РАЗМЫШЛЯЯ НАД КНИГОЙ С. М. ХЕНТОВОЙ «ЛЕВ ОБОРИН»

Abstract

The article is based on a review of a book by the remarkable and in the second half of the twentieth century exceptionally popular musicologist S. M. Khentova, who, as a student of L. N. Oborin, was a representative of the school of the legendary pianist K. N. Igumnov. Oborin continued the traditions of his teacher both as a performer and as a teacher. Not only great pianists, but also wonderful teachers and concertmasters came out of his class. Oborin’s students were such well-known Russian musicologists as V. Delson and G. Tsypin, who have made a considerable contribution to the formation of Russian performing musicology. Khentova is currently the only biographer of her teacher, who contributed greatly to the formation of Russian pianism. Oborin gained widespread recognition after his triumphant victory at the First International Chopin Competition. In the thirties, it had not only artistic, but also political resonance. Khentova’s book analyses a number of fundamental moments for the formation of Oborin’s performing style. The process of the pianist’s creative formation is explored in the context of the socio-cultural attitudes of the epoch. The problem of the evolution of aesthetic perception of the audience is touched upon. The influence that Igumnov’s school had on the formation of Oborin’s creative attitudes as an interpreter of piano music by L. van Beethoven, P. Tchaikovsky, F. Chopin, S. Prokofiev, etc., as well as the musician’s pedagogical principles, is considered. In this article, all these points are evaluated in terms of modern scientific vision and assessment.