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phrased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour in the finale. Rysanoc and Jacob Katsnelson are also more effective with the Second Sonata, especially in the agreeably conversational manner they adopt in the final variations, as when the melodic line flows seamlessly between them in the grazioso section.” Gramophone Magazine, January 2009

“…I found Rysanov's performances of both Sonatas compelling, vivid and packed with moments of great musical insight. The two trio performances are also extremely enjoyable…” BBC Music Magazine, January 2009 ****

“Brahms was the first to admit that he hadn't entirely solved the new problems of balance in the works that replace the clarinet with a viola (the clarinet sonatas and the Op 114 Trio). With recording, of course, some help can be given.
The viola is well forward in the performances by Rysanov, and this suits the music's extrovert, eloquent manner. In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phrased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour in the finale. In the Op 114 Trio, the outside movements benefit from the vivid sense of melodic direction provided by Rysanov and Katsnelson.
The G major Violin Sonata was also written for Joachim, and arranged for viola not by Brahms but by his publisher Simrock's editor Paul Klengel. Transposing it from G down a fourth to D to accommodate the viola loses the music something of its elegance, but this is a persuasive performance. Persuasiveness is also needed in Op 40, which began life as the Horn Trio. Not all the cheerful vigour that Rysanov and Apekisheva provide can make the finale seem anything but a piece of hunting exuberance, but they do splendidly with the Scherzo and the Adagio mesto.” Gramophone Classical Music Guide, 2010

“In a performance of BWV 1004 so vividly alive, the wary can relax. ..the great Chaconne is both purposefully plotted and breathtakingly executed - listen to the inexorably screwing-up of the tension as the music builds to the central D major section.” BBC Music Magazine, January 2008 ****

“Both sets of Inventions receive exceptional performances, bursting with spirit and imagination. …[in the Partita] … Janine Jansen's…playing is remarkable for its sense of continuity and feeling for the long line. Her Corrente and Giga have a joyful élan...” Gramophone Magazine, Janurary 2008

“Maxim Rysanov's viola has an inward, lamenting quality that Yuri Bashmet's more conventionally projected manner misses. And it feels as though the chorus and orchestra (from Latvia's third city) are living and breathing every note… Crucially, the acoustic of Riga's Dome Cathedral has a rich resonance, wonderfully captured. The texts of Styx consist of a succession of names ad words, all of profound and intimate significance to the composer. This performance made me really feel that significance. The extraordinary qualities of Latvian choral singing - fullness of tone, legato and intense stillness - have been often extolled. In The Myrrh-Bearer there is the added advantage of the kind of basso profundo richness that I would imagine Taverner can only rarely have found in the UK.” Gramophone Magazine, November 2007

“Rysanov yields little to Bashmet in terms of intensity of expression and the capacity to sustain an atmospheric melodic line.” BBC Music Magazine, October 2007 ****

“Maxim Rysanov's viola has an inward, lamenting quality. And it feels as though the chorus and orchestra (from Latvia's third city) are living and breathing every note. Crucially, the acoustic of Riga's Dome Cathedral has a rich resonance, wonderfully captured. The sound stage is as wide and deep as the music demands. Expressive extremes register as more abrupt, more startling and more challenging – harder-edged in their ecstasy. The music first transfixes, then scalds, and when consolation intervenes it feels multifaceted and somehow palpably wise. The texts of Styx consist of a succession of names and words, all of profound and intimate significance to the composer. This performance makes one really feel that significance.
The extraordinary qualities of Latvian choral singing – fullness of tone, legato and intense stillness – have been often extolled. In The Myrrh-Bearer there is the added advantage of the kind of basso profundo richness that one would imagine Tavener can only rarely have found in the UK.
Whether his piece is perhaps a little too reliant on those subterranean tones, and whether the pairing with Kancheli reveals a slight thinness of invention, are suspicions that may either firm or fade with further acquaintance. In the meantime, all that seems important is to surrender to the urgency and fervour of another extraordinary performance.
In short, here is a disc to blow the mind of anyone already in tune with these composers, and possibly one that may even lead a few sceptics towards a Damascene conversion.” Gramophone Classical Music Guide, 2010