Ресейлік композитор Виктор Эвальд: Өмір және шығармашылығы

Russian composer

Victor Vladímirovich Ewald (or Ėval′d) (Ви́ктор Влади́мирович Э́вальд; 27 November 1860 – 16 April 1935), was a Russian engineer, architect, and composer of music, mainly for conical brass instruments.

Victor Ewald was born in Saint Petersburg and died in Leningrad. Ewald was a professor of Civil Engineering in St. Petersburg, and was also the cellist with the Beliaeff Quartet for sixteen years. This quartet was the most influential ensemble in St. Petersburg in the late 19th century, introducing much of the standard quartet literature to Russian concertgoers. He also collected and published Russian folk songs much like other composers of his time. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely different field; that of a civil engineer. He excelled in this field, being appointed in 1900 as professor and manager of the Faculty of Construction Materials at the St. Petersburg Institute of Civil Engineers. From 1910 to 1924, Ewald served as editor of the architectural journal Zodchii. From 1922 to 1932, he chaired the Petrograd Society of Architects. An obituary signed by his fellow professors of the I. C. E. makes mention of a profound heritage in the development of materials production for construction resulting from Ewald’s work, and suggests that “ an entire industry for the production of brick and cement manufacturing is beholden to him”. Brass players however, are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style. Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubinstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition. Ewald’s cello teacher Karl Davydov encouraged him to immerse himself in practical music making of any sort whenever the opportunity arose. For that reason Ewald soon became (and was to remain throughout his life) one of the most active and versatile members of a remarkable circle of dilettante musicians. This group, whilst all being amateur in the strict sense of the word, made, with the influence of a shared interest in indigenous folksong, a significant contribution to the development of a distinctive Russian national musical style which, for the majority of the 19th century had been almost entirely submerged by the Germanic tradition in both teaching and practice. Amongst this circle was a group who became known as The Mighty Handful, consisting of Mily Balakirev (railroad clerk), Alexander Borodin (chemist), César Cui (soldier and engineer), Modest Mussorgsky (Imperial Guard Officer) and Nicolai Rimsky Korsakov (navy officer). The musical focal point for Ewald and the Mighty Five, as well as others, was provided by what became known as the ‘Friday Evenings’ weekly soirées for amateur performers and composers at the house of Mitrofan Petrovich Belaïev (timber merchant), which were initiated in 1888 and continued unbroken until his death in 1904. Belaïev’s importance in the development of the musical life of Ewald and all the other Friday Evening participants was considerable and went far beyond merely providing a venue for their activities. After the death of his father in 1885, Belaïev set about encouraging the development of new music in a number of practical ways, such as: the founding of a publishing house (Edition M. P. Belaïeff); the promotion of orchestral concerts; and the aforementioned Friday Evenings. It was at these evenings that one of the regular performing ensembles was a string quartet in which Belaïev played the viola and Ewald the cello. As well as providing opportunities for music making, these gatherings allowed Belaïev to audition potential publications and it is almost certain that it was for performance by, and amongst his friends and musical contemporaries, that Ewald’s four quintets were written.

The Canadian Brass editions (edited by Tony Rickard) do not set out to provide an Urtext edition, but rather to give performers a consistent and practical set of material for concert use. The edition therefore follows the instrumentation conventions of the modern brass quintet, in that it is scored for two trumpets (in B flat), French horn (in F), trombone and tuba. Because of the aforementioned taxing nature of the piece, an alternative E flat part is provided for the 1st trumpet in Op. 8. Suggested metronome markings have been added based on the accumulated evidence of several recordings (including those by Stockholm Chamber Brass, Canadian Brass, the Wallace Collection and the Philip Jones Brass Ensemble) as well as the editor’s own preferences. They are in no way included as a definitive statement, but rather in the hope that they may be of assistance to musicians discovering these pieces for the first time. There exists another 1977 edition by Sto Art publishing edited by the Empire Brass, who championed Ewald's works.

Philip Jones Brass Ensemble, Quintet No. 1, originally released on Just Brass, LP Argo Records ZRG 655 (1970), rereleased on CD Philip Jones Brass Ensemble Greatest Hits, Decca 289 467 746 2
Swedish Brass Quintet, Quintet No. 3, Music for Brass Ensemble, BIS BIS CD 248 (1974)
Das Deutsche Blechbläserquintett (German Brass), Quintet No. 1 (arranged for sextet), German Brass, Audite 95.401 (1977)
Empire Brass Quintet, Quintets No. 1, 2, 3, Russian Brass, LP Sine Qua Non Superba SQN SA 2012 (1977)
New York Brass Quintet, Quintets No. 2 and 3, Romantic Age Brass, Mentor Men 108 (1981 and 1984)
The Brass Ring, Quintet No. 1, Crystal CD561 (1986)
Munich Brass, Quintet No. 2, Munich Brass, Orfeo C 166 881 A (1988)
Atlantic Brass Quintet, Quintet No. 3, Summit DCD 119 (1990)
Das Rennquintett, Quintet No. 1, 5 Klassiker!, Bayer Records (Austria) BR 100 251 CD (1994)
Blechbläserensemble Ludwig Güttler, Quintet No. 1, Musik für Bläser, Berlin Classics BC 1090 2 (1994)
Stockholm Chamber Brass, Quintets No. 1, 2, 3, 4, Sounds of St. Petersburg, BIS BIS CD 613 (1994)
Center City Brass Quintet, Quintet No. 1, Chandos 10017 (1996)
Mannheim Brass Quintet, Quintet No. 2, Brass Pieces, Audite 97.458 (1998)
The Wallace Collection, Quintets No. 1, 2, 3, Baltic Brass, Deux Elles DXL 1042 (2001)
Center City Brass Quintet, Quintet No. 3, Romantic Music for Brass, Chandos CHSA 5023 (2004)
Mardi Brass, Quintet No. 2, Something Old The Evolution of the Brass Quintet, London Independent Records LIR010 (2005)
Philadelphia Orchestra Brass, Quintets No. 1 and 3, Ondine ODE 1150 (2010)
Wien Berlin Brass Quintett, Quintet No. 1, Tudor 7201 (2015)
The Prince Regent's Band, Quintets No. 1 and 3, Russian Revolutionaries, Resonus Classics RES10201 (2017)