"The Bulgarian Marta Deyanova, previously heard on Nimbus in Scriabin and Shostakovich Preludes, impresses with an extraordinary, all-encompassing technique."
Igor Kipnis, Stereophile
On the whole this is a very enjoyable set of performances of Rachmaninov Preludes. Hackneyed pieces create special problems for interpreters, none more so than the initial Prelude in C sharp minor Op. 3 No. 2. But Miss Deyanova makes it sound quite fresh and, unlike many players, resists the strong temptation to increase the tempo on the last page. Opus 23 No. 1 in F sharp minor and No. 6 in E flat major sound beautifully spontaneous in effect, like improvisations. The D minor Prelude Op. 23 No. 3, marked Tempo di Minuetto, is taken too quickly, but the nocturnal Op. 23 No. 4 in D major is quite lovely.
Miss Deyanova has plenty of technique, as the Preludes in B flat major and C minor Op. 23 Nos. 2 and 7 demonstrate. And she also produces a finely cultivated tone, as in the outer sections of Op. 32 No. 10 in B major or in the most songful of this later set, No. 5 in G major and No. 12 in G sharp minor. Much is made, also, of the G flat major, the last Prelude of the Op. 23 group, a slow, two-page little work that tends to be treated as a fairly perfunctory postscript.
I admire, too, the finely graduated way the transitions are managed in the G minor Prelude Op. 23 No. 5, from the opening section’s ceremonial intensity to the lyricism of its central Poco pia mosso and back again. All these performances are excellently recorded, the piano having a perfectly natural sound.