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The Russian cellist, Boris Mironowitsch Pergamenschikow [Russian: Борис Миронович Пергаменщиков], came from a musical family; his father was also a cellist, and gave him his first lessons. His principal teacher for 12 years, first at a specialist music school and later at the Leningrad Conservatory, was Emmanuel Fischmann: Pergamenschikow said in an interview for the Strad in 2000, that Fischmann was "like a second father" to him. He also studied composition. In 1974, Pergamenschikow won the gold medal in the Tchaikovsky Competition in Moscow, which launched his international career.
Boris Pergamenschikow emigrated Boris Pergamenschikow to the west in 1977, and made his New York debut in 1984, when the New York Times wrote that he was "a world-class cellist by any reckoning ... his performances were on a technical, tonal, musical and interpretative level that only a small handful of cellists could match". Over the following years he performed as a soloist with with many of the world's finest orchestras and acclaimed as a chamber musician, and to record for Chandos, Decca, EMI, ECM, Hänssler and Sony Classical.
Boris Pergamenschikow's warm, intelligent playing and personality made him a popular guest artist at chamber music festivals, working with such artists as András Schiff, Yehudi Menuhin, Gidon Kremer and Mstislav Rostropovich. Although he spoke proudly of not being confined to working with one set group of musicians, saying "it would restrict me too much", in 1981he briefly formed a trio with the veteran violinist Wolfgang Schneiderhan and the pianist Paul Badura-Skoda. He was also a regular partner of the pianist Lars Vogt. Lars Vogt recalled the cellist's fascination with history, literature and politics, as well as his kindness and sense of humour. When they gave a recital together on Lars Vogt's birthday in September 2003, and on the last note of the encore, Pergamenschikow suddenly began to improvise a cadenza, which turned into Happy Birthday. It was to be their last appearance together. Pergamenschikow was also a fine pianist, on one occasion giving a concert in Germany with cellist Heinrich Schiff in which each accompanied the other on the piano in the Johannes Brahms cello sonatas.
Boris Pergamenschikow had a strong interest in contemporary music; his recording of Henri Dutilleux's Tout Un Monde Lointain won the Diapason d'Or, and, in June 2001, he gave the world premiere of Krzysztof Penderecki's Concerto Grosso for three cellos with Truls Mork, Han-Na Chang and the NHK Symphony Orchestra under Charles Dutoit in Japan. His last concert, in Warsaw in December 2003, was conducted by Penderecki.
In 1991, Boris Pergamenschikow founded the European Chamber Music Association to promote musical dialogue between young performers from western and eastern Europe; from 1990 to 1995, he organised the Finale Chamber Music Festival in Cologne. From 1977 to 1992, he gave master-classes at the Hochschule für Musik in Cologne, and, in 1998, he was appointed Professor of cello at the Hochschule für Musik "Hanns Eisler" in Berlin. He also gave numerous master-classes throughout Europe and Asia. Among his pupils were: Nicolas Altstaedt, Danjulo Ishizaka, Nina Kotova, Ditta Rohmann.
Boris Pergamenschikow was a sought-after soloist and teacher, as well as being one of the best-loved figures on the European chamber music scene. He was mentor to many of today's finest young players, while musical partners praised the profundity of his performances and his bigheartedness as a friend. A cellist of seemingly limitless talent, he tended to eschew the limelight. He turned up in unusual locations or on unexpected recordings, with performances that invariably thrilled and challenged. He played Dmitri Shostakovich's first cello concerto in Newcastle in 2002, a result of his friendship with the Southern Sinfonia's artistic director Thomas Zehetmair, and in 2004 his new recording of Johannes Brahms' sonatas with Lars Vogt was reviewed favourably in The Telegraph.
Asked once if it would be conceivable to organise a festival similar to the Manchester cello festival for, say, violinists, he replied: "The poor violinists don't have access to the lower registers. They always have to be soloists; even in string quartets, they take the most important roles. We are sometimes kings, sometimes peasants; we have to do everything between extremes - we have to learn to be more flexible." He was a marvellous mimic, using his deep Russian voice to imitate anyone from politicians to musicians. Unlike many musicians he was not highly strung, and could always see the funny side of any calamity.
Boris Pergamenschikow died of cancer on April 30, 2004. He was survived by his wife Tatiana, whom he married in 1973, and their violinist son Daniel |
