JAVS Summer 2025

Palshkov’s broader contributions include widely used pedagogical editions, Ukrainian premieres of major works such as Hindemith’s, and a pioneering 1979 article on viola sound production that addressed right-hand technique— possibly the first Soviet publication to do so. 32

Research into Soviet viola culture remains incomplete, particularly outside of the two main cultural hubs of Moscow and Leningrad. The scope of contributions from violists across the USSR’s vast geography—from Russia’s republics to the other fourteen constituent Soviet states—has yet to be fully uncovered. Many cities across the Union boasted thriving musical life, with major orchestras, opera houses, ballet companies, and conservatories. These institutions fostered local viola communities where musicians performed, taught, and collaborated with composers, often with limited recognition beyond their regions. Most existing sources focus on Moscow, with Leningrad receiving somewhat less attention, and other regions included only as brief afterthoughts. This centralization of narrative stems in part from broader political and cultural tensions. Russian scholarship has often resisted integrating non-Russian contributions into the larger Soviet narrative, while post-Soviet states have tended to emphasize their national independence, minimizing their Soviet-era legacies. Western musicology has likewise centered on towering figures like Prokofiev and Shostakovich, leaving the wider viola story of the USSR largely untold. My research calls for a more inclusive, geographically diverse approach to Soviet viola history. The case of Soviet Ukraine illustrates this gap clearly. Odessa, in particular, played a vital role in early Soviet string education through the work of Pyotr Stolyarsky (1871–1944), the legendary violin teacher whose students included David Oistrakh, Leonid Kogan, and Nathan Milstein. According to Galaganov, all of Stolyarsky’s students studied the viola alongside the violin, primarily to enable their participation in string quartets and other chamber ensembles. 29 Many of these students went on to become influential teachers and performers across the USSR, contributing significantly to the viola’s development—even if indirectly. Stanislav Poniatovsky’s 2007 History of Viola Artistry discusses Georgy Bezrukov (1928–1998), a Moscow based violist known for his viola ensemble (or viola choir). 30 Poniatovsky also notes how Ukrainian violist and pedagogue B. Palshkov (1927–1997) adapted the ensemble model for his own studio, building a successful group that performed primarily works by Soviet Ukrainian composers—a choice that underscores ongoing cultural and political separation between Russia and Ukraine. 31

Figure 5. Georgy Bezrukov (1928–1998).

The remainder of my historiographic research explores lesser-known viola communities in regions such as Tatarstan and Kazakhstan. It also traces broader national developments in viola education, including the publication of standardized pedagogical materials (such as scale systems and études) and the founding of competitions at national and international levels. These areas merit deeper study and will be the focus of future articles in this series. Corpus At the heart of this study is a catalogue of 322 original Soviet viola works. Compiling and verifying these entries presented challenges distinct from Western musicological research, revealing numerous gaps and bibliographical limitations. Ongoing investigation will undoubtedly uncover additional works and clarify missing details about the existing ones.

Journal of the American Viola Society / Vol. 41, Summer 2025 Online Issue

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