Édouard Lalo (1823-1892) Symphonie Espagnole, Op. 21 by Leonid Kogan.
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00:00 Symphonie Espagnole, Op. 21 - I. Allegro non troppo (Remastered 2021)
07:37 Symphonie Espagnole, Op. 21 - II. Scherzando, Allegro molto (Remastered 2021)
11:47 Symphonie Espagnole, Op. 21 - III. Intermezzo, Allegro non troppo (Remastered 2021)
17:54 Symphonie Espagnole, Op. 21 - IV. Andante (Remastered 2021)
24:42 Symphonie Espagnole, Op. 21 - V. Rondo, Allegro (Remastered 2021)

Violin: Leonid Kogan
Orchestre de la Société des Concerts du Conservatoire
Conductor: Charles Bruck
Recorded in 1955, at Paris
New mastering in 2021 by AB for CMRR
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This recording displays the artistry and sense of style in 19thcentury virtuoso concerto of an extraordinary violinist. Leonid Kogan was a legendary figure in the musical profession and had he not suffered to live out his life in the restrictive society of the Soviet Union, he would be even better known today than he is. Fortunately for posterity he was a prolific recording artist. This reissue, which is among the first recordings he made in the West, contributes to our knowledge of this singular creative genius.

Leonid Borisovich Kogan was born on 14 November 1924 in Dnepropetrovsk, Ukraine, the son of two photographers. His father played the violin as an amateur and the sound so fascinated the boy that by the age of three he would not go to sleep unless he had the fiddle beside him. When he was five, he tried to play it, but became frustrated when he could not stretch his left hand far enough — so Boris Kogan bought him a small violin. Fortunately Leonid was found a first-rate teacher, Philip Yampolsky, who had studied with Auer. Seeing Kogan's natural platform manner and classical stance, the weight beautifully distributed between his feet and his back perfectly arched, the violin held quite high, one realised he had been well instructed from an early age. He felt that Philip Yampolsky inspired in him "a love of work, which I think is most important"; but he was never pushed — and almost gave up after two lessons. Luckily his parents encouraged him gently and by playing a few minutes each day, he kept his enthusiasm alive. "l cannot say that in my childhood I played with pleasure," he recalled, adding that he enjoyed most the pieces at which he had to work least! His first encounter with the playing of David Oistrakh, 16 years his senior, came in 1932 and was a spur to his endeavours.

As a Jew, Kogan faced discrimination at every turn. "He made a career only through his really great talent," said his son Pavel. The turning point should have come in 1951, when he was pitched into the Ysaye Competition in Brussels. Joseph Stalin apparently asked Oistrakh who could capture the first prize for the Soviet Union and was told that only Kogan could do it. "My father was not a young man he was 26 and he got a call ten days or two weeks before the competition," said Pave! Kogan. It was a test of temperament but Kogan triumphed before a jury including Oistrakh and Jacques Thibaud — who in 1936, on a visit to Moscow, had foretold a great future for him. Instead of being feted across Europe, Kogan had to return home, as the Cold War was raging. Only in 1955 did he make his London and Paris debuts (playing three concertos in each programme). In 1956 he visited South America and at home he gave six concerts featuring 18 concertos with orchestra in the 1956/57 season, to illustrate The Development of the Violin Concerto. In January 1958 he made it to the United States. After his opening Boston performance of the Brahms Concerto, with Pierre Monteux conducting, the audience applauded for 18 minutes. From that moment until his premature death on a train, at the Mytishcha rail station on 17 December 1982, Kogan was recognised as one of the great violinists. He was made an Honoured Artist in 1955 and a People's Artist in 1964 and received the Lenin Prize the following year. He taught at the Moscow Conservatory virtually from the time he finished his post-graduate studies and became a soughtafter professor, as well as serving on competition juries.

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