by Ian Zook
Volume 16—Vitaly Buyanovsky
This month, we will honor Vitaly Buyanovsky, a prolific performer, teacher, and composer who famously exemplified the characteristics of the Russian school of sound and interpretation. Buyanovsky recorded several 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 pieces 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 Mikhaelovich Buyanovsky (1928-1993) was born in Leningrad (St. Petersburg) and raised in a musical family. His horn studies began with his father Mikhael 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 of Russian artistry, Buyanovsky earned notable 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, as well as many of his own compositions. Buyanovsky described the Russian horn tradition as a combination of the Western romantic-classical style and Russian sacred vocal music that is present in the works of the great Russian composers until Shostakovich, and his recordings exemplify this beautiful lyrical merging.
While many may be familiar with Buyanovsky’s compositions through his Four Improvisations (from Traveling Impressions)—and even moreso through the Espãna movement—he was a prolific composer across a breadth of genres. In summary, 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 on Buyanovsky Honorary Membership in 1985.
Beethoven’s horn chamber works for horn are well-known, principally 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 Horns 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 begins with the melody in the first horn, harmonized by second bassoon. Curiously, Beethoven places the horns first in score order above the other winds, leading the way formally with this idiomatic opening:
The conclusion of the Rondino also features the horns with an indication to play the echoing calls con sordino. Buyanovsky and Shalyt opt to play shaded dynamics to achieve this effect as timing for a mute change is treacherous 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 first 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 rhythmic motor. 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 singular and characteristic musical craft with us all. Seek them out and be inspired. Thanks for reading Horn on Record!
