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CR-075. Victor Bunin plays works by Samuel Feinberg

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CR-075. Victor Bunin plays works by Samuel Feinberg

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Weight: 120 g

This CD is dedicated to the works of one of the brightest and most interesting Russian musicians of the first half of the XX century - Samuel Feinberg.
A composer, a pianist, a founder and a leader of the piano school, a musical re-searcher, Feinberg made an important contribution in all these spheres.
Feinberg's views on composing were special: the main purpose for him was unrevealing the unknown, finding something that was hidden. All components of the musical composition - structure, harmony and melody, texture - play subsidiary role in the creation of the unique new musical image that has just appeared. In some cases, the whole work is just a kind of preparation and accumulation of different elements that, while they are joined together, become the means of expression of the musical idea.
The speciality of this method can be seen already in the early works of Feinberg.

FOUR PRELUDES op. 8 (dedicated to Nikolai Zhiliaev) were composed in the beginning of the 1920-s and published for the first time in 1926.
All preludes are different by the means of expression, but in the character of each prelude there are relating features that allow to perceive the cycle as one and a whole.
The idea of elements of the form that root into each other was close to Feinberg's vision; it was embodied in all preludes, most expressively - in the Second and the Fourth.
Even more brightly the specific features of composer's vision can be seen in one of the most famous among all Feinberg's Sonatas - the SIXTH SONATA op.13 (1923). It has an epigraph from a philosophic work by Oswald Schpengler "Sunset of Europe": "Terrible are the symbols of the fast-flowing time, that day and night are heard in the striking of the clocks on innumerable towers of Western Europe. This is, perhaps, the most terrible expression of what the historic sense of existence of the world is capable of".
In the 1930-s, when Schpengler was regarded as an ideologist of fascism, such epigraph might cost the author of the Sonata his freedom or even his life. Feinberg changed the quotation from Schpengler to a new epigraph which was very close to the previous one by its message - from a poem by Fedor Tutchev "Insomnia":
The monotonous striking of the clock,
The wearisome story of the night!
The language that is strange for everyone
And yet clear as conscience".
The sonata form in Feinberg's works is very flexible. All main themes appear in a kind of a prologue: the first "fate" theme of the chimes and two other opposing themes - a kind of two sides of the human soul - human anxiety and unsteadiness and, on the other side, a man's ability to a theomachist riot.
A wonderful by its expression and coloring episode of chime is like the calm before the storm. The coda - epilogue of the Sonata, exceptional by its image and beauty, is one of the most inspired moments in the composer's heritage.
The long way Feinberg made from almost expressionistic style in his early compositions to the new uniting idea, to perceiving the world as a supreme harmony was embodied in the THIRD PIANO CONCERTO op. 44 (1947). The deepness and breadth of its ideas which are perhaps even more significant than those in the works of the early period poured out in a new clear form that is close to classical standards.
The dramatic conception of a uniting idea is a traditional distinctive feature of the Russian symphony music. And it is hardly surprising that Feinberg came to it at the acme of his spiritual and creative life. All his work was connected with the Russian national musical tradition with many different threads. In his first compositions, Feinberg was close to Scriabin's music; in the later ones, especially in the Second and Third piano concertos, he developed the line of Tchaikovsky and Rachmaninov.
Victor BUNIN

© Classical Records

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