Leonid Kogan was a great admirer of Jascha Heifetz, and his renderings of the classics, from Bach to Tchaikovsky, are imbued with a luminous majestic elegance. The sense of freedom and lightness stems from an inborn virtuosity, compellingly projected by this programme, which juxtaposes folk music from the past with subtly transcended more recent Slavic music. Leonid Kogan [1924-82] studied from the age of 10 with Philip Yampolsky, a Leopold Auer pupil, and his main mentor was Abram Yampolsky until 1951, the year he won the 1st prize in the Queen Elisabeth Competition in Brussels. Kogan was the first Soviet violinist to play and record Berg's Violin concerto. He also made a famous recording of Khachaturian's violin concerto with Pierre Monteux and the Boston Symphony Orchestra for RCA Victor (his American debut recording), a version still considered the most exciting reading of the work but his career was always overshadowed by that of David Oistrakh, who was strongly promoted by the Soviet authorities. Kogan was made an Honoured Artist in 1955 and a People's Artist of the USSR in 1964. He received the Lenin Prize in 1965.
His playing exemplified the finest qualities of the Russian School: an emotionally romantic elan and melodious filigree of technical detail. In addition to the standard repertoire, in which he excelled, he also played modern violin works, particularly those by Soviet composers. Among works dedicated to him are concertos by Knipper, Khrennikov [included here], Karayev and Bunin, the Concerto-Rhapsody by Khachaturian and Sonatas by Levitin and Weinberg. In short Praga Digitals have brought together a remarkable tribute to him of works that he inspired and which he is remembered for.
Leonid Kogan was married to Elizabeth Gilels, sister of pianist Emil Gilels, also a concert violinist. His son, Pavel Kogan (b. 1952) became a famous violinist and conductor. His daughter, Nina Kogan (b. 1954), is a concert pianist and became the accompanist and sonata partner of her father at an early age.