Григорий Пятигорский: Жизнь и творчество виртуоза виолончели.

Russian born American cellist

Gregor Piatigorsky (Lang ru, Grigoriy Pavlovich Pyatigorskiy; April 17 1903 [O. S. April 4 1903]August 6, 1976) was a Russian Empire born American cellist.

Gregor Piatigorsky was born in Ekaterinoslav (now Dnipro, Ukraine) into a Jewish family. As a child, he was taught violin and piano by his father. After seeing and hearing the cello at an orchestra concert, he was determined to become a cellist and was given his first cello when he was seven. Piatigorsky won a scholarship to the Moscow Conservatory, studying with Alfred von Glehn, Anatoliy Brandukov, and a certain Gubariov. At the same time, he was earning money for his family by playing in local cafés, brothels and silent movie houses. Piatigorsky was 13 when the Russian Revolution took place. Shortly afterward, he started playing in the Lenin Quartet. At 15, he was hired as the principal cellist for the Bolshoi Theater. The Soviet authorities, specifically Anatoly Lunacharsky, would not allow Piatigorsky to travel abroad to further his studies, so he smuggled himself and his cello into Poland on a cattle train with a group of artists. One of the women was a heavy set soprano who, when the border guards started shooting at them, grabbed Piatigorsky and his cello. The cello did not survive intact, but it was the only casualty. Now 18, Piatigorsky studied briefly in Berlin and Leipzig, with Hugo Becker and Julius Klengel, playing in a trio in a Russian café to earn money for food. Among the patrons of the café were Emanuel Feuermann and Wilhelm Furtwängler. Furtwängler heard Piatigorsky and hired him as the principal cellist of the Berlin Philharmonic.

In January 1937, Piatigorsky married Jacqueline de Rothschild, daughter of Édouard Alphonse James de Rothschild of the wealthy Rothschild banking family of France. That fall, after returning to France, they had their first child, Jephta. After the Nazi occupation in World War II, the family left France on September 5, 1939, by boat for the United States from Le Havre and settled in Elizabethtown in the Adirondack Mountains, New York, where Piatigorsky had already bought a house. It was also his parents in law's first U. S. residence after their flight from France in 1939. Their son, Joram, was born in Elizabethtown in 1940. Piatigorsky had three grandsons by Jephta (Jonathan, Evan, Eric) and two by Joram (Auran, Anton)

The great violin pedagogue Ivan Galamian reportedly once called Piatigorsky the greatest string player of all time. He was an extraordinarily dramatic player. His orientation as a performer was to convey maximum expression. He brought a great authenticity to his understanding of this expression. He was able to communicate this authenticity because he had had extensive personal and professional contact with many of the great composers of the day. Many of those composers wrote pieces for him, including Sergei Prokofiev (Cello Concerto), Paul Hindemith (Cello Concerto), Mario Castelnuovo Tedesco (Cello Concerto), William Walton (Cello Concerto), Vernon Duke (Cello Concerto), and Igor Stravinsky (Piatigorsky and Stravinsky collaborated on the arrangement of Stravinsky's "Suite Italienne", which was extracted from Pulcinella, for cello and piano; Stravinsky demonstrated an extraordinary method of calculating fifty fifty royalties). At a rehearsal of Richard Strauss's Don Quixote, which Piatigorsky performed with the composer conducting, after the dramatic slow variation in D minor, Strauss announced to the orchestra, "Now I've heard my Don Quixote as I imagined him." Piatigorsky had a magnificent sound characterized by a distinctive fast and intense vibrato and he was able to execute with consummate articulation all manner of extremely difficult bowings, including a downbow staccato of which other string players could not help but be in awe. He often attributed his penchant for drama to his student days when he accepted an engagement playing during the intermissions in recitals by the great Russian basso Feodor Chaliapin. When portraying his dramatic roles, such as the title role in Boris Godunov, Chaliapin not only sang, but declaimed, almost shouting. On encountering him one day, the young Piatigorsky told him, "You talk too much and don't sing enough." Chaliapin responded, "You sing too much and don't talk enough." Piatigorsky thought about this and from that point on, tried to incorporate the kind of drama and expression he heard in Chaliapin's singing into his own artistic expression.

Piatigorsky was also a composer. His Variations on a Paganini Theme (based on Caprice No. 24) was composed in 1946 for cello and orchestra and orchestrated by his longtime accompanist Ralph Berkowitz; it was later transcribed for cello and piano. Each of the 15 variations whimsically portrays one of Piatigorsky's musician colleagues. Denis Brott, a student of Piatigorsky, identified them as Casals, Hindemith, Garbousova, Morini, Salmond, Szigeti, Menuhin, Milstein, Kreisler, a self portrait, Cassadó, Elman, Bolognini, Heifetz, and Horowitz.

Piatigorsky also enjoyed playing chess. His wife, Jacqueline Piatigorsky, was a strong player who played in several U. S. women's championships and represented the U. S. in the women's Chess Olympiad. In 1963, the Piatigorskys organized and financed a strong international tournament in Los Angeles, won by Paul Keres and Tigran Petrosian. A second Piatigorsky Cup was held in Santa Monica in 1966 and won by Boris Spassky.