Revol Bunin, Viola Concerto (1954) First mvt.
Вставка
- Опубліковано 17 січ 2017
- John Root- piano
Netanel Pollak- viola
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Revol Samoilovich Bunin (originally Shor), was born in Moscow, and lived there for most of his life. His father was a Communist activist, and named his son “Revol”, after the 1917 October Revolution. He started his composition training at the Moscow Conservatory very early, in 1938, but had to serve in the army during the war (1941-2). In 1943 he returned to the Conservatory and became one of Shostakovich’s first students, and later his assistant at the Leningrad Conservatory.
Bunin was a master of compositional technique: proportion, development of motives, orchestration, instrumentalism, variety of styles. His output includes 10 symphonies, concerti for many instruments (violin, viola, piano, organ), 2 operas, chamber music (quartets, trios, instrumental sonatas), piano music, and more than 50 film scores. During his lifetime he was highly appreciated by his colleagues, and was well accepted by the wide audiences. However, as many other composers, he has struggled with the Soviet cultural authorities, and was became forgotten after his death.
There are several possible reasons for the negative treatment Bunin has suffered from: He never joined the Communist Party (probably as a protest against his father, who was unfaithful to his sick mother), and was a great supporter and follower of Shostakovich, during times when it was almost considered a crime. In addition, I assume that his Jewish background was also an obstacle during his career, as many Jewish artists (and Jews in general) were disliked by the Stalinists leaders.
The Viola Concerto was written in 1954, after Stalin’s death, and was dedicated to, performed and recorded by Rudolf Barshai, the most important Soviet (Jewish) violist before Bashmet. Its movemental structure follows the late Romantic concerto mold (fast-slow-fast). In deeper look, the usage of motives and ideas creates a sophisticated arch relationship between the movements.
The first movement starts with a slow introduction and emotional melody with some “Yiddish” moments, followed by fast exposition that uses Russian folk tunes, “Pioneer” Marches, and some 1920’s “Cafe Music”. The cadenza that also functions as a development section, is very intimate and painful, but leads to a happy recapitulation.
Hello! Thanks for this version. Is there a score available somewhere for the piano reduction? Best, Maxim
Oh my gosh this is amazing! this is the firts version i saw/hear aside the first recording!! hope you can upload the other movements too!
Great!!! :) ❤️❤️❤️
Thanks!
Very nice, and I really liked it from the solo part (8:20) onward. Beautiful.
11:57
Cool, nice to see you play this rare masterpiece, and very well, too. Do you play the second and third movements as well?
Thank you so much man! I do play the other movements as well, and will upload the recordings in the near future....
@@netanelpollak6762 Have you uploaded them yet?