Igor Bezrodny

8.99 €

Igor Bezrodny achieved the reputation of playing with his effortless technique, the ability to speak with every note, flawless intonation, expressive phrasing and vibrato, a great sence of timing, delivery of music with finesse and advanced musicality, and sensitivity and emotion in the most intimiate moments. None of these rare performances for Rundfunk der DDR have been published before.

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IGOR BEZRODNY plays Mozart and Beethoven

1-3. MOZART: Violin Concerto No.4 in D Major, K.218 [23:19]
Recorded: 16 January 1960 in East Berlin, Funkhaus Nalepastraße, Saal 1, Rundfunk der DDR (Radio Studio Recording)
Igor Bezrodny · violin
Rundfunk-Sinfonieorchester Berlin
Kurt Masur · conductor

4-6. BEETHOVEN: Violin Concerto in D Major, Op.61 [42:55]
Recorded: 12 January 1963 in East Berlin, Funkhaus Nalepastraße, Saal 1, Rundfunk der DDR (Radio Studio Recording)
Igor Bezrodny · violin
Rundfunk-Sinfonieorchester Berlin
György Lehel · conductor

Additional Information

Article number: MC 2009
Release date:02 May 2014
UPC barcode:0791154050316
Total time: 66:14

Producer and Audio Restoration: Lynn Ludwig
Booklet Notes: Michael Waiblinger
Design: Alessia Issara
Photographs: Igor Bezrodny Family collection
With special thanks to Mari Tampere-Bezrodny and Anna-Liisa Bezrodny
From the Original Masters · © 2014 Meloclassic

Igor Semyonovich Bezrodny was born in Tbilisi on May 7, 1930 into a distinguished family of violinists. His father Semyon was the leader of Tbilisi Opera and professor in the conservatoire, later he hold professorship in Moscow, his mother Tatjana Pogozheva was a well-known violin teacher. Bezrodny’s talent became evident very early, when, at the tender age of 2, he was so inspired by Sibelius’s Valse Triste that he marched onto the stage to take over conducting of the orchestra where his father was playing as concertmaster! He became a pupil of Abram Ilich Yampolsky (1890-1956), who studied with Sergej Korguyev, a pupil and assistant of Leopold Auer. He studied exclusively with Yampolsky for the duration his entire education (1937-1955), first in the Central Music School, and later in the Moscow Conservatoire. Immediately after finishing his graduate violin studies in the Conservatoire he began to teach there. At the same time as he began his post as professor of violin, he began and completed a conducting course with professors Nikolai Anosov, Boris Haikin and Leo Ginsburg (1962-66).

IB

At the age of 17 he won of the first prize at the World festival of Democratic Youth in Prague, sharing honors with older musicians like Leonid Kogan and Yulian Sitkovetsky. Following his initial success, he triumphed in the Jan Kubelik Competition in Prague in 1949 and in the Bach Competition in Leipzig in 1950. As a result of his success in the competitions, at the age of 20 he was the youngest ever artist to receive the Stalin Prize in 1951. In 1950 he visited Finland for the first time and from that moment this country became of special importance in his heart. Since then, he visited Finland yearly, playing with orchestras, giving solo and trio recitals, holding masterclasses, and conducting. Jyväskylä Kesä Festival was connected with the name of Bezrodny for 20 years. In 1953 he was invited to Sibelius’s house in Järvenpää, where he played for the composer his Serenades and discussed his violin concerto and other compositions. This meeting made a great impression on Bezrodny. Also instrumental in his development as an artist were meetings with Charlie Chaplin, Igor Stravinsky, Walt Disney and other significant figures of that era.

In addition to the recognition of his native Soviet Union, his contribution to the world of music was also recognized by the governments of many other countries throughout his career. He had received honorary degrees and medals of honor from Finland, Estonia, former East Germany, Bulgaria, and the United States, among others. He performed a total of more than 60 countries all over the world and gave première performances of many pieces, among them Dmitri Kabalevski’s Violin Concerto, and many other works were either written for or dedicated to him.

In 1967 began his career as a conductor. His clear and original ideas were apparent from the very first concert. The critics noticed the elasticity and power of his gestures and constant control of the orchestra. Poetic, philosophical, and improvisatory elements, as well as the “breath” of musical phrasing, were characteristic of Bezrodny the conductor. He often spoke of the need to find the focal points of a piece of music, searching for the connection between the composer and the performer, and of the performer and the listener. He was especially sensitive to the drama inherent in the symphonic repertoire, which was occasionally inspired by his avid interest in cinematography. One of Bezrodny’s most cherished non-musical honors was a prize he received for his film about South America in an all-Soviet contest for amateur filmmakers. In 1976-81 he was the chief conductor of Moscow Academic Chamber Orchestra, in 1986-90 the chief conductor of Turku Philarmonic Orchestra in Finland. As a guest conductor he has also visited many countries in Europe and America. He gave numerous violin masterclasses in Europe, America and Asia and he was a member of the jury in many well-known international violin competitions, such as Tschaikovsky, Sibelius, Bach, Wieniawski, Spohr, and others.

In addition to his post at the Moscow Conservatoire, Bezrodny was the professor of violin at the Sibelius Academy in Helsinki between the years of 1990-97. As a respected pedagogue, he continued and developed the tradition of one of the greatest violin schools of the XX century – Abram Yampolsky’s. He instilled in his students a fine understanding of various styles, good taste, artistic sensitivity, and technical mastery. Active approach to the creative process and balanced development of the student as an artist and human being were typical of Bezrodny’s teaching. He never came to the class with violin, explaining it as follows: “I have a strong desire not to play in a lesson to demonstrate. The students must not hear even a note of my playing. Maybe this way is much longer but it avoids danger of mindless copying and provokes fantasy of the student. My main mission is to develop the artistic point of view of the student any age or professional level.” As a result each of his students retained his own artistic identity.

Unfortunately, Bezrodny made relatively few recordings because of his dislike of the unnaturalness of recording process. He expressed that the artist had to “fill the air between him and the listener with music”, and a recording is merely “a mechanical imprint of sounds”.

He was married to the Estonian violinist Mari Tampere-Bezrodny who continues to teach and play as a representative of the Bezrodny tradition.

Bezrodny died in Helsinki on September 30, 1997.

© Michael Waiblinger 2014

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