Kogan studied with Yampolsky in Moscow, and Oistrakh with Stolyarsky in Odessa. It’s interesting that Eduard Grach, who studied with both Stolyarsky in Odessa and later with Yampolsky in Moscow, had a right-hand technique very similar to Oistrakh’s. Grach mentioned that Yampolsky didn’t change anything in his right-hand technique. Perhaps Kogan and Oistrakh’s physical builds played a role in their bow techniques, as they are very differently built. Additionally, their different temperaments and tonal perseptions could also contribute to the differences in their bow-arm techniques.
@@vladimirdyo7301 Thank you very much! I have the impression that there were two main schools of soviet bowing technique: Stolyarsky and Yampolsky. Philip Hischhorn, for example, seems to have a similar approach to Kogan in that respect.
@@leonardobastos1945My teacher Philippe hirshhorn was from the old Leningrad school .his teacher was Michael waiman .it has direct connection from polyakin and Auer s Saint Petersburg old Russian school
@@leonardobastos1945 It’s more than just Stolyarsky and Yampolsky. We need to go all the way back to Vieuxtemps, who visited Saint Petersburg for performing and teaching. Then, the two Rubinstein brothers opened two conservatories: Anton in Saint Petersburg (who invited Wieniawski to teach there) and Nikolai in Moscow (Czechs Hrimaly and Laub were teaching there at that time) Later, there was Stolyarsky in Odessa and Auer in Saint Petersburg, and then Yampolsky and other prominent figures including Mostras, Zeitlin etc were teaching there…
Because the original version is half-tone higher, as if it was written in C# major instead of C major. Many archival video footage have issues with the pitch.
Here is what Kogan actually said: “Tchaikovsky, Valse-Scherzo. As I mentioned earlier, I have been playing this piece since childhood. In my youth, I emphasized the valse more than the scherzo, which is understandable-it’s always easier to play dance-like music at that age. The scherzo aspect came with time, much later. I believe it eventually arrived; I was, in any case, striving towards it.”
Hmm, not particularly lovely playing for a lovely piece of music. Very clean and powerful, but rather loveless. I often feel that artists in Soviet era seem to be attacking the music. Kogan was more musical when he was younger, his 'attacking' style started later on.
Well, it’s rather Moscow/Soviet style, Mayakovsky’s poetry reflects its spirit well. The styles of Leningrad and Odessa were different, but Moscow was dominating. If you wanted to develop a career, you had to go to Moscow. Poliakin was perhaps among the last “lovely” performers of the old school. The Soviets detested the so-called “salon” style of Kreisler or Auer, considering it a reflection of the bourgeoisie, whom they fought against. Soviet musicians developed a grand style and had to win competitions, with Kogan embodying this new style. The Soviet party saw the arts as a powerful propaganda tool and an antidote to the West. Oistrakh was one of the few artists, perhaps the only violinist, who managed to find the balance by developing the grand style without losing subtlety.
@@vladimirdyo7301 very interesting, thanks for the explanation. I also found this performance a bit harsh and driven, although I am a huge admirer of Kogan's musicianship and technique.
@@nickyork8901 Kogan’s performance style is suited for large concert halls, which might be why it sounds a bit rough near the mic. However, to me, he sounds powerful yet elegant compared to other recordings. Perlman mentioned Heifetz’s rough sound in recordings, noting that in the concert hall, one heard none of it but a beautiful, luscious tone.
Hi, I would say Leonid Kogan plays Tchaikovsky with "Paganini sound", with focus on jewelry virtuosity rather than musicality and melodiousness... Yep, this happenes sometimes, and I would agree David Oistrakh is the most preferred performer of Tchaikovsky...
A free PDF download of the soviet edition of the Valse-Scherzo is available here: vladimirdyo.gumroad.com/l/valse-scherzo
Kogan had very emphatic and clean articulation. Always in tune too. A magnificent artist he was.
Genius !!!
Was Kogan from a different violin school in relation to Oistrakh's?? He seems to have a considerable distinct bow technique...
Kogan studied with Yampolsky in Moscow, and Oistrakh with Stolyarsky in Odessa. It’s interesting that Eduard Grach, who studied with both Stolyarsky in Odessa and later with Yampolsky in Moscow, had a right-hand technique very similar to Oistrakh’s. Grach mentioned that Yampolsky didn’t change anything in his right-hand technique. Perhaps Kogan and Oistrakh’s physical builds played a role in their bow techniques, as they are very differently built. Additionally, their different temperaments and tonal perseptions could also contribute to the differences in their bow-arm techniques.
@@vladimirdyo7301 Thank you very much! I have the impression that there were two main schools of soviet bowing technique: Stolyarsky and Yampolsky. Philip Hischhorn, for example, seems to have a similar approach to Kogan in that respect.
@@leonardobastos1945My teacher Philippe hirshhorn was from the old Leningrad school .his teacher was Michael waiman .it has direct connection from polyakin and Auer s Saint Petersburg old Russian school
@@leonardobastos1945 It’s more than just Stolyarsky and Yampolsky. We need to go all the way back to Vieuxtemps, who visited Saint Petersburg for performing and teaching. Then, the two Rubinstein brothers opened two conservatories: Anton in Saint Petersburg (who invited Wieniawski to teach there) and Nikolai in Moscow (Czechs Hrimaly and Laub were teaching there at that time) Later, there was Stolyarsky in Odessa and Auer in Saint Petersburg, and then Yampolsky and other prominent figures including Mostras, Zeitlin etc were teaching there…
By the way, Stolyarsky, sent his best pupils to Auer, including Milstein.
Who's the translation narrator?
Erick Friedman !
aha sounds like him, which is why I asked.
Why correct the pitch?
Because the original version is half-tone higher, as if it was written in C# major instead of C major. Many archival video footage have issues with the pitch.
@@vladimirdyo7301 Thanks! I suspected it was something like that.
"I hope I'll not disappoint you".
Leonid Kogan, with this performance, disappoint??!
This is old school decency and modesty. Disappoint, ha ha...
Here is what Kogan actually said: “Tchaikovsky, Valse-Scherzo. As I mentioned earlier, I have been playing this piece since childhood. In my youth, I emphasized the valse more than the scherzo, which is understandable-it’s always easier to play dance-like music at that age. The scherzo aspect came with time, much later. I believe it eventually arrived; I was, in any case, striving towards it.”
Hmm, not particularly lovely playing for a lovely piece of music. Very clean and powerful, but rather loveless. I often feel that artists in Soviet era seem to be attacking the music. Kogan was more musical when he was younger, his 'attacking' style started later on.
Well, it’s rather Moscow/Soviet style, Mayakovsky’s poetry reflects its spirit well. The styles of Leningrad and Odessa were different, but Moscow was dominating. If you wanted to develop a career, you had to go to Moscow. Poliakin was perhaps among the last “lovely” performers of the old school. The Soviets detested the so-called “salon” style of Kreisler or Auer, considering it a reflection of the bourgeoisie, whom they fought against. Soviet musicians developed a grand style and had to win competitions, with Kogan embodying this new style. The Soviet party saw the arts as a powerful propaganda tool and an antidote to the West. Oistrakh was one of the few artists, perhaps the only violinist, who managed to find the balance by developing the grand style without losing subtlety.
@@vladimirdyo7301 very interesting, thanks for the explanation. I also found this performance a bit harsh and driven, although I am a huge admirer of Kogan's musicianship and technique.
@@nickyork8901 Kogan’s performance style is suited for large concert halls, which might be why it sounds a bit rough near the mic. However, to me, he sounds powerful yet elegant compared to other recordings. Perlman mentioned Heifetz’s rough sound in recordings, noting that in the concert hall, one heard none of it but a beautiful, luscious tone.
Hi, I would say Leonid Kogan plays Tchaikovsky with "Paganini sound", with focus on jewelry virtuosity rather than musicality and melodiousness... Yep, this happenes sometimes, and I would agree David Oistrakh is the most preferred performer of Tchaikovsky...
@@romanryvlin6946 Have you heard Miron Polyakin?