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{{Short description|Composer, Trombonist and Pedagogue (1881–1942)}}
{{Use dmy dates|date=July 2023}}
{{Infobox person
| name = Vladislav Blazhevich
| native_name = {{nobold|Владислав Блажевич}}
| image = VM Blazhevich 1903 Portrait w-Signature.jpg
| caption = Blazhevich in 1903 (age 22)
| birth_date = {{Birth date|1881|08|03|df=y}}
| birth_place = Tregubovka, [[Russian Empire]]
| death_place = Moscow, [[Soviet Union]]
| death_date = {{Death date and age|1942|04|11|1881|08|03|df=y}}
| occupation = {{ubl| Composer | Trombonist | Pedagogue}}
| works = [[List of compositions by Dmitri Shostakovich|List of compositions]]
| signature = Blazhevich's Signature Greyscale.png
}}
Vladislav Blazhevich{{refn|Born Владислав Михайлович Блажевич, the most correct correct English form of his Polish name would be Wladyslaw Michailowicz Blazewicz. The Polish spelling of his name would be Władysław Michaiłowicz Błazėwicz. The form 'Vladislav Blazhevich' is a [[Romanization]] that first appeared in 1940s publications by Leeds Music Co., and was thereafter commonplace in the West. There are numerous other spellings of his name, though Vladislav Blazhevich is by far the most common<ref name="Kharlamov" />.|group=n}}, (3 August 1881{{spaced ndash}}10 April 1942) was a Soviet-era Russian composer, conductor, trombonist, and pedagogue <ref name="Kharlamov"> Kharlamov, A.G. Blazhevich: His life and work, ITA Journal, Volume 36, Issue 3, July 2008, Pages 30-34</ref>. A highly skilled trombone, euphonium and tuba performer, Blazhevich played in various orchestras and bands and was a professor of trombone at [[Moscow Conservatory]]. He is widely known for his multiple method books for trombone and tuba, as well as his concertos and solo works for brass, and is arguably the most prolific trombone composer in history <ref name="Kharlamov" />.

After a challenging and harsh childhood, Blazhevich's musical career began in 1899, when he became a trombonist with Astrakhan Grenadier Regiment <ref name="Kharlamov" />. The Following year he would begin studies at Moscow Conservatory under Christopher Bork. This institution would come to be one of the most significant in his life. In 1928 Blazhevich ceased his performing career to pursue pedagogy and composition at Moscow University, and here he composed the majority of his pedagogical material and performance works.

<!-- Paragraph 2: Works and Proliferation-->
Blazhevich completed his first method book, School for Trombone in Clefs, in 1916, and his second, School for Trombone in 1935, as well as a School of Legato Development in 1924. These books, the first of their kind, and their practical approach to brass technique, came to be the signature content of Blazhevich's career and revolutionised brass pedagogy. After several editions were published in the West, Blazhevich's pedagogical approach was also spread across Europe and the United States. Blazhevich also composed dozens of performance works for trombone, trumpet and wind band hough these are both less published and less popular <ref name="Lambert"> Lambert, C. The Solo Trombone Works of Vladislav Blazhevich, May 2020, Page 5</ref>.

<!-- Paragraph 3: Characteristics-->
Blazhevich's style is typical of Romantic music and the flourish of artistry that occurred in Russia during that period. All of his works feature brass instruments, with his writing characterised by chromaticism, extended harmony and intense emotional contrast. His compositions include 13 Trombone Concertos, 10 Concert Pieces for Trombone, Concert Marches for Military Band, 38 Concert Duets for Two Trombones, 24 Trombone Trios, Scherzos for Trumpet, 26 Sequences and many others<ref name="Lambert" />.

<!-- Paragraph 4: Post Death-->
Blazhevich's works continue to be performed and his technical books used globally. His impact on brass pedagogy was significant and profound. Unfortunately, many Western publications of Blazhevich's works have been illegal <ref name="Kharlamov" />, editing Blazhevich's content and selling it for profit, without permission from him or his family. Trombonist and Educator Andrey G. Kharlamov made substantial efforts to right these issues, working to both remove much of the illegal content from publication and publish legal versions. Kharlamov travelled to Russia and contacted Blazhevich's living family, informing them of the various publications that had sold tens of thousands of copies with no money going to the Blazhevich family. With approval, Kharlamov then published new ethical versions of several Blazhevich works under his publishing company East-West International. <ref name="Lambert" />.

== Biography ==
=== Early life ===
Vladilav Blazhevich was born on 3 August 1881 at Tregubovka Farm, Katyn state, Smolensk district, Russian Empire. His father Mikhail was of noble Polish descent, and his mother a local commoner. In 1881, Blazhevich's father was arrested and sentenced to serve 20 years of labour for expressing Anti-Tsarist sentiment. This was possibly related to his noble Polish name (Blazewicz), especially given the poor [[Poland–Russia relations]] in the 19th century <ref name="Nance"> A.B. Nance, [https://repositories.lib.utexas.edu/server/api/core/bitstreams/967c5232-c653-4baf-b65d-8b0474db9b0c/content Nation without a State: Imagining Poland in the Nineteenth Century, dissertation for the degree of Doctor of Philosophy, The University of Texas at Austin], 2004, page 169-88</ref>. Supposedly due to the difficulty of running a household without her husband, Blazhevich's mother died in 1887, making him orphan by the age of six. Blazhevich's father's side was court ordered to adopt him, and Blazhevich's uncle became his guardian. Life on his uncle's farm was incredibly challenging, likened to "abject poverty" <ref name="Kharlamov" /> at times, with Blazhevich not owning his own pair of shoes until age 12, when he was enlisted in the army <ref name="Kharlamov" />.

=== Early Career ===

At 12, Blazhevich was enlisted into the [[3rd Siberian Rifle Division|Third Artillery Brigade]] in Smolensk, where he was given his own clothing and equipment for the first time, as well as a [[euphonium]]. His musical interests did not start here though, as Blazhevich had played the [[ocarina]] while living on his uncle's farm. Blazhevich played euphonium in the Artillery Brigade, but asked to switch to trombone in order to open up his musical opportunities as a soloist and potential orchestra member. Blazhevich joined the [[2nd Grenadier Division (Russian Empire)|Astrakhan Grenadier Regiment]] in 1899, and left in 1900, when he began his formal study of music <ref>{{Cite book |last=Blazhevich |first=V.M |title=Avtobiographia (Autobiography), Glinka State Museum of Music Culture, Moscow |year=1939 }}</ref>.

=== Education ===

Hoping to elevate his career, Blazhevich entered the trombone class of Christopher Bork in 1900, at [[Moscow Conservatory]]. Blazhevich recalls Bork as a "dry and pedantic teacher, who liked discipline and demanded unquestioning fulfilment of his instructions" <ref>{{Cite book |last=Grigoriev |first=B.P |title=''B.M. Blazhevich – Trombonist, Pedagog, Dingher'' (V.M. Blazhevich – Trombonist, Pedagogue, Conductor)}}</ref>. Blazhevich studied brass, [[Music theory| music theory]], [[orchestration]] and [[piano]] while at the Conservatory. The demanding, comprehensive style of learning would go on to heavily influence Blazhevich's own pedagogy. Blazhevich had a notably deep desire to learn, imploring the dean to let him attend the classes of other instruments besides Trombone, so he might broaden his knowledge of teaching and performing <ref name="Kharlamov" />.

=== Performance Career ===

At the conclusion of his studies at Moscow Conservatory, Blazhevich auditioned for a trombone position with the [Bolshoi Theatre], starting in the 1906 season. Blazhevich won the position, and would be a member of the orchestra until his retirement in 1928. Colleagues in the orchestra commented that Blazhevich was not just an outstanding performer, but also "strong-willed" and "kind-hearted", lending him to being an excellent section leader <ref name="Kharlamov" />.

=== World War I ===

Blazhevich's career was interrupted by the outbreak of World War I, in which he was drafted as the Assistant Superintendent of a [[military hospital]]. Despite the heavy workload of the hospital, Blazhevich's previous military career likely equipped him to deal with the work to a degree, as he both performed with the Bolshoi orchestra through this period, and found time to compose at night. Blazhevich organised a benefit concert made up of his own new compositions in 1916, devoted to men lost in the war <ref name="Kharlamov" />.

=== Tenure at Moscow Conservatory ===

Blazhevich retired from the Bolshoi Orchestra in 1928, now Principal Trombone. His final performance was [[Alexander Borodin|Alexander Borodin's]] [[Prince Igor]]. At only 47 years old, his retirement was considered early and unnecessary, especially for an individual with such technical facility <ref name="Kharlamov" />. Supposedly Blazhevich's interests in pedagogy and teaching career at Moscow Conservatory between 1920 and 1928 (while still a member of Bolshoi) increased to a point where he wished to dedicate himself to education fully. However, it was during this tenure that Blazhevich arguably reached his artistic pinnacle, developing his distinct personal style and writing the majority of solo compositions and technical books.

=== Raichman Exchange ===

Blazhevich studied with [[Russian Americans|Russian American]] Trombonist Jacob Raichman ([[Boston Symphony Orchestra|BSO]] Principal Trombone 1927-1955) in the early [[1940s]] at Moscow Conservatory<ref name="Kharlamov" />. When Raichman left for America after their exchange, he was presented with a signed copy of School for Trombone in Clefs by Blazhevich, as well as copies of 26 Sequences, Concert Duets (1926) and School of Legato Development. Blazhevich likely presented him with these mostly technical works rather than his more elaborate and technically difficult concert sketches and concertos. Raichman used School for Trombone in Clefs with his students in Boston, and after their success, wrote to Blazhevich requesting other pedagogical materials as well as Concerto No.2 and No.5. Raichman promised not to share Blazhevich's materials with anyone but his students. This promise proved short lived however, as Leeds Music published versions of 26 Sequences and School for Legato Development edited by Raichman shortly after, and a version of School for Trombone in Clefs in 1948, after Blazhevich's death<ref name="Kharlamov" />. These two instances of disregard for Blazhevich's artistic license set the tone for the illegal and unethical publication of much of his work into the future. Boston University Circulation Library possessed the Raichman Blazhevich collection after his death, though much of the historic score and music material was lost in a plumbing flood<ref name="Friedman"> Friedman, J. Blazhevich – Destiny of Works in the West, Jay Friedman Blog, February 11, 2009</ref>.

<ref name="Friedman" />.

=== Death and Legacy ===
==== Death ====
Blazhevich died on 10 April 1942. His content continues to be performed and studied globally, and new versions of his works are published often. There is a Moscow City Children's Music School named after. V.M. Blazhevich. On 17th January 2011, a concert commemorating the 130th Anniversary of Blazhevich's birth was held at Moscow Conservatory.
==== Proliferation and Publication Issues ====
After his death, Blazhevich's works have sold tens of thousands of copies across the world, though almost entirely without permission from Blazhevich or his family. Even during Blazhevich's late life, publications emerged in the United States without his permission. Through private correspondence and distribution by the collaboration of Universal Edition with MUZGIZ, American companies such as Leeds Music Co., Music Corporation of America (MCA) and BELWIN were able to publish Blazhevich's content in the 1930s and 1940s, though crucially, they falsely claimed they had permission to do so<ref name="Friedman" />. BELWIN published Concert Piece No. 5 in 1939 without permission, an open infringement of Blazhevich's intellectual property. Leeds Music Co. also utilised a courier called Misha Stillman, in order to bear physical sheet music between Russia and New York. After the Raichman exchange, Blazhevich's works would not see further publication beyond Russia for more than 20 years. however, in 1974, Professor William Cramer of Florida State University began a correspondence with Professor Victor Venglovsky of Leningrad State Conservatory (which had screened and approved many of Blazhevich's works in association with Moscow Conservatory<ref>{{cite book |last=Blazhevich |first=V.M |title=Sequences 26 Melodic Exercises (In Different Rhythms and Keys) for Trombone|year=1924|page=1}}</ref>). This correspondence would see the remaining 11 Trombone Concerti (No. 2 and No. 5 had been aquired by Jacob Raichman, and No. 10 had been available) enter the United States for the first time. These Blazhevich solo works served as a significant part of the William Cramer collection at Florida State University library, who have now unfortunately lost this part of the collection. Fortunately, these manuscripts were copied by Ronald Barron of the Boston Symphony Orchestra, who knew Cramer well. The rarer 12th and 13th concertos may have been lost to the world without this effort, as they have never been published, and are unlikely to exist in Russia<ref name="Friedman" />. Cramer attempted to have the remaining concertos in their unedited form published by International Music Company in New York, though this never occurred, possibly due to international intellectual property laws. Reginald Fink's Accura Music, one of America's largest musical publishers, based their entire low brass etude catalogue, including Advanced Musical Etudes for Trombone and Euphonium (1991), Advanced Rhythm and Technique Etudes (1991) and Symphonic Duets in Bass Clef for Trombone or Euphonium (1992 on Blazhevich's technical books. Another example of infringement was Benny Sluchin's edit of Concerto No. 1, published in 1996 by Editions BIM. It is the only published version of Concerto No. 1, and is based on Blazhevich's original handwritten manuscript (a copy of which Sluchin obtained in 1981 on tour in Russia). This version was published with no approval from the Blazhevich family, and is in parts incorrect. International Music Company is the most prolific American publisher of Blazhevich, with versions of several of his major concertos published, though these are legally dubious. Alphonse Leduc, Paris, have published nearly every Blazhevich concerto with and most of his technique books, with substantial edits. Leduc have repaid some royalties to the Blazhevich family though, and agreed on legal licensing, unlike many other companies. Until East West International's republications from 2007 onwards, the Blazhevich family reported "no payments" or royalties for any Western publications of Blazhevich's technical books. Andrey G. Kharlamov and Michael Deryugin's collaborative publications of School for Trombone in Clefs (2007 and 2012), Low Range Studies for Trombone (with Charles Vernon, 2011) and Sequences for Trombone (with Michael Mulcahy, 2008), all with the full original forewords by Blazhevich, errors from other versions corrected and permission from and royalties to Blazhevich's family, are a significant step in righting these wrongs.

== Music ==

=== Overview ===

Blazhevich's works consist of a wide variety, from the solo to orchestral level, though almost entirely feature brass instruments. Blazhevich's solo works are associated with the formation of a distinctly "[Russian] performing school," and have had an impact on "all levels of trombone training"<ref name="Ivanovich"> Ivanovich, L.N. [https://doi.org/10.30853/manuscript.2020.4.36 Trombone Expressive Means in V. M. Blazhevich’s Concertos], Musical Art, Volume 13, Issue 4, 2020, page 179</ref>.


Blazhevich composed most of his trombone concerti in the 1920s, during his tenure at Moscow Conservatory, though 11, 12 and 13 were written later, likely in the 1930s<ref name="Kharlamov"> Blazhevich – The History of Selected Works, Jay Friedman Blog, January 10, 2009</ref>. The concerti are largely freeform{{refn|Concerto No. 11 is the exception, as it is composed in sonata form, with the third movement a recapitulation of the first.|group=n}}, running continuously and not holding distinct pauses between each movement (as is tradition). There are typically piano or orchestral interludes between each of the
three movements to signify the transition. Blazhevich wrote in his book ''Methods'' (1948) the following on the structure of his concerti: "The first movement includes an opening, then a theme of melodic character with development, followed by a recitative theme that goes into recapitulation of the first theme, then ends with a virtuoso cadence. The second movement is always a lyrical Andante in a three part song form (ABA), intended for the development of musicianship and tone quality. The third movement is usually in the Rondo or Scherzo form. The main theme from the first movement is sometimes utilized to end the concerto." Blazhevich wrote that the purpose of his concertos was to show off the technical and musical capabilities of the trombone, and to enrich the meagre solo performance options of his students.

It has been suggested that Blazhevich's concertos are more akin to Fantasias<ref name="Lambert" />

== Pedagogy ==

=== Style and Inspiration ===
Blazhevich's pedagogical style was a combination of the influences of his tutelage under Christopher Bork, personal experiences while studying trombone and original method development<ref name="Kharlamov" />. Bork was a "dry and pedantic teacher, who liked discipline and demanded unquestioning fulfilment of his instructions"<ref name="Kharlamov" />, and this influence entered the pedagogy of Blazhevich, which features repetition and stringent standards.

Blazhevich's pedagogy is best represented by the series of method books it created. Students would learn the basics of the instrument through School for Trombone (1935), with these skills developing melodically with School for Legato Development and melodically and rhythmically with 26 Sequences{{refn|The foreword to 26 Sequences directly states that "These sequences are recommended after School for Trombone"<ref>{{cite book |last=Blazhevich |first=V.M |title=Sequences 26 Melodic Exercises (In Different Rhythms and Keys) for Trombone|year=1924|page=1}}</ref>|group=n}}. Blazhevich's most famous method, School for Trombone in Clefs (1916), is specifically designed for the development of advanced skills by conservatory students{{refn|The foreword to School for Trombone in Clefs (1916) directly states that "The school is written exclusively for students of the Conservatory and is no way for beginners."<ref>{{cite book |last=Blazhevich |first=V.M |title=School for Trombone in Clefs|year=1925|page=1}}</ref>|group=n}}
. The student then develops ensemble and performance skills with Miniatures, Etudes, Concert Sketches and Concert Duets, before finally progressing to substantial trombone performance repertoire including Blazhevich's own 13 concertos, the David Concertino and other established solos<ref name="Lambert" />.

=== School for Trombone in Clefs (1925) ===
==== History ====
Blazhevich completed this work, his first method, in 1916. At this point it was named School for Trombone. When Blazhevich's second method for beginners was published in 1935 under the same name (School for Trombone), he added "in Clefs" to the title of his former work in order to distinguish it from the latter. While approved by Moscow and St. Petersburg conservatories, School for Trombone in Clefs was not published until 1925 (by [[P. Jurgenson|MUZGIZ]]). This work was mostly recognised in the West by an abbreviated edition edited by Donald Hunsberger published in 1965 by MCA-Universal, titled "Clef Studies". This American version lead many researchers to incorrectly believe Blazhevich had written on trombone method, rather than one in 1925 and one in 1935. There may have been mail ordered versions of the original MUZGIZ publication in the United States in the early 1930s due to the cooperation of the [[Iron Curtain|Iron Curtained]] MUZGIZ with [[Universal Edition]] Vienna-Leizpig, but these would have been few and only in Boston and New York<ref name="Friedman" />. The outbreak of [[World War II]] in 1939 and German Invasion of Russia in 1941 severed the possibility of the original School for Trombone in Clefs entering the United States at the time. The first complete form of School for Trombone in Clefs had been published (with English translations of the notes) by Leeds Music Co. in 1948, with Jacob Raichman as editor. Raichman, who had studied at Moscow Conservatory with Blazhevich<ref>{{cite web|url=https://www.jayfriedman.net/joannes-rochut-and-bolero/|title=Joannès Rochut and "Bolero"|first=Jay|last=Friedman|work=Jay Friedman Blog|date=September 22, 2015|access-date=July 8, 2024}}</ref>, based this publication on a signed Russian edition given to him by Blazhevich himself<ref name="Kharlamov" />. In 1991, Accura Music released Advanced Musical Etudes for Trombone and Euphonium, which is a version of School for Trombone in Clefs edited by Reginald Fink. In 2007, East West International published an unabridged and legal version of School for Trombone in Clefs, and an edition in 2012.
==== Use ====
This method is a development method for advanced students familiar with how to play the trombone<ref>{{cite book |last=Blazhevich |first=V.M |title=School for Trombone in Clefs|year=1925|page=1}}</ref> (as opposed to Blazhevich's comprehensive beginner's method, School for Trombone (1935). The foreword lists its goals as "''1) To give a thorough formulation of the control of the instrument 2) To teach scales and arpeggios 3) To develop relative musicality and technique on the instrument in accordance with the requirements of our time''". The foreword also suggests that the student simultaneously "''works with Vol. I of School for Legato Development''".

=== School of Legato Development (1924) ===
==== History ====
School of Legato Development was first published in 1924 by MUZGIZ. It has one Western edition, 30 Legato Studies, edited by Aldo de Ridder, published in 1958 by International Music Company. This book is one of Blazhevich's more obscure technical works, and has seen far less use in the West compared to his others. This is liken given the breadth of established and available quality legato methods, such as those by Reginald Fink, Michael Mulcahy, Charles Vernon, Marco Bordogni (edited by Joannès Rochut) and Jean-Baptiste Arban, among others. Nonetheless, Blazhevich's approach to legato is a significant part of his pedagogical process and has merit as one of the earliest methods of its kind.
==== Use ====
School for Legato Development is divided into 30 etudes, of increasing difficulty and higher tessitura, as well as a page of alternative positions exercises at the end<ref>{{Cite book |last=Blazhevich |first=V.M |title=School for Legato Development of the Slide Trombone|year=1924 }}</ref>. The exercises are immediately in a combination of all three trombone clefs (bass, alto, tenor) from the first exercise onward, suggesting the method was to be used after a student had learnt the basics of positions and reading (within Blazhevich's own pedagogy, School for Trombone in Clefs or School for Trombone would provide this foundation). The exercises presented centre around repetition, both of the same exercise and of the exercise shifted somehow. This process is designed to build familiarity with legato playing across a broad range of contexts. See below example from exercise 1 of School for Legato Development:

:<score sound="1"> \relative c { \set Staff.midiInstrument = #"trombone" \clef bass \key bes \major \numericTimeSignature \time 4/4 | bes2( a~) | bes2( a) | a2( bes~) | a2( bes) | bes4( a~) | bes4( a) | a4( bes~) | a4( bes) | bes8( a~) | bes8( a) | a8( bes~) | a8( bes~)| } </score>
Much of the book centers around this idea, in this instance a rhythmic augmentation of the same motif, so the student may gain the ability to play legato at any speed.

=== 26 Melodic Sequences for Trombone (1924) ===
==== History ====
First published in 1924 as "Sequences – 26 Melodic Exercises (In Different Rhythms and Keys) – for Trombone," Sequences is a book of etudes primarily designed to attain rhythmic and metrical fluency in a melodic context. Sequences first left Russia with Jacob Raichman in 1926 after his period of study with Blazhevich, and he used it as a teaching tool for his students in Boston<ref name="Friedman" />. In 1991, Accura music published Advanced Rhythm and Technique Etudes, which is a version of 26 Sequences edited by Reginald Fink.The work was republished by East West International Music, unedited and in English by Andrey G. Kharlamov, Michael Deryugin and Michael Mulcahy.
==== Use ====
Blazhevich's foreword to Sequences reads

"These exercises in sequences should make
up for the lack of musical literature - the lack
of exercises for the trombone in the relationships
of keys, rhythms and keys. 26 exercises give the
student the opportunity to acquire skill in
performing material of a melodic nature, set out in
the three main keys for the instrument, and in addition
become familiar with the wide use of rhythm
and tempo notations.
These sequences are recommended after
school for the sliding trombone, by the same
author."

The rhythmic and metrical complexity of Sequences, sustained through all 26 etudes, suggests that it is designed for the experienced student, to aid in their transition from student to performer. The unusual metre of many of these, such as 3/8 + 2/8 for No. 2 and 6/16 for No. 4, as well as intense use of ornamentation, constant clef changes and broad range of tempi, suggest sequences would only be useful to an already experienced student. Within Blazhevich's pedagogical style, Sequences lies between his foundational School for Trombone and School for Trombone in Clefs and more virtuosic concertos and concert sketches.

=== School for Slide Trombone (1935) ===
==== History ====
This edition is a beginners method, and is distinct to School for Trombone in Clefs. It was first published in 1935 by MUZGIZ. The first Western edition was published in 1990 by Accura Music.

=== School for Contrabass Tuba (1937) ===
Most commonly played under the name "70 studies of BBb tuba", an edit by Robert King published in two volumes

=== Other Works ===
Blazhevich reportedly has many other technical books, including Etudes for Trombone Vol. 1&2, 20 Miniatures for Trombone and Piano, 24 etudes "Virtuoso" and 10 Concert Etudes with Piano, though these are not published in the West, if at all<ref name="Kharlamov"> Blazhevich – The History of Selected Works, Jay Friedman Blog, January 10, 2009</ref>.

Concerto No.2, opening

:<score sound=1>
{ \new PianoStaff <<
\new Staff = "RH" \relative c'' { \clef treble \key des \major \time 4/4 \tempo "Moderato" 4 = 100 <e, e,>16 <f f,>16 <ges ges,>16 <f f,>16 <a a,>16 <bes bes,>16 <des des,>16 <c c,>16}
\new Staff = "LH" \relative c { \clef bass \key des \major <e, e,>16 <f f,>16 <ges ges,>16 <f f,>16 <a a,>16 <bes bes,>16 <des des,>16 <c c,>16} >> }
</score>


Concerto No.2 4 copy.png

==Notes==
{{reflist|group=n}}

== Citations ==

Revision as of 10:26, 11 July 2024

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