Leonid Kogan - Portrait of the famous Russian violinist

Reflections on Leonid Kogan

Leonid Kogan and David Oistrakh

L.K. said that the first encounter with the playing of D.O., 16 years his senior, in 1932 was a spur of his endavour. Later on D.O. promoted him by supporting him to be selected as participant of the Ysaye Competition in Brussels in 1951.
While both violinists were the greatest representatives of the Russian School of violin playing of the 20th century, their playing and their approach to interpretation and technique of playing was much different.
Differences on sound production, richness of sound and interpretation can easily be detected from their recordings.
While I would describe the playing of D.O. best by the quiet flow of a wide stream towards his destination, Leonid Kogan created the expectation of highest tension and greatest artistic skills.
While D.O. stood on his place on stage without moving his powerful body, L.K. bent his slim body from his hips when playing live on stage. (He did not on his video recordings).
Their difference in sound can be described accordingly: D.O. had a rich and powerful tone, while Kogan produced a rich tone as well, but clean, cristal clear and classical. In that respect Kogan is nearer to the playing of Henryk Szeryng or Jascha Heifetz, while D.O.'s tone has always been unique.

Gustav Kuhn, after listening to the Beethoven op. 61 played by D. Oistrakh "This was the concerto of D.O., not of Beethoven" (Just take the cadenza of the first movement as an example).
In the case of Kogan, this would never have been an appropriate judgement.

Leonid Kogan in Vienna:

As soon as L.K. appeared n Vienna, he was highly acclaimed : No free seats in the concert hall, highest expectations to which Kogan lived up with no exception.
With his concert programs featuring some of his virtuoso pieces at the end of his versatile classical selection
He cougth fullest attention of the audience (From his concert programs shown here, he played repeatedly the Tzigane by Ravel, his virtuoso pieces were Zapateado by Sarasate and Figaro by Castelnuovo-Tedesco.

Selected recordings: Studio, live, on video or DVD:

Sarasate

Saint-Saens

The legendary concert


	Reflexions on L.K.

	Reflections on Leonid Kogan Leonid Kogan and David Oistrakh L.K. said that the first encounter with the playing of D.O., 16 years his senior, in 1932 was a spur of his endavour. Later on D.O. promoted him by supporting him to be selected as participant of the Ysaye Competition in Brussels in 1951. While both violinists were the greatest representatives of the Russian School of violin playing of the 20th century, their playing and their approach to interpretation and technique of playing was much different. Differences on sound production, richness of sound and interpretation can easily be detected from their recordings. While I would describe the playing of D.O. best by the quiet flow of a wide stream towards his destination, Leonid Kogan created the expectation of highest tension and greatest artistic skills. While D.O. stood on his place on stage without moving his powerful body, L.K. bent his slim body from his hips when playing live on stage. (He did not on his video recordings). Their difference in sound can be described accordingly: D.O. had a rich and powerful tone, while Kogan produced a rich tone as well, but clean, cristal clear and classical. In that respect Kogan is nearer to the playing of Henryk Szeryng or Jascha Heifetz, while D.O.'s tone has always been unique. Gustav Kuhn, after listening to the Beethoven op. 61 played by D. Oistrakh "This was the concerto of D.O., not of Beethoven" (Just take the cadenza of the first movement as an example). In the case of Kogan, this would never have been an appropriate judgement. Leonid Kogan in Vienna: As soon as L.K. appeared n Vienna, he was highly acclaimed : No free seats in the concert hall, highest expectations to which Kogan lived up with no exception. With his concert programs featuring some of his virtuoso pieces at the end of his versatile classical selection He cougth fullest attention of the audience (From his concert programs shown here, he played repeatedly the Tzigane by Ravel, his virtuoso pieces were Zapateado by Sarasate and Figaro by Castelnuovo-Tedesco. Selected recordings: Studio, live, on video or DVD: Sarasate Saint-Saens The legendary concert


Date last modified: 2010.Jan.27 (Wed)		©Andromeda 2003