|VVCD - 00095
Rosa Tamarkina, piano
Franz Schubert. (1797-1828)
1 Impromptu Еs-Dur, ор. 90 (D 899) № 2 3.51
2 Impromptu Ges-Dur, ор. 90(D 899) № 3 4.35
3 Schubert-Liszt. "Der Muller und der Bach" (№ 19 from
the vocal cycle
"Die shone Mullerin") 4.52
4 Schubert-Liszt. "Erstarrung" (№ 4 from the vocal cycle
Franz Liszt (1811-1886)
5 . Petrarka's Sonet № 104 Е-Dur (№ 5 from the cycle "Annees
de Pelerinage") 6.12
6 Paraphrase on themes from the Verdi's "Rigoletto" 7.11
7 Hungаrian Rhapsody № 10 Е-Dur 5.26
Johannes Brahms (1833-1897). Quintet for piano, two violins, viola
and cello f-moll, ор. 34
8 Allegro non troppo 13.44
9 Andante, un poco adagio 9.02
10 Scherzo. Allegro 7.09
11 Finale. Poco sostenuto. Allegro non troppo. Presto non troppo
Recorded: 1946 (1,2); 1947 (6, 8-11); 1948 (5, 7); live from the
Great Hall of the Moscow Conservatoire 24.04.1948 (3, 4).
Restoration: Vista Vera, 2006
Bolshoi Theatre Quartet: Igor Zhuk, 1st violin, Boris Veltman, 2nd
violin, Мikhail Gurvich, viola, Isaak Buravsky, cello (8-11)
Rosa Tamarkina was born
in 1920 in Kiev. She began learning music in a children's section
of the Kiev Conservatoire under N. M. Goldenberg. In 1932, she was
admitted to the Moscow Conservatoire's special section for exceptionally
gifted children -- 8 boys and girls from all over the Soviet Union.
Rosa joined the piano class of Prof. A. B. Goldenweiser who wrote
later: "Teaching Rosa was a great pleasure. She was learning
easy and fast. She caught my instructions quick and she did not
execute them in a mechanical way, but rather implemented them via
her well-disciplined artistic individuality".
In 1936, the 16-year-old Rosa Tamarkina played at a selective audition
for the 3rd Chopin International Competition in Warsaw and, together
with the then well-known and experienced pianists Maria Grinberg,
Yakov Zak and Tatyana Goldfarb, was included in the Soviet team.
The contest was held in 1937. The delegation from the Soviet Union
got an unfavorable reception in Poland, as the Moscow train was
directed to the regional arrivals platform, whereas the Nazi German
contestants were welcomed at the city's Central Station. However,
the Soviet musicians won: Yakov Zak captured the first prize and
the 17-year-old Tamarkina was awarded the second prize. International
jury member Genrikh Neugauz wrote: "Rosa Tamarkina made a real
sensation at the competition - and not merely because of her age.
Despite her young age, she is beyond doubt a perfectly matured,
perfectly conscious pianist. Backhaus shouted to me: "This
is marvelous!" Levi claimed he had never heard anything like
At the time, when the USSR was trying to show all the world its
leadership in each and every realm, the popularity of the laureates
of the international competition was immense in their country. They
were met with grand salutation at Moscow's Byelorussian Station,
their pictures were featured in all Soviet newspapers, and their
portraits were carried high during official marches in the Red Square…
Rosa was made a deputy of the Moscow City Soviet, awarded the Sign
of Honor medal, and allowed to perform extensively in Moscow and
all over the country. She graduated from the Moscow Conservatoire
cum laude, and her name was engraved in gold on the Conservatoire's
marble Board of Honor.
In 1941, Rosa continued her studies as a post-graduate student with
Prof. Goldenweiser and later with Konstantin Igumnov.
Her reputation as a pianist was growing fast; her every performance
was a great success, and music critics described her as one of the
most outstanding musicians of the modern times. However, the budding
pianist was not destined to see her shining future. At the age of
26 Rosa was diagnosed cancer.
She got treatment at the Rentgenology Institute in Moscow, but she
gained only four more years of life full of physical suffering and,
at the same time, enthusiastic performances. Rosa Tamarkina died
on the 5th of August, 1950. The recordings she made at the age of
24 to 28, strike our ear with mastery of phrasing and sound, the
remarkable touches, the magnificent minor and octave technique,
and the beautiful pedal skills.
The Soviet piano school had gained and too early lost the superior
performer of the 20th century.
Translated by Oleg Alyakrinsky