By Gregor Tassie
Kirill Kondrashin: His existence in tune offers an entire biography of the artist, from his humble history and early carrying out adventure at age 17, via his two decades in Leningrad and on the Bolshoi Theatre; from his breaking with the Bolshoi and the multiplied symphonic profession that undefined, via his defection in 1978 and his unforeseen loss of life of a middle assault in 1981. Twenty photographs are incorporated, in addition to an entire discography, bibliography, and index.
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Extra info for Kirill Kondrashin: His Life in Music
Following the affair at the institute, Kirill had no wish to continue there and started studies with Nikolay Zhilayev, formally applying several months later to the Conservatoire. The rector was Bronislav Pshibyshevsky. Kondrashin presented his documents, asking him directly if he could sit the entry examinations, to which the rector responded, “if you have musical talent, we’ll take you. ”42 There were four places open in the conducting faculty, which attracted fiftythree applicants; the quality was so high that instead of just a quartet of candidates, seven were allowed to enlist, and Kondrashin topped the examination results.
3. K. P. Kondrashin, Kirill Kondrashin rasskazyvaet o muzike i zhizni (Moscow: Sovetsky Kompositor, 1989), 4. 4. 7. Copy. Typewritten. January 12, 1922. 5. Katerina Clark and Evgeny Dobrenko, Soviet Culture and Power: A History in Documents, 1917–1953 (New Haven, CT: Yale University Press, 2007), 30–31. 6. Solomon Mikhoels was a great Jewish actor whose rank in society allowed his own theatre. 7. K. P. Kondrashin, Mir Dirizhera (Leningrad: Muzika, 1976), 3. 8. K. P. Kondrashin, Kirill Kondrashin rasskazyvaet, 6.
33 Grigory Stolyarov bore a quite contradictory disposition (the esprit de corps extended through three seasons), being self-taught, he wanted in some literacy but was clearly very gifted with fine hands and a memory beyond reproach. He could be very contemptuous of his musicians, and should contretemps arise—his word was their command—there could never be any difference of opinion. Stolyarov was hypersensitive at solecisms made by his musicians; although, as Kondrashin discovered, one could imbibe his conducting technique in studying his handicraft from the pit.