Rudolf Barshai born on September 28, 1924 in Stanitsa Lobinskaya, Russia. Soviet/Russian conductor and viola player. Studied in Moscow Conservatory under Prof. Tseitlin. Won numerous Soviet and International Competitions. Married in 1954 Anna Martinson, a famous Russian painter and costume designer, a daughter of one of the most popular Soviet comics, Sergey Martinson. In 1955, after birth of his son, and to help ends meet, created the famed Moscow Chamber Orchestra, which he led and conducted until he emigrated to the West in 1978. Settled in Switzerland. Conducted such reputed orchestras as Bournemouth, Vancouver, London Symphony, Royal Philharmonic, WDR, Stuttgart, Houston, Miami, Cincinnati and many others. The Union of Soviet Socialist Republics (USSR) (Russian: Союз Советских Социалистических Республик (СССР)  listen; tr. ... See Conductor for other possible uses of the word. ... The viola (in French, alto; in German Bratsche) is a stringed musical instrument which serves as the middle voice of the violin family, between the upper lines played by the lighter violin (soprano register) and the lower lines played by the heavier cello (bass) and double bass. ...

Achieved fame as music interpreter and transcriber of Shostakovich's and Prokofiev's music and as Mahler and Shostakovich conductor. His recordings earned numerous International Awards and critics’ acclaims. Recording of Mahler’s 5th Symphony is considered the best ever by many, along recordings with Moscow Chamber Orchestra.

Here is one critic's view of his art: Of the great conductors of our time, Rudolf Barshai is surely the one most closely associated with the contemporary composers whose music he conducts. He studied composition with Shostakovich, discussed orchestration with Prokofiev, and established himself as a forceful advocate of the music of Alexander Lokshin. But there were a great many more composers who wrote works for the orchestra Barshai founded in 1955 and frequently took on tour the orchestra with which he gained world renown: the Moscow Chamber Orchestra. It was he who first acquainted Russian audiences with Baroque music and chamber orchestra literature. Not only did he commission works from composers, he arranged their pieces as well. Probably his best known orchestration is the Chamber Symphony after Dmitri Shostakovich's Eighth String Quartet.

As Barshai worked with all of those composers, his interpretation of twentieth century Russian music possesses unparalleled authenticity. He partnered many of them, often performing Shostakovich's music with the composer at the piano: not only as a conductor but also as a violist, for Barshai was an incomparable master of the viola. He regularly played chamber music with David Oistrakh and Sviatoslav Richter, Emil Gilels and Leonid Kogan, Mstislav Rostropovich and Yehudi Menuhin.

After Shostakovich's death, Rudolf Barshai emigrated to the West, where he built up a new career. Now he began conducting the great orchestras of the world in classical repertoire ranging from Bach and Mozart, Schubert and Brahms, to Mahler and Shostakovich. He directed the Vienna Symphony and the London Symphony, the BBC Symphony and the Philharmonia, the Orchestre National de France and the Orchestre de Paris, the Deutsches Symphonieorchester Berlin and the Bavarian Radio Symphony, plus great many other orchestras in Europe, Asia and the United States. The University of Southampton awarded him an honorary doctorate of music

Although Rudolf Barshai has made countless recordings - the most important of his current projects is a complete cycle of the fifteen Shostakovich symphonies with the Cologne Radio Orchestra - he has always kept aloof from the media circus. Eminently serious, he shuns any form of glitzy glamour, and is not one of the jet-setting conductors that constantly dash round the world performing under-rehearsed programs. Barshai's name stands for the masterful realization of the composer's will; a principled advocate of their ideas, he dedicates his legendary ability to rapidly mould an orchestra’s sound to his conceptions to one sole purpose: achieving clarity and focus. But then with astonishing results. Few interpreters today can so powerfully bring out the meaning of a composition purely on the basis of the score. Barshai needs no additional ingredients to make a piece "interesting"; he shows what the music itself has to say. His readings of the Beethoven symphonies are unique for their clarity of form and forceful architecture. On hearing Barshai's interpretation of Beethoven's Eroica, Shostakovich remarked: “We haven't heard Beethoven like that since Klemperer." And indeed, Barshai's music making could most easily be compared to Klemperer's. An unerring stylistic instinct allows Barshai to go to the very heart of a Mahler symphony and to answer all the questions Mahler readings so often leave open when conductors pursue only the superficial effects that are so easy to realize. One of the reasons for this is surely the training Barshai received in Moscow in the 1940s and '60s - the training that produced all the famous Russian musicians that have helped shape the second half of our century. Barshai began his violin studies at the Moscow Conservatory with the legendary Lev Zeitlin. Zeitlin had been the star pupil of Leopold Auer, "father" of the Russian school of violin playing. An Austrian, Auer had brought the authentic spirit of the Viennese classical period to Russia.

While still a student, Barshai developed such enthusiasm for string quartet playing that he moved from the violin to the viola, for he wanted to found a first-rate quartet. He subsequently became a founding member of both the Borodin Quartet and the Tchaikovsky Quartet. This was also the period when his friendship with Shostakovich began. And it was Barshai who stood up to massive bureaucratic resistance and, in close creative collaboration with the composer, gave the first performance of Shostakovich's Fourteenth Symphony with his orchestra in 1909. For decades Sviatoslav Richter, perpetually dissatisfied with half-hearted "orchestral accompaniment', would work with only two conductors: Benjamin Britten and Rudolf Barshai. Barshai continually seeks opportunities to engage in creative work of his own as well, composing, orchestrating and arranging, always on a quest for new sounds. He has recently arranged further string quartets by Shostakovich for small orchestra. In the year 2000 he intends to conclude a project that has occupied him for many years: the completion and orchestration of Gustav Mahler's Tenth Symphony, which has thus far existed only in creditable performing editions. The premiere of the Barshai version will undoubtedly constitute a new and meaningful addition to the symphonic repertoire.

website: http://www.rudolfbarshai.com