Samuil Feinberg

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Feinberg, Samuil Evgen’evich


Born May 14 (26), 1890, in Odessa; died Oct. 22, 1962, in Moscow. Soviet pianist, teacher, and composer. Honored Art Worker of the RSFSR (1937).

In 1911, Feinberg graduated from the Moscow Conservatory from the piano class of A. B. Gol’denveizer; he also studied composition under N. S. Zhiliaev. In 1912 he began an extensive concert career. Feinberg was the first to perform many of the works of S. S. Prokofiev, N. Ia. Miaskovskii, and A. N. Aleksandrov. He became famous as an interpreter of the music of A. N. Scriabin. His concert repertoire was vast and included classical and romantic music as well as his own compositions. He combined individuality of interpretation with precise rendering of the composer’s intent and possessed a virtuoso technique.

From 1922 to 1962, Feinberg was a professor in the special piano subdepartment of the Moscow Conservatory; he became head of the subdepartment in 1936. Among his students were I. N. Aptekarev, N. P. Emel’ianova, L. M. Ziuzin, V. K. Merzhanov, and V. A. Natanson. As a composer, Feinberg continued the traditions of Scriabin and N. K. Metner. His works included three concerti for piano and orchestra, 12 piano sonatas, piano adaptations of organ works by J. S. Bach and other composers, and piano adaptations of Chuvash and other folk songs.

Feinberg was awarded the State Prize of the USSR (1946), the Order of Lenin, two other orders, and various medals.


Pianizm kak iskusstvo, 2nd ed. Moscow, 1969.


Alekseev, A. “O pianisticheskikh printsypakh S. E. Feinberga.” In Mastera sovetskoi pianisticheskoi shkoly: Ocherki. Moscow, 1954.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The first and third movement of the sonata were performed at Prokofiev's funeral by Oistrakh and Samuil Feinberg.
But, he's still peerless in the classics, and 19th-century masterpieces by Beethoven and Schumann frame this typically imaginative programme, in which Hamelin shares his latest rediscovery: the deeply poetic music of Samuil Feinberg, a forgotten disciple of Rachmaninov and Scriabin.
Perhaps had I (and Samuil Feinberg) been in the mood and properly attired for such obsequies I might have attended; as it was, the most dissonant aspect of the concert was that it was played by living humans.