Vera Razumovskaya, piano
01. Chopin - Polonaise in F-sharp Minor, Op. 44
02. Chopin - Scherzo No.2 in b flat minor,Op.21
03. Chopin - Impromptu No.3 G flat Major Op. 51
04. Chopin - Mazurka Op. 41 n. 2 - E Minor
05. Chopin - Nocturne Op. 62 n. 2 - E Major
06. Chopin - Mazurka Op. 50 n. 2 - A Flat Major
07. Chopin - Nocturne Op. 15 n. 2 - F Sharp Major
Vera Razumovskaya, piano
Record live from the Small Hall of Leningrad Philharmonic, 24.03.1959.
Radio Petersburg
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Razumovskaya Vera Haritonovna (22. IX 1904 - 17. VI, 1967)
The new generations of music lovers are not so well-known name of the Leningrad pianist. It's not only that the post-war period, it is relatively rarely appeared on the concert stage. And in 1930 she found herself in the shadow of his brilliant triumphs of his colleagues, though, and won second prize at the First All-Union competition. In many respects, this situation has been clearly linked to some of the qualities of her character. In any case, the musicologist N. Tyulin who knew the artist, said: "Modesty Razumovskaya beyond description, certainly prevented it to take in the life of a great place, although she really deserved it. She was completely characterized by the ability to defend their personal interests And ... it is by no means a lack of will - on the contrary, strong-willed determination and features very definitely had an effect in the region where the pianist has found his calling. Just the world of practical interests of life and self-assertion it does not comply with its artistically minded nature - it was not her the world. "
Meanwhile, performing its merits, no one in doubt. Concerts pianist with the same success took place in Leningrad and other cities. She then won the friendly assessment review of Shostakovich, who wrote in 1938: "Her game has made a very strong impression. Razumovskaya high inherent musicality, the sound of great beauty, a significant range of ownership tool - from the finest piano to the sonorous and expressive forte, great technique . whole rich arsenal Razumovskaya is it the most honorable purpose performer, namely, deep penetration into the design of the composer and bringing it to the listener ... Razumovskaya game - it works. "
How to Study and teaching activities Razumovskaya associated with two conservatories. For a long time, she was a pupil of H. Neuhaus and his class in 1922, graduated from the Kiev Conservatory, where he taught until 1924. And then Razumovskaya moved to Leningrad, where he became a student again, this time in the class L. Nikolaev, and in 1931 received the second conservatory diploma (in 1933 she taught at the Leningrad Conservatory, and in 1946 she was awarded the title professor).
Maybe a combination of two quite different schools and has identified the creative originality of the pianist's handwriting? Speaking about the impact Neuhaus on her art, and A. Alshvang emphasized that "it is unusually quick to perceived core life" nerve "of the game of his teacher: immediacy, the construction of large organic forms, a complete musical artlessness pronunciation - speech intonation in the game! - in short, the art of connecting a wide scope and broad objectives with perfect naivete momentum ... " And then: "By their individuality Razumovskaya not one of natures natural. Its a game that is alien to dry, boring, pedantic, full of artistic rigor." And Professor Kogan subtly caught it, "related" moments of artistic style pianist: "... the possession of Razumovskaya phrase and sound - at an extremely high degree of perfection. Noble expressiveness and delicate taste combined with her fluency and chased pulsating vitality of performance, beating key from the purest spring musical. "
As already mentioned, in the postwar period Razumovskaya performed rarely. However, the Leningrad listeners long remembered in its interpretation of works by Bach and Beethoven, Schubert and Chopin, Liszt and Schumann, Brahms and Scriabin ... In conclusion, once the word N. Tyulina characterizing Razumovskaya game already in the later years: "Art has found it even more peculiar when the maturity of the fine pianist and charming attention to detail, it has become even more dynamic, holistic and monumental in the coverage of large musical forms ...
Surprisingly rich was its colorful palette of sounds, - from the muted tones of velvet low register to the sparkling "pearl" passages. Razumovskaya owned special cantilena, which depends not only on the cantabile sound, but mainly from the finest agogics. "
, P. the book: Grigoryev L. Platek J. "Modern pianists." Moscow, "Soviet composer", 1990
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