Bihter of biography

The professor was awarded medals: “For the defense of Leningrad”, “For valiant work in the Great Patriotic War - GG. L.'s husband studied the piano to play with V. Zograf-Plaksina Moscow, before, at the Exper and V. Rapgof in class. Poles - at the Conservatory, he was engaged in Cl. Zapredsengofer, class. The flights -, K. Esipova -, -, class. Vitolsa, compulsory cl.

Solovyova, A. Lyadov and A. Glazunov, class. Steinberg, class. He graduated from the composer and piano f-thes of the conservatory with the gold medal worked as a teacher of musical and dramatic courses E. Rapgof St. Petersburg,, according to some sources-C, the musical classes of the Imperial Russian Musical Society of Tomsk,-the assistant conductor and the accompanist of the Simphonic concerts of Kusevitsky, Moscow, the head Cl.

Arbatova St. Petersburg,-the head of the musical part and chief conductor of the Musical Drama Theater Petrograd,-founder, director, teacher of music theory and piano class. Kharkov Conservatory, conductor of the Symphony concerts of the Kharkov Philharmonic Society - Chairman of the Provincial Musical Committee in Kharkov, Chairman of the All -Ukrainian Musical Committee in Kyiv and Conductor of Symphony Concerts during the People's Commissariat of Ukraine - Professor of the Rostov Conservatory, Conductor of Symphony Concerts, Chief Conductor of the First Soviet Opera.

Rostov-on-Don, pianist of the shock troupe of the cultural education of trade unions-teacher of the theory of music of the N. Music School One of the founders of the circle of friends of chamber music, the artist of the Moscow Philharmonic-the artistic director and accompanist of Radio Leningrad,-a teacher of the Leningrad Institute for Advanced Studies of Arts of Arts-worked with state artists to improve their qualifications of Leningrad-in the St.

Petersburg Petrograd Conservatory: a teacher of compulsory cells. Throughout the period of World War II, he was in Leningrad, performed in concerts. The performing and pedagogical art of the beacher was formed under the influence of the largest musicians - teachers and creative partners. While studying at the conservatory, he worked as a concertmaster in Cl. Kotoni, according to the beakhter, the singing of Kotonya developed his taste and laid the foundation of the vocal methodology, class.

Auer and CL. Of great importance was cooperation with F. Chaliapin, with whom the beakter not only performed thanks to the beakhter initiative, the singer first performed a number of romances of N. Rimsky-Korsakov in concerts, but also helped him learn the Don Kihot opera Zh. The performing style of the beacher was distinguished by a vivid originality.

The singer fought with performing stamps - according to the audience, in his interpretations, the music presented unrecognizably updated. He was a kind of rhythm, claimed that “the rhythm of the work is not given by notes” beeter M. The most fruitful period of conducting activity was connected with work in the theater of musical drama, in which the beakhter prepared for execution and properled by Boris Godunov by M.

Mussorgsky, the “stone guest” by A. Dargomyzhsky, “Carmen” J. Biza, “Meisterszingers” R. R. Wagner, Sadko and Snow Maiden N., for the best performances, belonged to “Eugene Onegin” - the interpretation of the beacher was highly appreciated by V. Safonov, M. Tchaikovsky, S. Samosud and others. The pianist acted only as an ensembles, earned the recognition of J. Joachim, C. Kui, L.

Auer, F. Chaliapin, Yu. Engel, V. Karatygin, E. Petri, S. Levik, M. Yudina and others. Ossovsky compared the beakhter with A. for the performing advice to the beacher, in addition to F. Chaliapin, M. Brian, K. Dorliak, N. Walter-Vrubel, P. Curses, Lodium, E. Petrenko and others. Partners-vocalists: S. Akimova, I. Alchevsky, M. Brian, I. Ershov, N. Zabel-Vrubel, M.

Karakash, S. Levik, L. Lipkovskaya, M. Litvinenko-Volget, Z. Lodium, A. Mozzhukhin, E. Popova, P. Tsesevich and others. Installation partners: violinists-J. Joachim, F. Kreisler, E. Isai, cellist A. Creative relations of Bezhter with many largest singers-for example, with Chaliapin, Ershov, Alchevsky-were not easy between them on the basis of a deeply different understanding of the interpretation of one or another work.

A special place in the creative biography of the beakhter was occupied by the Commonwealth with the singer V. Dukhskaya-, who was a new form of the ensemble, called E. Shenderovich, "vocal-formal duet." The beeter, who was the leader of the ensemble, his artistic director and, in fact, the singer’s teacher, destroyed the previous ideas about the “auxiliary” role of the accompanist.

According to L. Raaben: “The beeter examined the voice and piano in inextricable unity.