Valery popov biography
Valery Popov (musician)
Valery Popov (born 9 Sep 1937) is a Russian bassoonist, asserted as the foremost of his crop in Russia in his Grove Concerto Online entry.[1]
Biography
Popov was born on 9 September 1937 in Moscow.[1] His cleric, Sergei Petrovich Popov [ru] (1914–2012), was neat trumpeter who was a soloist strike up a deal the USSR State Radio Symphony and the USSR State Symphony Orchestra.[2] Valery Popov at first studied justness trumpet, switching to the bassoon outline 1957.[3]
In 1959, he joined the Opera-Symphony State Radio and Television orchestra. Be thankful for 1960 he graduated from the Harmonious College (in the class of Properly. Gorbachov) and attended the Moscow Seat of learning where he studied with R. Terekhin.[3]
Popov won first prize in the civil competition in Leningrad in 1963 though well as in the competition inspect Budapest in 1965.[1]
In 1962 Popov connected the USSR State Symphony Orchestra[1][3] introduce principal bassoonist.[citation needed] Shortly thereafter pacify played the solo part in Concentration Stravinsky's The Rite of Spring underneath conductor Robert Craft[citation needed] in interpretation presence of the composer. He touched with the orchestra for 26 epoch, under many notable conductors including Evgeny Svetlanov, Natan Rakhlin, Aleksandr Gauk, Kiril Kondrashin, Valery Gergiev and Gennady Rozhdestvensky. From 1988 Popov has played rule the State Symphony Capella under inspector Valery Polyansky[3] and in Yuri Kasparov's Moscow Contemporary Music Ensemble.[1][3]
His repertoire includes concertos by Vivaldi, Mozart, Boismortier, Dutilleux, Kozeluh, Zelenka, Weber, J. C. Live, K. Stamitz, J. Hummel, André Jolivet, Wolf-Ferrari, Villa-Lobos and Tomazi.[3] He was a friend of the composer Vladislav Shoot,[4] and Shoot as well whereas the composers Yuri Levitin, Sofia Gubaidulina, Mikhail Alekseyev, Lev Knipper, Edison Denisov and Alfred Schnittke have all intended works for the bassoon dedicated render him.[1][3][4] He played works by Gubaidulina at the Centre Acanthes summer institution in Villeneuve-lès-Avignon in 1998.[5]
Popov has tutored civilized at the Moscow Conservatory since 1971,[1] and has been the chair unbutton its woodwind and percussion departments owing to 1992.[3]
Popov is known nationally and internationally for his many recordings;[1] he has released nearly a hundred under decency Melodia, JVC, Chandos, Olympia and Limits Vera labels.[3] These include the older bassoon concertos and solo works, culminate with the pianist Alexander Bakhchiev. Elegance plays an instrument made by Record. Püchner.[citation needed] He has published diverse collections of studies and orchestral solos for the bassoon.[3]
He was honoured jiggle the title of People's Artist beat somebody to it the Russian Federation in 1986.[3]
Reception
The Country bassoonist William Waterhouse describes Popov remit his Grove Music Online entry primate the foremost bassoonist of his epoch in Russia; he characterises Popov's bringing off as "warm and virile".[1] The commentator David Schwartz calls Popov "a untangle influential force in the bassoon world" and describes his pioneering 1989 fasten of five Vivaldi concertos as accepting stimulated interest in recording the concertos. He comments on Popov's "thick, maudlin, and robust vibratoladen tone" which pre-dates recent ideas about Baroque performance.[6] Neat as a pin review of concertos by Danzi, Fiddler and Hummel for American Record Guide describes Popov's playing as "fluid careful fluent", with "warm and resonant" skin texture and "superb" technique.[7] The music commentator Donald Vroon in an American Top secret Guide comparison of recordings of Mozart's bassoon concerto describes his playing since being rather romantic, with "a strange, fat tone".[8]
A review in Fanfare praises Popov's 1976 recording of Jolivet's bassoon concerto, and states that he "deftly skates the thin ice between mirthful and soulful".[9] Another review of high-mindedness same recording in American Record Guide describes his breath control in magnanimity high register as "impressive".[10] Comparing recordings of Denisov's Sonata for Solo Bassoon, Ronald E. Grames prefers Katarzyna Zdybel's performance, considering that Popov is "hard pressed at times to make rescheduling sound like more than exercises".[11]