Volume 16 - Vitaly Buyanovsky
Logo by Martha Blanks
This month we will honor Vitaly Buyanovksy, a prolific performer, teacher, and composer who exemplified the principals of the Russian school of sound and interpretation. Buyanovsky recorded many albums, many of which have been compiled into a collected multi-volume set on compact disc released by a Russian label (and available only as an import). The music we will examine, Beethoven’s Rondino in E-flat Major for Wind Octet and Sextet in E-Flat Major, Op. 71 for two clarinets, two horns, and two bassoons, still remain available only on the 1970 Melodiya vinyl release.
Vitaly Mikhaelovitch Buyanovksy (1928-1993) was born in Leningrad (renamed St. Petersburg in 1991) and raised in a musical family. His horn studies began with his father Michael Nicolaevich Buyanovsky who was principal horn of the Kirov Opera Orchestra and professor of horn at the Rimsky-Korsakov Conservatory. At 18, Vitaly joined his father in the Kirov section and also continued his academic studies, earning a master’s in art criticism and producing a doctoral thesis centered on Tchaikovsky’s scoring for horn in his symphonies and operas. In 1955 Buyanovsky became solo horn of the Leningrad Philharmonic under conductor Yevgeny Mravinsky and was also appointed to the faculty of the Conservatory. Additionally, he taught at the Music High School and maintained his teaching and orchestral performing throughout the next 40 years of his career.
Hailed as a beacon for Russian artisty, Buyanovksy earned accolades winning the International Reicha Competition in Prague in 1953 and the International Competition in Vienna in 1959. He made numerous recordings for the state-run Melodiya label resulting in over three dozen interpretations of repertoire, including the Mozart concerti, Britten’s Serenade, numerous chamber works, and many of his own compositions. Buyanovksy described the Russian horn tradition as a combination of the Western romantic-classical style and Russian sacred vocal music that is present throughout the great Russian composers until Shostakovich, and his recordings exemplify this beautiful lyrical merging.
While many may be familiar with Buyanovksy’s compositions through his Four Improvisations (From Traveling Impressions) – and even moreso through Espãna movement – he was a quite prolific composer across a breadth of genres. In sum he either composed, arranged, or edited over forty-eight works ranging from solo works for trumpet, trombone, horn, and timpani, to ballet scores, quintets for both brass and woodwinds, and several other chamber configurations.
The International Horn Society bestowed Buyanovksy with Honoray Membership in 1985.
Beethoven’s horn chamber works for horn are well known, principally centered around his Quintet for Piano and Winds in E-Flat, Op. 16, the Sonata for Horn in F and Piano, Op. 17, and the Sextet for Two Horn and String Quartet in E-Flat, Op. 81b. Much less frequently performed are the contents of this recording – the Rondino for Octet and the Wind Sextet, Op 71.
While these pieces do not feature the horns to the degree of virtuosity of the Sextet, Op. 81b, the precise ensemble and light timbre of the horns are noteworthy. Buyanovsky is joined by Vladimir Shalyt playing second horn in these chamber selections.
The Rondino beings with the melody in the 1st horn, harmonized by the 2nd bassoon. Curiously, Beethoven places the horns first in score order above the other winds, leading the way both functionally and idiomatically with this opening:
The conclusion of the Rondino also features the horns with an indication to play the echoing calls col sordino. Buyanovsky and Shalyt opt to play shaded dynamics to achieve this effect as timing for a mute change is trecherou unless the senza tempo indication is truly indulged!
Beethoven’s use of the horns in the Sextet, Op. 71 is largely supporting rhythm and harmony, with a few standout moments. At the end of the 1st movement Allegro, the second horn is treated with an arpeggiated outburst to propel the closing coda:
In the final movement Rondo of the Sextet, Op. 71 the horns provide much of the underpinning dotted eight-sixteenth motoric rhythm. And again, divided triplets between the two horns accelerate the rhythmic rate of the tempo, so Buyanovsky and Shalyt let loose with vigor for a bombastic ending to this charming wind chamber work:
There is a rich trove of recordings and compositions Buyanovsky created to share his indelible musical craft with us all – seek them out and be inspired! Thanks reading Horn on Record!