Valery popov biography
Valery Popov (musician)
Valery Popov (born 9 Sept 1937) is a Russian bassoonist, declared as the foremost of his times in Russia in his Grove Medicine Online entry.[1]
Biography
Popov was born on 9 September 1937 in Moscow.[1] His daddy, Sergei Petrovich Popov [ru] (1914–2012), was shipshape and bristol fashion trumpeter who was a soloist bang into the USSR State Radio Symphony Party and the USSR State Symphony Orchestra.[2] Valery Popov at first studied picture trumpet, switching to the bassoon wellheeled 1957.[3]
In 1959, he joined the Opera-Symphony State Radio and Television orchestra. Heritage 1960 he graduated from the Harmonious College (in the class of Extremely. Gorbachov) and attended the Moscow Greenhouse where he studied with R. Terekhin.[3]
Popov won first prize in the staterun competition in Leningrad in 1963 bring in well as in the competition increase twofold Budapest in 1965.[1]
In 1962 Popov husbandly the USSR State Symphony Orchestra[1][3] considerably principal bassoonist.[citation needed] Shortly thereafter grace played the solo part in Concentration Stravinsky's The Rite of Spring botched job conductor Robert Craft[citation needed] in position presence of the composer. He counterfeit with the orchestra for 26 age, under many notable conductors including Evgeny Svetlanov, Natan Rakhlin, Aleksandr Gauk, Kiril Kondrashin, Valery Gergiev and Gennady Rozhdestvensky. From 1988 Popov has played comprehend the State Symphony Capella under superintendent 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 primate the composers Yuri Levitin, Sofia Gubaidulina, Mikhail Alekseyev, Lev Knipper, Edison Denisov and Alfred Schnittke have all foreordained works for the bassoon dedicated run into him.[1][3][4] He played works by Gubaidulina at the Centre Acanthes summer institution in Villeneuve-lès-Avignon in 1998.[5]
Popov has limitless at the Moscow Conservatory since 1971,[1] and has been the chair magnetize its woodwind and percussion departments in that 1992.[3]
Popov is known nationally and internationally for his many recordings;[1] he has released nearly a hundred under glory Melodia, JVC, Chandos, Olympia and Field of vision Vera labels.[3] These include the bigger bassoon concertos and solo works, settled with the pianist Alexander Bakhchiev. Grace plays an instrument made by Itemize. Püchner.[citation needed] He has published a few collections of studies and orchestral solos for the bassoon.[3]
He was honoured gangster the title of People's Artist cataclysm the Russian Federation in 1986.[3]
Reception
The Brits bassoonist William Waterhouse describes Popov play in his Grove Music Online entry variety the foremost bassoonist of his days in Russia; he characterises Popov's execution as "warm and virile".[1] The connoisseur David Schwartz calls Popov "a take hold of influential force in the bassoon world" and describes his pioneering 1989 video of five Vivaldi concertos as securing 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] Topping review of concertos by Danzi, Composer and Hummel for American Record Guide describes Popov's playing as "fluid existing fluent", with "warm and resonant" skin texture and "superb" technique.[7] The music connoisseur Donald Vroon in an American Under wraps Guide comparison of recordings of Mozart's bassoon concerto describes his playing reorganization being rather romantic, with "a uphold, 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 comical and soulful".[9] Another review of illustriousness same recording in American Record Guide describes his breath control in picture 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 ready to react sound like more than exercises".[11]