Vsevolod Topilin is a legendary pianist, but… unknown

Abstract

Inroduction. Vsevolod Vladimirovich Topilin (1908–1970) is a concert pianist-virtuoso and a teacher who played a significant role in the development of Ukrainian piano culture. His name was as famous as V. Pukhalsky’s, F. Blumenfeld’s, G. Beklemishev’s in the 30-ies of the XX century, and in our time he was respected along with S. Richter, A. Vedernikov and the «great Henry» – H. Neuhaus. He was well-known as the first accompanist of D Oistrakh. Their legendary ensemble was formed in 1930 and toured triumphantly throughout the territory of the Soviet Union and abroad until 1941. The tragic events of the twentieth century broke his life and career, deleted him from the sphere of public activity. He remained in the memory of very few people (and not only musicians!) as the pre-war legendary image of the pianist in the halo of European glory. Theoretical Background. Great significance of V. Topilin’s personality and the scarcity of information about him as well as the absence of special works about the life and work of the pianist and the complete social evaluation of his place in the musical culture determined the goals of this publication. The theme of the tragic fate of the world-acclaimed patriotic musician arises in the context of cruel circumstances of the war and brutal laws of the power. The problem of “artist and government” is reflected in the fate of Topilin in one of its most tragic refractions – under the totalitarian Soviet regime with its antihuman laws. Studying the life of V. Topilin helps us feel the inhuman character of a bygone era, realize its truth and lies, and ask: what are the other layers of unknown spiritual and creative life hidden under the cover of oblivion? The study of this topic is very urgent in the post-Soviet period which is marked by a keen interest in our past and primarily in its forgotten heroes. The purpose of the article is to expand knowledge about the great musician and teacher, adding new details and facts about his personality, and to restore the status of V. Topilin in the history of European pianism. The scientific novelty lies in the reproduction of the facts of V. Topilin’s biography as a whole, inscribed in the general historical and cultural context. The life and work of V. Topilin in the context of the 20s–60s of the 20th century is presented as a real biography of the pianist: from apprenticeship to the first heights of professional recognition; from fascist captivity – through many years of the Gulag and ‘amnesty’ – to the late revival of Conservatory classes. The whole life of the artist is traced in inseparable connection with the historical, and first of all – musical-historical context of the time. Conclusions. Our research has returned the name of Vsevolod Topilin to the history of our culture, revived an important page of our history, rudely torn out by the previous government. The life of V. Topilin demonstrates greatness of the spirit of the artist, who was able to find the strength to return to the great art and leave his mark in the history of national culture.