by AndréSobchenko

v e a l sa g o i i r l h e Cr.rnserrratory,
Qix't
t - J s p l i r r g ; r f 1 9 3 6a. t the lllazunov, the
age of fiiry-four, Russian professor of
c o n l p o s e rA l e x a n d e r composition
K o n s t ar r t i n o v i c l r and instrumen-
G l a z u n o vd i e d i n h i s tation, provided
a p a r t n ì e n tn e a r P a r i s .I n fulÌ support and
R u s s i a( a l t t r a t{ i r u ei t w a s agreed to be a
tlte Soviet LÌrrion;lift: judge.
( r J r ì i I r i u c { ji r i l i i 1 , i 1 l l y So over all
l h a n { i r r E k < . ' . , sl .t a l i r r s those years
'f - f e t ' t o t' '
;i-Èirl (-.1)t Alexander
! i l l ' c ; r i - ì i r r qi t s u i i l r g r i . I n 1 9 3 6 t l r c n e w S - Kcrnstarrtinovich's music
Í , a l , r , r ' i ì r - a r ' . J el .t h e r n l r r t [ t p l e r : e l f t h e clntiriued lo sound in thc
(lotlr:nr.rnisl Pirrt,l) i'ol tlte fil )-l tirne hall of Lerringrad Conserva-
n t t : r r k e : dl ì f r o s t a k l v i c h a n d h i s m u s i c . tcry named in his honor
rsinr.,il irs a icsson l(' otfre!'artisis
"Clazurtov "
C o n c e l tH a l l ,
v , l i o s e r ' , , o ; ' h sd i r - l n o t s u p p o r l C o n r r n u - The music was played t.ry
n ; : ; l { l i ì g r ì r í ì l r l r , ' r , i..,y' p e : ; r r f m u s i c l c y a l the rrrernbersof the
"right
ío lirc rcglrne r:ultivatctl the G l a z u n o vS t l i n g Q u a r t e t
"
mood. Names such as symphony Glazunov's emigrant life
^ i r n l l 0 r b - y 'M i a s k o v s k y a n d s y m - s t a r t e do n J u n e 1 5 , 1 9 2 8 w , hen he tions for ,!N$Î!i,',stru-entssuch as
p l r r r r r vR e d ( ' a r t l r v b l K n i p p e r a p - acceptedan invitation to be a judge at the saxophone.
liea'red t()getlrer w.ith eiernal tlremes the Schubertcompetition in Vienna. He In May of I930, the Sovietsofliciaily
l i k c i ? s n r e oa n d . I u i i e t b 1 , P r < l k o f i e v a n d left Russia permanently.ile traveled closed thc llon Curtain. r,r'hichr.reant
t i ; i : i r i r r < r c c r t lP e t t r a r x l t h e W u l f . around Etrrope and finally settled ir1 t h e e n d t o l h e t r r p s a D r o a ctlo l c i t i z e n s .
j'lr^ Sovit:l :rtrthoritii:s dir:t:ttctl the Paris. In that period, the city was a (llazunov probably undersioir<J ih;t hc
iri)r-il)ositirln (}f aIt fnr artisls nrho were mecca for the arts and home to many worrÌd not bc arr excepfion.In the
: n s i t i t ' , h r : i l i u r l . I S S R .a s r . r ' t : l la s l o t ' Russians.The comLroser'sseriesof spring ot t9l$, the rre-vvspal)eì
i i r i i s e ' u ' . , h oe r n i g r a t e d f ì l a z l r n o r , , ' , v h o illnesscs.bronchitis. infectirirrof the Leningrarl""kayaPravrla print::.r-ia n{,tir e
i i . : t i i , r : i l s l e i g h l . y e a r sl i v c d i n F r a n c e , inner eal and otrrers,followed immedi- b y t h e m u s i c a lc o u n c i l, r i ' l - r , r r r n H " ; r t j
l i : ' ' ; i rl r ' S i r v i e t g 6 v e i n m € n t i l ì a d i f f i - a t e l v .A l e x a n d e rK o n s l a n t i n o v i c h Conservatorystating t.iratiirclr ',,,'elr:
r : L r i t1 . r u : .iirl ) t i B e t : . a i r s eA l e x a n i l e r wrote pel.inons.one îfter anoîlrer,to ' r e c o n s i d c l i r r{g- } l a z r r n o r .c' sr , n t i r i i a t i r ) n
'l
l ( < r r r s trar l i n c v i c h d i s t a n c e d h i n r s t r l l ' ihe Cornnrunisn t r u s i c a la u t h ù r i t i c s in tlre post df dircctor. hi: r.'i'ficials
l f i ì r [ . : i l ì ' vp o l i t i c a l s t a n c e , i h e a r r il r o r i - r - ì t i r r gt l r e s ei l l n e s s e sa n d a s k i n g t h e r r c a r e í u l l yt h o u g h t a t r o t t tC l a z i r t t o . i ' s
{ i e s v r r : r es i l f e l ì r a t t l r e c o m p c r s e rw o u l d lo exterrdhis absence.Henceforth, m u s i c a lc o n t r i b u t i o na n d d e c i d e dt o
retufn aohis homeland. The cornposer conservatorylevel textbooks in the hold the current positiorr until the
r r l R u s . s i a rrrr ; r l i t r n am
l usic was per- Soviet Union stated that the last period composer's return. Glazunov was
fectly suitecl for the category of the of Alexander Konstantinovich'slife removed from the post much later.
"Fathers"
r r r i t l rt h e l i k e s o f R i m s k y - was very unproductive becauseof his Glazunov in,spite of his inrputed
"musical
Ktirsakor'. Tchaikovsky, arrtl Glinka- illnessesand due to the fact that he u t r p r o d u c l i v e n c s s .w a s a
A l s n . i t i s ' , , r ' e l lk n o w n t h a t w h e r - r l h e r,r'asunder tire influence of Western very active correspondent.A review of
g { ! \ / e r n r r r c n to r g a n i z e d a b a i a l a i k a Bourgeniscultule . This influence r,vas the complete publication of lhe
eorrrpciition in LheHall of Petrograd evidenced by the creation oI compr.)si- composer's docufltetttsfrom the Soviet

Seplernber')t:Ioht M/
 r t -
composi ng htstlaY f,r,, rn first two variations are strict ciassical
Album (trumpet, French horn, medieval style. Next follows a-vaqia_
two trombones),Glazunov tion with trills é la Schumann f,l[lt{"
again began to write music for his symphonic etudes),variation é la
wind instruments. He started Chopin and Scherzo.The Finaleis in a
composing a quartet for four fairly pìayful style. I am afraid that
saxophones. this composition will fatigue perfornt-
ers due to its length. I talked to one of
Postcardto Maximilian t h e m , a n d h e a s s u r e dm è .
OseevichShteinberg
(Paris),2l March 1932 To I. A Wolfman
I have an idea to write a quar- (Paris)9, rue Lemoine, Boulogne s (ur)
tet for saxophones.These S (eine)
instruments are distinctively tt
audible; in the orchestrathey r amstarr-
J;,l"o]"thJ,i;lt"à,#[tr,
even cover regular woodwinds ing to lose rny strength. I do not go
by their sound. There are great . . q n y w h e r ca, n d I d o n o l e v e n p u t o n
tFfolht"t.
saxophonesoloistsin the band I cannot even think to leave
of the National Guard. Move- Paris in such a condition as early as
ment I is coming to an end, I July. I have not touched the piano for a
have an idea for ll-Canzona. long time. Thank God I sent the score
( f o r p r i n t i n g ) o f t h e s a x o p [ q n eq u a r l o t
To I. A. Wolfman before nry conclition t".unÎÈ6,Írt8k . uu,
(Paris),9, rue Lemoine, when will I Ìreal my creation?
Boulogne sur Seine
ll May 1932 To Shteinberg
I D e c e m b e r1 9 3 2
-__l
A l e x a n d e r G l a z u n o v ,a g e s e v e n Dear lan Ansovich! I l s e e n r sl s h a l l f i n a l l v l r e a rr r r vu u a r ' -
J Thank vou for vour kind tet next week. ! rtillqr/îrliu"mui Ì,,'r"
' ) r c l ì i v e sr e v e a l sr e c o r d so f o r i g i n a l "breallring,"
holiday greetings.I am sorry I have m a t l e r sw i l l s t a n dw i t h
I
corr'(:spùndelrce fi'om Clazunov. Par- not written for so long. I was busy becauscthe number ufl"qstsate fcw.foche
t i c r r ! a r l yi n t r i g u i n g a r e t h e c o n t e n t so f composing.and I have almost com- an ct I r,r,i sh,,F"6É1 Éí"ufi ,11r?"nsc,niì n ce.
r i r e l e t t e l sr o l a t e dt < ;l r i s s a x o p h o n e pleted a quartet for (?) four saxo- A l t h o u g h o n e o f t h e v a l i a t i i r r rh a s t h l c e
corr posrt i9ns.-{pp-arently, Clazunov phones.The novelty of this work really voices that arc built on crgan po!nt.
;.qrhDrYrDs-OE
tr icd tó''ilÍijC his-n-ew projects with thrills me, becauseI was forrnerly
man)/ of his colleagues.Some of the writing only string qrrartets.I don't To A. N. Rimsky-Korsakov
lelters rvere addressedto Maximilian know how it will sound. I J a n u a r y1 9 3 3
{).seevichS}rteinbergwho was a profes- If more gentle instruments like tlre
s , r ro f c o m p o s i t i o na t S t . P e t e r s b u r g . z To Shteinberg clarinet family with its bassetsand
I - e n i n g r a dC o n s e r v a t o r yS. h t e i n b e r g 2 JuneI 932 bassclarinetswere substituted for
( R i n r s k y - K o r s a k o v s' so n - i n - l a w )w a s "just
saxophones,it would not sound
D e a r M a x i r n i l i a nO s e e v i c h ! right" as Stasov used to say.
I received a letter from your sister
Marry of the letters w'erewriiten b.ytfre r y [ r gi s y v o r r i e da b o u t n r y h e a l l h .i a m To L. V Nikolayev
rj{)nrlJoscr to A.N. Rimsky-Korsakov "óîgÌrq$ (Paris)32, Avenue J B. Clement,
being quite behind on my
{son of the famorrscomposer) and to corrt.spondencei-too much composing. escalier14, Boulcgne s (ur) S (eine),
t . . V .N i k o l a i e v w i t h w h o n r . My_treglthr:ontinuesto be poor, My 8 March 1933
Slioslako.;ichand Sofronitsky hacì been 6#lffifiÉ on ihc risht foot does not I heard my qttartet of saxophones
. lÈrL.: f ft.ùnlR
s t r - r c l v i npgi a n o A s r n a l lp a r t r r l ' t l r e l e î v e n r e :l n e s K l n s D l r t s s: o m e i l m e sr I f i n a l l v r , r t l r r e a l s o u n d T l r es e n a r a t e d
collcspondencewas recalled li{trn
*
fifhi. I walk most of 'h. tirn. wearing parts soun(l gooo. I am
' ' r' %îl'.ffi
1r.,"
iììenì(ìr.yby Nadezhda Nlkolayevna I i p l r t s h o c sb e c a u s eI c a n n o t - w e a r (musical)color will be mttnotorte;I
Slrteirr[re.r'g anrì is preserrtedin con-
tÈy,í!lrnu&'"?É wearl,er, -f!il{ pnin can't do anything about that the whole
tlensed form. increases. range is: and you cannot get more than
B'.fJ3"1r,iano. .Alexander I cornpleteda composition for four fbur notes at the same time.
Konstantint,'v ich was very familiar saxophoncs(2 movements already
w i t h m a n y w o o d w i n d a n d b r a s si n - scored arìd the third is in sketches). To M. 0. Shteinberg
s t r u t n e n t s I. n h i s c h i l d h o o d h e s t u d i e d Movement l. AllegroB-dur in 3,24with 32 Avenue. J. B. Clemént, escalier'14,
clarinel i r r r d l a t e r h e l e a r n e d t o p l a y rhythrn: a bit of Anrerican! B o u l o g n es / S . F r a n c e
t r o r n b o n e t. n r m p c t , c e l l o ,v i o l a , a r t d Movement lI, CanzonaVariee.'llte l5 March 1933
Frenrh lrorrt. Thirtv-trvo vear-safter therne is huiit orriy ott harntony; th.: One dav a Frenclrrnan,melomatt

S;truplutnc .ÌtttI t'n.t l 67

I
 I A l e x a n d e r G l a z u n o v ' s p r a c t i c er o o m i n 1 9 2 0 .a l s o r e p o r l ir nJ"" r*-il
in which he was boln
__ ___l
good with btass?The bells letters is interrupted. T'he fìrlìowing
- - l did not work. I do not see inlbrmation is basr:don Shteinher'g's
i ' \ l e x a n i ì t . r G l a z u n o v & l V f .S c l i a b i n a ,t h e w i d o w n t any innovation here. The sketches of the niissing ìetters. Tlre
| _, _ ___t:lr]o|.11.-!_l'j__ __ --_.) Pirturrs may be perfornred words in quotaiir:n nrarks ale t}rr exact
askcd rnt. rvhetlrel'Mirssorgskyhim- here in Paris for location (for lent, words of Glazur,r:l:
self orclrestratedNrgùl on BoldMoun- French)approximately 400 Francsfor ,rfr,r1fl34 began with Clazunov.:; illtttr:;s,
'"/flií"àfrd
lain. or whether it was done by one use. Ilow did it go with you? brorrchitis.ln l\'farclrtlttr i:lnr-
Rirnsky-Kr;rsakov?All that made me poser started work on his conterlo
'under
write s[6rt memoirs about Nikolai To I.A. Wolfman the influenccs of attacks ratircr
. A n t l r r r c v i c hi n. w l r i c h l e s p e c i a l l y 1 4 ,r u e d e l a F r a n q eM u t u a l i s t e , t h a n r e q u e s t sf r o n r t l t e D a n i s hs a x i , -
( l e v , , r e (al t t e n t i o nt o t h e q u e s t i o no f B o u l o g n es / S . p h o n i s t S i g u r d R a s c h c r - "C l a z u n o v
rny French fiierrd...About TushmaloV ll April 1933 mentioned this situation in a letter
yorr fiave to be a little cautious.After The quartet of saxophoneswas dated March l7th. The work'uvetrlvery
llre f irsl relrearsal,Rimsk,y-Korsakov played for me in rehearsalat Salle fast and successfully.and in a letter
re-rrrcheslratedLimoges, the middle Paveau.They played excellently,and it dafed April 4th, the work was cotrt-
ser;firrrr ol'Baba-Yaga (e-nroll)and the sounded full and original. I am glad pleted.
b c l l s i n r j e i e sT . w i c c I h e a r dR a v e l ' s t h a t I h e a r dt h i s u ' o r k .
o l c h e s t r a t i o nw l r i c h I c o n s i d e ra r n a s - To Shteinberg
lrf\\'ofli ltui I tl6 rrot sharc y6ur excitc, To M. 0. Shteinberg 4 June 1934
r ì ì c rtf, l r r r ! h ; r p b
s e c a u s eI a m n o t s a t i s - 1 0 L ) e t r r n b e r['9 3 3 , r , ] I c o m p l e t e dl h e C o n c e r t lob r s a x o -
fied u,itlr this music at all. On the l['he performert ur"tílth virtuosi that phone, both the scorc and clavier. and
c ( ) r r f t a r I) d, .i c l n o t l i k e a t a l l t h e ' m u m - itisinrpossibletoimaginethatthey mostlikelyIwillhearperfornrances
blirrg olrlrenrutedtrumpetinTwo p l a y t h e s a m e i n s t f u l è l î U ! ; ^ a ; , w e h e a r -w i t h i n d a v s b y t h e F r e n c h m a n M u l e
J e w sT l r a t r . t : m r n c l em de of the chickel i n . i ^ z z e sr u r a z u n o v , - , r r p . , 1 i ' n l l T ' L l t J a n d t h e D i n i s h s a x o p h o r t i sR l asrher'
Ft:?tr|t. Nor rlid I like the tense ruba What lealiy strikes me is their breath- The concerto is written in Es-dur and
sgio irr B.yd[r.Abouî he saxopfione ing and indefatigability,light soutrd, goes non-stop. First goes exposition,
sofo. tlrarrksto a worrclerfulperforrner and clear intonation. AllegroModcrato,4/4 and ends in g-
{h+rpiayr:clthe first saxophoneir1my moll. After a short development fol-
q r r x r l c l ì .I l i k e d i t f r o m t h e s e c o n dt i m e To Shteinberg l o w e d b y s i n g i n g A n d a n t ei n C e s - d u r
| 6 e a r 4i t . [ ' l r ei n s t r u n r e n lw. i l l r i t s r i c h 2 6 D e c c m b e r1 9 3 3 ( s o m e t i m eH s -dur).3/4 is lhc transi-
4s%6tltr f&îlÌí+trtrrtl,? with stops
Thewholecomposition Theconclu-
tory intoa little cadenza.
tirnhrc
a ( ( ì ' l r p a n i p ì e n to { t h e s t r i n g s .C a 1 t h e t a k e sa p p r o x i m a t e l y3 5 m i n . F r o m t h i s s i o n b e g i n sa f t e r t h e c a d e n z aw i t h a
c' ltuu;m
9 ss y' p r o n t e n a t l e b e r n a d s t o s o u n c l momentthechronologicallinkofthe c o n d e n s e dF u g a t o 1 2 / 8i n c - m o l l . A l l
,ffL
68 Septetnber/OcÌober I 997
 --
[-- nt"tona"r Ct,rr.,nout*.rrt .t".t in p-i.
his last aJrarlmenl

thc prr:vious clenìelìtsappear again

To
u , h i c hb r i n g t h i s t o C o d a i n E s - d u r .
'l Shteinberg
lre fbrrrris vcry ctrtrdensed,arrd tlre
5 December
t o t a l t i m c i s n o m o L et h a n l 8 m i n . T h e
19 3 4
a c c o r n p a n i m e ni ts b u i l t o n s t r i n g sw i t h
The Saxo-
r n u c hd i v i s i , w h i c h , i n s o m e p o i n t , w i l l
phoneCon-
s u h s l r l r r î em i s s i n g w i n d s e c t i o n .I u s e
certowas
f lris ter:hniquevcry riftcn; strings in
prelniercd
, r rl ; r r c r' l i r i s j a n d a r i r r p p c rv o i c ei n
r r r r i s c nl v i l h t w o c i t l l o s .l n f b r t e , I u s e
twice by
Alexandel Glazunov'sroom while he was director of
St. Petersburg Conservatory
.
I l
Sigurd
rlouble noles a lot. I rjid sho'vvmy Era, this cornposition was not a stan-
( ; t t 1 1 r r [ roo M r t n c r . b r o t l r e r sK o n u s Rascherin the two largest cities of
S',r,cden.Next ycar I will hear it in dard part of the repertoire of Rur;siari
(Gecrqe.Yuli, I-eo)and 'Icherepnine
Paris. otchestras.The most Íìmous orchesila.
{ N i l o l a i N i k o l a i e v i c h ) ,a n d t h e y a p - the I-ISSRState Syrnphortvttndcr E.
provt'd of nry work, I am afraid r:f the Svetlanov which lracla trtissionto ;.riay
On March 2l of 1936Glazunov died.
rlorrbleuctes effer-1.I witl ask Yuli
Unfortunately there is no further infbr- mostly Russianand Soviri nrusi<..
K o n u sw h o w a s w o r k i n g w i t h m . y made a seriesof recordin{s r:alled
mation inclicatingif the composer ever
r ' , i o l i nc o n c e r t o .l { c i s a b i g e x p e r t o n Anthology of RussianSynphonic Musit.
heard his work performed. The perfec-
s u c l rs u b t i e f i e sa. n d h e p r e s c r i b e dt h e Sadìy, Glazunttv's Saxo2ÍoneLonctrto
tion of |he SaxophoncConcerto and
alticulaîion to Tchaikovsky.
'lìr o t h e r c o m o o s i t i o n sa l w a v s t o o k p r e c e - w a s o m i t t e d . I n 1 9 3 6 t. h e F r e n c hp u b -
Slrlerrrberg lisher Alphonse Leduc made a mosî
d",'." uu., his ego. H.'f.àúf$ r"
llt July 1934 u n u s u a la d d i t i o n t o t h e p i a n o r e d u c -
quested ideas and integrated the musi-
Saxophone Concertocompleted, the t i o n . T h e p u b l i s h e rp r i n t e d t h c n a t n eo l
cal conceptionsof colleaguesand
s c o r ea n d t h e c l a v i e ra s w e l l I a n rj u s t A. Petiot as a second corrposer.lttter'
actual performers.
waiting fol the moment I hear it in estingly enough, in alì the archival
conr:ert;that is why I reg,isteredit for letters recorded,Aìexander
The letter to A. Y. Shtrimer:
tlre concertseasonwith nry Symphonic "Dear Konstantiovich Glazunov rtever fiIell-
Alexander Yakovlevich,I'm '
Prre;l(PoenreEpiquc), tioned that fact he wolked with a
mailing you my latest correctionof
'l (cello) concerto.I do not know when eompanion!
o S h t ei n b e l g Thirty-six years after Glazttnov .s
the clavier will be ready in print. Pablo
2 l N o v e n r b e r1 9 3 4 d e a t h .o n O c t o b e r 1 4 . 1 9 7 2 .L h eS o v r e t
Casalsis co$irìgJlg-P-aris today. and f
SaxophoneConcertowill be a part cf authorities clecidedto officially at:-
wilrlraveîtrWffiî{^Tn ith hirn. He
tlre seasoncorrcertsin Fìnglandand
wrote me about his concernsregarcling knowledge him as a Greai Russian
Scarrdirravia. The Danish saxophonist c o n ì D o s eor f l h e S o v i e l n e r i o d .
the articulations,and he wants to
Rasr:her, vcry good and tretnendous G lurunou'rtfJF&rt we'e ret rrr nrd to the
suggestsome small changes. If I find
e .i l l p e r f o r n ri t . I n P a r i s ,M r .
t t ' t : h r r i r p tw
them reasonable,I will be happy. Motherland.rt'"u *", #r€f,tftfJYr t n"
M u l e . f i r s t c l a s . s a x o p h o n i s ta n d b e s t Necropolis for Masters of Art in
"Garde Casalsassuresme that he plays the
s o l o i s to f R e p u b l i c a i n e "w à n t s Alexander Nevsky Lavra, Leningrad.
Concertoalready from memorY."
fo plav n',v Conterla. the In the mid-70s the Ministry of Culture
Some additional facts regarding
Concertofor Saxophone attd String Or' made the decision to offer saxophone
rlestra cleservenote. During the Soviet classesfcr the first time to sludents of

9;txoltlione )ournal 69
 "Ì ti
I
aq:ì
'l! *'

"J?î .lfil
*

**S,.
i
I
P " t " . . t r r . g C . r tt " . " r a . V

highcr education. The first conserva- Master of Music degree

tory level saxophoneclassin the USSR with Kenneth Radnofsky
was opened at the GnessinInstitute of at Boston University.
Music in Moscow. One of the dominant Andrei Sobchenkoresides
f a c t o r si n t h i s d e r : i s i o nw a s s i l n p l y t o in Silver Spring, Mary-
t ) c t - l r c t u a tacn d h o t r o rt h c m u s i c w r i t - land and is an lrish citi-
ten b.r,r 2 Rr:i;sianconlposer. zen. S
Thc lctters plesentr-'dart: derived
f , - ( } ntrr , l oS c v i e t p u b i i c a t i o n s : E d i t o r ' sN o t e :
In RussiaGlazounov's name
LIazunov. Issltduvaniya.N'lalerialy. is spelled"Glazunov."
Publikatsii. Pis nta. V dvuh lonah.
Leningrad.1960and Clazunov Pis'ma,
5Íal i. vo.sporninanly'a. Izbrannoye.
Ì \ l o s k v a . 1 9 5 8a .r r d t h e t r a n s l a t i o n sf r o m
t l r e R u s s i a no r i g i n a l sa f e m y o w n .
T h i r t y - s i xy e a r sa f t e r G l a z u n o v ' sd e a Ì h ,o n li
O c t o b e r1 4 , 1 9 1 2 ,t h e S o v i e ta u t h o r i Ì i edsr : -
I
Andrei Sobchenko c i d e d t o o f f i c i a l l ya c k n o w l e d g eh i n ra s a G r e a t
R u s s i a n . c o m p o s e rf t h e S o v i e tp e r i o t . l .
i
A n d r e i S o b c h c n k o a. n a t i v c o f R u s - I
I
s i a . i s c u r r e n t l y I n s t r u c t o ro f W o o d - G l a z u n o v ' sa s h e sw e r e r e t u r nt o l h e M o t h e r -
winds at I\,forganState University in
I
l a n d .T h e yw e r e r e b u r i e da t t h e N e c r o p o l i sf o r I
Baltimore. Maryland. He has appeared
M a s l e r so f A r l i n A l e x a r d e rN e v s k yL a v r a , II
a s a s o l o i s ta n d o r c h e s t r a m l u s i c i a ni n
Leningrad. I
Russia,France.Germany,and the USA. I
I n R r r s s i ah e p l a y e d w i t h m o s t o f t h e
majoi orchestrasincluding the Moscow
Ph i I harrrrrinic \Rha psotlltin Ru-ssia,
S h e f f i e ì dL a b . l n c . , 1 9 8 8 ) t, h e U S S R
StateSymphony. and the Bolshoi The-
a t e r C o n c e r tB a n d . H e w a s P r i n c i p l e
Saxophonisiwith the RussianFedera-
n o n c e r tB a n d .A s a s o l o i s ti n t h e
t i ' , - rC
USA, he appeared on National Public
R a d i ol o p r e n r i e ra t r e w l v c o t n t t t i s -
sic,ncdsaxophorresottatafrr-rmWorld-
w i i e C o n c u r r e n tP r e m i e r& C o n r l n i s -
s i o n i n gF u n d , I n c .
Mr. Sobchenkocompleted hi.sfirst
t l e g r e ea t t h e ( l n e s s i nl n s t i t u t eo f
Music. lvloscow.L.ater.he received the

70 Seplemberz Octobet l 997