Hauschka and Mark E. Smith of The Fall Interview (Part 1 of 2) [Listen 30:56] – Finding meaning at the bottom of a Rift S04 Ep03
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Hauschka interview - Finding meaning at the bottom of a Rift
Special Guest: (Written) Mark E. Smith of the Fall (Part 1 of 1): is an irascible genius. It has been said that journalists might rather punch their way out of a brick wall than to interview the frontman of "The Fall", one of the most notable bands to come from the post-punk era. Always one to speak boldly, and never shy about demeaning whomever he feels deserving, (sometimes with violence) we actually seem to have gotten him on a good day. Below, he touches upon the importance of music, and his love of record producers.
Special Guests: (Audio) Hauschka (a.k.a. Volker Bertelmann) (Part 1 of 2): is a wonderful example of a musician bridging the gap between the vibrant but challenging sounds of modern classical music with a more traditional and conservative style of playing, keeping classical music moving forward but doing it without substituting beauty or taste. Hauschka started his musical education as a child studying classical music on piano, but stopped around 18 to study medicine and economics, only to be drawn into hip hop and electronic music a few years later. His music has shifted away from the straightforward hip hop and electronic sounds that we know in the clubs today to a more classical vein (ala John Cage with his interpretation of the prepared piano), using the piano as an experiment and adopting natural instruments but with electronic music in mind. Recently he teamed up with one of the biggest names in classical music, Hilary Hahn, to record Silfra. In the interview, we talk about his evolution as an artist, working with Hillary Hahn, the meaning behind Silfra and the process in making it, and we get into his other latest works and his remix album and wax philosophic on the concept of remixing.
The Fall (The 2013 Mark E. Smith interview)
GTV- The band's name was taken from Albert Camus' "The Fall" which is said by many to be Camus' most advanced and least understood book. (Sartre amongst them) Why did you take the title? Does the work and it's interpretation still influence the band after your more than 35 years in existence?
Mark E. Smith - WANTED TO CALL THE GROUP IN ITS NEMESIS "THE OUTSIDER", BUT IN THOSE DAYS FINALLY DISCOVERED THAT A LOT OF GROUPS WERE CALLED THAT SO I DECIDED ON "THE FALL" INSTEAD.
GTV- Your "existence" as a band has come in constantly shifting forms,with no member ever remaining throughout except yourself, to which you have stated to the effect that you are The Fall; that you, and any other fashion even if it were something like a monkey beating on cans and yourself would be "The Fall." We're not criticizing that, but would you say this is what has led to the band's high turnover rate, or is there another reason you could name as the primary issue?
Mark E. Smith - LIKE CAMUS, I WAS A VERY DISGRUNTLED GOALKEEPER.
GTV- Considering the heavy rotation of the band, aren't you worried about having your wife play keys?
Mark E. Smith - THE FACT IS THAT ELENI IS A SUPERB KEYBOARD PLAYER, THE FACT THAT SHE'S MY WIFE HAS NOTHING TO DO WITH IT.
GTV- You keep your artistic talents mostly to music, and rather prolifically. If not for music, what other form of art would you pursue?
Mark E. Smith - I AM NOT A MUSICIAN, I AM A WRITER.
GTV- Forming in 1976, and identified and shaped by the "Post-Punk" genre, you hammered out a style that is unique and immediately recognizable, your sound has, of course, taken different sounds and forms throughout the years, but always maintains a strong core, plus you maintain a consistent devoted following. What would you say that you provide to the music world that no one else can? Why does it still work when so many other Post-Punk bands can sound so dated?
Mark E. Smith - APPRECIATED THE QUESTION. THIS IS A QUESTION THAT I AM OFTEN ASKED, AS I DON'T LISTEN TO ANY OLD FALL MATERIAL I DON'T KNOW.
GTV- Being a more literate band than most, I assume you are familiar with Chuck Palahniuk's "Fight Club" (also made into a movie) which, partly, deals with a group eschewing society's constraints of a pacified and manipulated population, and acting on man's more primal (truer) nature. I see The Fall's music an artistic realization in this fashion, and thus it's lasting appeal. Not to flatter your ego, for which you are known, but would you agree?
Mark E. Smith - NO FILM IS AS GOOD AS THE BOOK.
GTV- Also you complain a lot about other bands, or, rather, you get press attention when you state a negative remark about another band or on music in general, and more than likely we'd be in agreement, but there has got to be something good to speak of on music.
Mark E. Smith - MUSIC IS, I THINK, A MUCH ABUSED FORM. IT IS TOO EASY FOR A LOT OF PEOPLE. WHEN YOU THINK OF STOCKHAUSEN,THE MONKS, ETC. YOU REALIZE IT IS NECESSARY TO CONTINUE.
GTV- Theoretically speaking, we have the potential to achieve immortality with the aid of nano-robots, would you go for injecting yourself with nano-robots for immortality? Assuming you would, what if the condition was that drinking alcohol would destroy the robots (and thus, your immortality?) What if the necessary condition was you had to be friends with Oasis (for eternity?)
Mark E. Smith - SINCE WHEN?
GTV- What is the title of The Fall's new album. What's the significance of the title?
Mark E. Smith - RE-MIT. WHICH MEANS I NEED A GLOVE WHEN I GO OUT.
GTV- Where did you look to for inspiration for this album?
Mark E. Smith - TRIED TO KEEP IT AS SHARP AND HARD AS POSSIBLE. YOU MUST REMEMBER THAT I HAVE TO DEAL WITH INDOLENT PRODUCERS.
GTV- What piece of work are you most proud of?
Mark E. Smith - RE-MIT, MAYBE HEX.
- FIN -
Francois Eckert interview (Part 2 of 2) [Listen 40:30 min]- Listening To Intelligent Music With Francois Eckert And His Girlfriend S03 Ep07
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S03 Ep07 (Part2 of 2) - Listening to Intellegent Music With Francois Eckert And His Girlfriend
Special Guests: (Audio) Francois Eckert (Artistic Director and Tonmeister) (Part 2 of 2): is a Tonmeister (a recording master) who is responsible for that title of the best sounding recording album in my collection or any of my friends' collections. A recording that not only has captured phenomenal music (the Arditti String Quartet playing a variety of 20thCentury composers), but a perfect recording that truly sounds as if the Arditti String Quartet is in your room giving a private performance. François Eckert has worked with all the greats in classical music with composers like Luciano Berio, Karlheinz Stockhausen, and György Ligeti, and conductors like Pierre Boulez, and Daniel Barenboim, and the list of talented people could go on and on.
In this podcast we talk about some of the difficulties recording specific instruments, recording Debussy, being nominated for a Grammy for his recording with Monica Haggott, his opinion on having the composer in the room when recording, and where 20th Century is today...and much much more
Find out more information HERE
Getting Technical with François Eckert
I was really curious about some of the equipment that someone of Francois Eskert’s station would use today in the studio. To my surprise, he sent me an email listing all the equipment and software that he uses with a brief description of it. It's so impressive that I thought it would make a great blog entry as well as a great read for audiophile fans and studio engineers.
Equipment :
- I use Pyramix as a recording and editing system, and Altiverb, Renovator (from Algorithmix) Flux (Alchemist, EQ) and Sonnox (Eq and Limiter) as plug ins. Preamp Ads are the wonderful DAD AX24 (Danish Audio Digital). I have bought recently a small digital recorder (6/2, but can be expanded) from us manufacturer Zaxcom called Nomad. Great stuff, no computer any more on site !
-Mikes : As main mikes, I use 2 very different sorts of mikes : DPA4006 (I have 2 4006A and 2 4006TL), and/or tlm 50s from Neumann, sometimes mk21 (schoeps) if the room is too reverberant for omni use. Spots and other mikes : Schoeps (mk21, mk8), neumann km140 (I love this mike as an all purpose spot mike).
St John's Passion with Portland Baroque Orchestra and Monica Huggett (Recording March 2011) :
- Well, first of all this piece is so great.... Just the entrance choir, some of the greatest. So I was extremely lucky when Monica asked me to record it. And when I was told that all the musicians would have a couple of days rehearsal, 3 concerts in Portland, then 6 days recording, and later on 2 concerts in Canada, that they would all be in Portland all the time, I thought : well, maybe there is something unusual and promising we could do. In fact, usually an oratorio or an opera is recorded like a movie film, in a lot of sequences :
- You put all choirs together, all recits, the Evangelist, the chorals, the arias, and record in order to keep costs down as much as possible. So you'll have the evangelist day, where he sings all he has, even when it's just 2 words then the choir day'(s), chorals, all the bars with choir the recit's day, etc...
All is recorded completely out of context, which makes it very difficult to record with musical feelings. (except for the arias who are not part of the "action", like I called it). So what did I suggest:
For the bits called by me "action", where the story is told, to have everyone on stage, and to record, as much as possible the "story" in order. So everyone would understand what it is about, and play and sing accordingly. And that's what we did, and that's one of the reasons why I think this recording sounds almost like live (a concert), but produced with the quality of a studio recording. And I love it... That's it !
All best,
françois
Andrea Bocelli and Francois Eckert interview (Part 1 of 2) [Listen 41:22 min]- Getting Real Music Lessons With Francois Eckert S03 Ep07
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S03 Ep07 (Part1 of 2) - Getting Real Music Lessons With Francois Eckert
Photo: DANIELE VENTURELLI/CONTOUR PHOTOS
Special Guest: (Written) Andrea Bocelli (Part 1 of 1): is an Italian tenor with outstanding talent and renown. He has sold over 80 Million records worldwide (making him the biggest-selling classical soloist of all time). He started his career off by winning Best Newcomer in the singing competition for the Sanremo Music Festival in 2004 and has gone on to win Grammys, Golden Globes, and was even nominated for an Academy Award. His musical style ranges a wide spectrum from opera to pop (singing with artists as diverse as Celine Dion, Mary J. Blige, and David Foster). Bocelli's Sacred Arias became the biggest-selling classical album by a solo artist of all time with over 20 million copies sold worldwide. I am undeniably honored to have been granted this interview with Bocelli, and this interview reveals his warm character and his generosity towards supporting the arts.
Special Guests: (Audio) Francois Eckert (Artistic Director and Tonmeister) (Part 1 of 2): is a Tonmeister (a recording master) who is responsible for that title of the best sounding recording album in my collection or any of my friends' collections. A recording that not only has captured phenomenal music (the Arditti String Quartet playing a variety of 20th Century composers), but a perfect recording that truly sounds as if the Arditti String Quartet is in your room giving a private performance. François Eckert has worked with all the greats in classical music with composers like Luciano Berio, Karlheinz Stockhausen, and György Ligeti, and conductors like Pierre Boulez, and Daniel Barenboim, and the list of talented people could go on and on.
In this podcast we talk about what a Tonmeister is, what his take is on the Vinyl verses Digital debate, some of the technical aspects of his career like mic placement and room acoustics, surround sound and much much more.
You can find out more about Mr Eckart and the record label La Dolce Volta - HERE
Andrea Bocelli Talks With Going Thru Vinyl
Going Thru Vinyl (GTV) - Italy, or more specifically the city of Florence (the capital of Tuscany), is undeniably the most historically important city in the world when it comes to opera. Not only was Florence the fertile soil for a cultural shift away from the sacred to the humanist thought (the birthplace of the Renaissance) but Florence is also the city that opera itself was invented.1
You grew up in the Tuscany region; what influence has Tuscany and its history had on you and your style. Did this prepare you later in life?
Andrea Bocelli - I don’t think Tuscany has influenced my career: it rather influenced my character, my mood, my sensitivity. Regarding the rest, I think everything was born with me, according to God’s plans.
GTV - Although you are one of the most recognized and respected opera singers today (having sung for prominent figures in society, headlined in the most historical opera houses, and having sold over 75 million albums around the world), you are in fact part of a long and profound history of opera singers. But history is too easily forgotten and people of the past are relegated to the shadows, can you say a word or two about some of the prominent singers of the past.
Giacomo Lauri-Volpi (December 11, 1892–March 17, 1979) – was a widely recorded and much celebrated Italian tenor who was a key member during the early days of recording. Although you did not work directly under him, you came from that school. One of Lauri-Volpi’s biggest admirers was Franco Corelli, and from Corelli you received private lessons. I’m wondering if Giacomo Lauri-Volpi came up in conversation and if his singing style has influenced yours.
Andrea Bocelli - Not really, but I always loved the great vibration of his voice and also the projection of it. Corelli used to say that his voice was one of the few that in theatre could reach the gallery…
GTV - Franco Corelli (8 April 1921 – 29 October 2003) – was a famous Italian tenor who was celebrated for his spinto tenor voice, for his movie-star good looks, and later in his career for his ability to teach. He was someone you took direct teaching lessons from. How would you describe his singing style and his influence in you?
Andrea Bocelli - I loved the great voices which I learned to recognize and distinguish very early on, but undoubtedly the voice of Franco Corelli was the one which struck and influenced me more than any other. I am almost sure that without Corelli there would never have been Bocelli.
GTV - Luciano Pavarotti (12 October 1935 – 6 September 2007) – probably the most famous tenor of the second half of the 20th century, and spearheaded opera’s contemporary success to a wider audience. Pavarotti was also a significant figure on the road to your success. What was your favorite role of his in opera?
Andrea Bocelli - Maestro Pavarotti deserves a special place in the history of the music of our time and to have worked alongside him has been an enormous and unforgettable privilege. The chance to work with important people such as those you mention, makes the life of an artist interesting and stimulating, which compensates for the hard graft with the constant travel and all the daily practice which a professional singer has to do to maintain peak efficiency.
FIN
1 Opera was said to have been invented in Florence (the capital of Tuscany) by Jacopo Peri (20 August 1561 – 12 August 1633) -a composer and singer who studied with Cristofano Malvezzi and was hired by the Medici family during transitional period in music (between Late-Renaissance and Early-Baroque periods). In 1590s, Peri became associated with Jacopo Corsi (a person who encouraged Peri and the poet Ottavio Rinuccini to experiment in both drama and music; using the frame work of the classical Greek tragedy). The first known standard composition to be considered opera, begun in 1594, was called “Dafne;” a story about Apollo falling in love with the nymph, Daphne. Today, only fragments of the opera survive.
The Vladimir Ashkenazy interview (Part 2 of 2) [Listen 25:25 min]- Going back to Kingsway Hall with Vladimir Ashkenazy S03 Ep06
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S03 Ep06 (Part2 of 2)- Going back to Kingsway Hall with Vladimir Ashkenazy
Special Guest: Vladimir Ashkenazy is a classical music icon. He started his professional career by winning second prize in the 1955 International Chopin Piano Completion in Warsaw, 1st prize in the 1956 Queen Elisabeth Music Competition in Belgium, and 1st prize in 1962 in the Tchaikovsky Competition in Moscow. He has gone on to establish himself as one of the greatest pianists of our time. In addition to his wonderful and large repertoire on piano, he was able to accomplish the rare and difficult tasks of establishing himself as a world renowned conductor, and for working with the world’s top orchestras.
In this episode, Vladimir Ashkenazy and I talk about his memory of the late great cellist, Jacqueline du Pre, recording for the great classical record label Decca, the best sounding hall he has ever played in, his love for Rachmaninoff, his famous record collection, his experience with transitioning from piano to conducting, and what it was like to going back to Russia after 26 years away.
Collecting Classical Music On Vinyl - The Russian Edition
Many of us have watched shows such as the Antique Road Show and Storage Wars. They are entertaining and “informative” and give one the impression that buying and flipping collectable objects is the easiest thing in the world to do. On these shows every attic, rented storage space, and box tucked away has at least something valuable and prized in today’s market. Although the truth of the matter is not as it seems on tv, valuable items do appear in places you least expect, and a keen eye will reward you. Antique collecting and record collecting share many of the same characteristics and many of the same principles. For this article, I thought I might combine a list of some of the top Russian composers and performers with some tips things to look for when starting your own classical record collection.
The goal of this is to start you off collecting the best 20th Century Russian classical music on vinyl the world has to offer. If you keep your eyes open and stay hungry, you will find at least some of these masterpieces of vinyl glory hidden within the stacks of records. Vinyl of this quality are not your run of the mill records, but are in fact objects that more closely can be understood as “Art Pieces” -the best quality sounding documents of exceptional playing; in some cases they have extreme value.
We will start off with some of the Russian composers, classical record labels and performers that you should know and keep your eyes open for. I picked out some common records and some less than common to start off. If you have any interest in this type of music, this may serve immeasurably to broaden your horizon. I hope you enjoy my picks.
The Great Russian Composers
Igor Stravinsky (1882–1971)
Possibly the most important composer of the 20th Century - he was responsible for developing neoclassical music during the 1920’s; a style that is still felt today. Though he studied under Rimsky-Korsakov within Russia, most of his most famous and influential pieces were written outside the Russia just before WWI.
Famous compositions include: The Rite of Spring, The Firebird and Petrushka
Recordings to look for: Luckily for us, Stravinsky was current enough to have been recorded conducting his own music. In my opinion, that is the place to start.
Record Collecting tip: being “old” and in good condition doesn't mean anything except that they are old and seem to have escaped injury.
Documentary:
Alexander Scriabin (1872–1915)
Partly due to the fact that he died so young, Scriabin’s work is not quite as well know as some of his other Russian counterparts. Don’t let that dissuade you from picking up his music; he had a short but very interesting life and equally interesting music based on a system that incorporates synesthesia, mysticism, and atonal tendencies.
Famous compositions include: The Poem of Ecstasy and his Piano Sonatas
Recordings to look for: The London Records ones are excellent, especially Poem of Fire with The London Symphony Orchestra and Vladimir Ashkenazy at the Piano. Pure bliss.
Record Collecting tip: Most record stores don't know or care about classical records to price them accordingly. That said going to a good Classical record store that knows what is good and know how to price records properly (i.e. have done all the hard work for you) is the best place to go for Classical records.
Documentary:
Sergei Rachmaninoff (1873 -1943)
He was considered one of the greatest pianists of his time and his compositions and facility with the piano reflect that greatness. His compositions are notably difficult to play but are equally considered some of the most beautiful pieces from the late-Romanticism era. Rachmaninoff left Russia with his wife, their two daughters, and only a few items after the 1917 Russian Revolution broke out. Never to return.
Famous compositions include: Symphonic Dances and his three Symphonies
Recordings to look for: London Symphony Orchestra conducted by Previn and The Philadelphia Orchestra conducted by Ormandy are excellent.
Record Collecting tip: certain labels are famous for very specific sub-genres like this record - the Melodiya label (a Russian label) are famous for Russian music and performers.
Documentary:
Dmitri Shostakovich (1906–1975)
The ultimate Russian composer of the 20th Century – he was a composer of epic proportions and a man who walk a fine line between the atonal rage that was exploding around the world (which would have gotten him arrested) and the romantic music of the past that might have left him irrelevant but very much alive. On a side note, the stories behind some of his compositions provide some fascinating reading as well; partly because he chose to stay in Russia.
Famous compositions include: His 15 String Quartets are fantastic and his 15 Symphonies are all excellent too. His 7th Symphony is his most famous.
Recordings to look for: For his Symphonic work all the New York Philharmonic Orchestra conducted by Leonard Bernstein of Columbia are held in high regard and are an excellent place to start.
Record Collecting tip: classical records aren’t necessarily more valuable than other records (in truth the opposite is more likely the case). Since classical records have been made since the advent of the record player and the artist doesn't receive royalties, there are a lot of classical records out in the market. That said, most of the valuable records on the market are classical.
Documentary:
Famous Russian Players
Mstislav Leopoldovich Rostropovich (1927 –2007)
Possibly the greatest cellist of all time; he changed the instrument and the way we see it more than anyone else in history. He inspired many composers and performed over 100 premieres of Dmitri Shostakovich, Sergei Prokofiev, Henri Dutilleux, Witold Lutoslawski, Olivier Messiaen, Norbert Moret, Alfred Schnittke, Andreas Makris, and especially Benjamin Britten. He was exiled from Russia while visiting London in 1968 after Russia invaded Czechoslovakia.
Record Collecting tip: like other antiques there are certain marks on a records that indicate whether it is an original pressing as well as the country of manufacturing affect the value of a record.
Documentary:
http://www.youtube.com/watch?v=60t0l5oi8iw
Sviatoslav Richter
Once again, easily one of the top pianists of the 20th Century - Sviatoslav Richter was famous of his extremely large repertoire and for nailing down many of the ultimate recordings within that repertoire - a virtuoso pianist that preferred the live recording to the studio and someone who took the composers intentions very seriously.
Record Collecting tip: some smaller (unknown) labels can be as good as, if not better than, some of the big name record labels.
Emil Grigoryevich Gilels (1916 – 1985)
Another giant within the piano world and an artist known for his amazing tone and technique, Giles was admired and praised so much in Russia that he became one of the first Soviet soloists that was allowed to travel to the west to compete. His 1955 Tchaikovsky Piano Concerto No.1 with Eugine Ormandy and the Philadelphia Orchestra at the International Tchaikovsky Competition during the height of the Soviet occupation is historically significant. Other recordings with this configuration are some of the best committed to vinyl and worth searching for.
Record Collecting tip: the performer and performance is more important than the composition itself. To clarify, just because you have a Rachmaninoff Piano Concerto No.3 in D minor does not mean that you have the highly respected and well performed Emil Giles version of Rachmaninoff Piano Concerto No.3 in D minor. A distinction that many new people to classical music fail to pay attention to.
David and Igor Oistrakh
David Oistrakh is a violin virtuoso giant who was very active during WWII. He became good friends with Dmitri Shostakovich and Sergei Prokofiev and was a major influence on both composers. He taught many other great violinists like his son Igor Oistrakh, Oleg Kagan, and Gidon Kremer as well.
Record Collecting tip: expensive classical records aren't necessarily better than the inexpensive ones (in sound, performance, or quality.)
Parting Thoughts:
Here is a press release from Clash/Public Image Ltd. founding member, Keith Levene. We're pleased to have him as a guest
The Vladimir Ashkenazy interview (Part1 of 2) [Listen 24:27 min]- playing Bartok Piano Concerto No2 in G major S03 Ep06
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S03 Ep06 (Part1 of 2)- playing Bartok Piano Concerto No2 in G major
Special Guest: Vladimir Ashkenazy is a classical music icon. He started his professional career by winning second prize in the 1955 International Chopin Piano Completion in Warsaw, and first prize in 1956 in The Queen Elisabeth Music Competition in Belgium and 1st prize in 1962 in Tchaikovsky Competition in Moscow. He has gone on to establish himself as one of the greatest pianists of our time. In addition to his wonderful and large repertoire on piano, he was able to accomplish the rare and difficult task of establishing himself as a world renowned conductor, and working for the world’s top orchestras.
In this episode, Mr. Ashkenazy and I talk about his childhood schooling in Russia, his thoughts on Russia itself, and the talent that came from the nation during the Stalin era. He also describes the impact of hearing the Boston Symphony Orchestra for the first time, how he met the piano virtuoso, Sviatoslav Richer, and what it's like to play with Itzhak Perlman.
The Cultural Bread Basket
There are certain cultural moments in history where the collection of a few talented people within a specific geographic area shape and transform the entire world. We rely on these `happenings` to grow in our development, help us to better understand the world, and ultimately, to grow as a species. No one really knows where, when, or why these concentrated splashes of genius happen, or what conditions are needed for these moments to take place. But the fact of the matter is that they do happen, whether that be in Florence, Italy during the Renaissance, or ancient Greece during the golden age, and they will continue to happen as long as free thinking human beings walk the earth. Without question, Russia could have had one of the biggest (if not the biggest) cultural movements during the late 19th to early 20th century had history been kinder. The talent that came from that place in the arts, literature, and science became the who’s who in their respective fields and leaves the mind spinning with what could have been had their talent been unfettered.
Sadly, instead of these extraordinary groups of people acting as a magnet to bring together other talented and like-minded people from around the world, revolutions, revolts, World War I, and severe oppression by Joseph Stalin made these people run for the border or simply get overshadowed by the events of their time. In the classical music world of this era, the amount of musical genius raised within Russian borders was untouched and cannot be overstated. Regrettably, most of these artists ended up leaving their cultural fingerprint on the countries they fled to instead. Put another way, history books could have been written about these times as "the Russian Period of enlightenment," but instead I can only speculate about what could have been.
To bolster my point (speaking of the great musicians of the era), I thought I would list some of these exceptional individuals. Starting off at the end of the 19th Century there was composers like: Mikhail Glinka (1804–1857), “The Mighty Five” consisting of -Balakirev (1837–1910) , Rimsky-Korsakov (1844–1908), Mussorgsky (1839–81), Borodin (1833–87) and César Cui (1835–1918) and Peter Ilyich Tchaikovsky (1840–93).
This carried on through the beginning of the 20th Century with other giants of composition like Igor Stravinsky (1882–1971), Sergei Rachmaninoff (1873 -1943), Alexander Scriabin (1872–1915), Sergei Prokofiev (1891–1953) and Dmitri Shostakovich (1906–1975) as well as world famous performers like Vladimir Ashkenazy (1937-Present), Sviatoslav Richter (1915 – 1997), David Oistrakh (1908 – 1974), Igor Oistrakh (1931 - Present), Emil Grigoryevich Gilels (1916 – 1985), Vladimir Horowitz (1903 –1989) and Mstislav Leopoldovich Rostropovich (1927 –2007).
As a westerner growing up in North America, it’s hard for me to comment about people like Shostakovich, Rostropovich or Rachmaninoff with regard to their feelings on their native country. If I had to guess, I would say that their thoughts on these subjects would be complex, confusing, and probably contradictory at times.
I do see some common themes that run through all these great men and women's work, regardless of whether they left the country or not. The first would be that they always seemed to gather a large reaction be it with Shostakovich’s famous Symphony No.7 “Leningrad” written within the Soviet's walls dealing with Nazi oppression at the height of World War II. This piece is so powerful and filled with emotion that people during those days were said to have wept openly upon hearing it; or Stravinsky’s “The Rite of Spring,” written in Switzerland. It caused such a reaction on its premiere in Paris that a riot broke out. The other traits that all these musicians had would be their passion, intensity, skill, and deep love for their mother Russia.
-Jason Hoffer
