Eda Kersey Führung Von Samuel Barbers Violinkonzert Op

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Eda Kersey Führung Von Samuel Barbers Violinkonzert Op Kersey, Eda Eda Kersey führung von Samuel Barbers Violinkonzert op. 14. Dar- über hinaus nahm sie einen Teil dieser Konzerte für die * 15. Mai 1904 in Goodmayes, England BBC auf und gab u. a. die erste Rundfunkaufführung von † 13. Juli 1944 in Ilkley (Yorkshire), England Ernst von Dohnányis Violinkonzert d-Moll op. 27. Orte und Länder Violinistin Eda Kersey wurde in Goodmayes, in der Grafschaft Ess- „The double concerto [...] does not show Brahms in his ex geboren und wuchs u. a. in Southsea (Portsmouth, easiest mood, but it was beautifully played last night by Hampshire) auf. Ab 1917 lebte sie in London, wo sie pri- Miss Eda Kersey and Miss Thelma Reiss. [...] The coope- vat Violine studierte, und behielt dort zeitlebens ihren ration of the two players was all that could be desired, Wirkungskreis bei. Zudem konzertierte sie regelmäßig in and Sir Henry Wood gave them every help to realize to zahlreichen weiteren Städten Englands, u. a. in South- the full their conception of a work which rarely sounds hampton, Birmingham, Harrogate, Leeds und Norwich. so persuasive and convincing, even to its admirers, as it Sie starb in Ilkley in der Grafschaft Yorkshire. did in their hands.“ Biografie „Das Doppelkonzert […] zeigt Brahms nicht gerade in sei- Eda Kersey wurde am 15. April 1904 in Goodmayes, in ner unbeschwertesten Stimmung, doch es wurde letzten der Grafschaft Essex geboren. Ihre musikalische Ausbil- Abend von Fräulein Eda Kersey und Fräulein Thelma dung erhielt sie überwiegend in privatem Unterricht, zu- Reiss wundervoll gespielt. […] Die Zusammenarbeit der nächst am Klavier, ab dem Alter von sechs Jahren auch beiden Spielerinnen hatte alles, was man sich wünschen in Violine. 1910/11 besuchte sie das Trinity College of Mu- könnte, und Sir Henry Wood gab ihnen jede Unterstüt- sic. Nachdem die Familie 1915 nach Southsea in zung, um ihre Konzeption eines Werkes in Vollendung Hampshire gezogen war, setzte Eda Kersey ihren Unter- zu realisieren, das, selbst für seine Bewunderer, selten so richt bei Edgar Mouncher, einem Schüler des Prager Vio- überzeugend und bestechend klang wie es unter ihren linpädagogen Otakar Sevcik, fort und erarbeitete mit Händen der Fall war.“ ihm u. a. das Violinkonzert d-Moll op. 22 von Henri Wie- niawski (vgl. Artikel „Eda Kersey“, in Wikipedia Eng- („The Times“ vom 19. August 1937, S. 10) land; Wright 2012). Ab dem Alter von 13 Jahren lebte Eda Kersey bei Verwandten in London, um dort ihr Profil Violinstudium bei Margaret Holloway, einer Schülerin Die Geigerin Eda Kersey wurde überwiegend privat aus- von Leopold Auer, fortzusetzen (vgl. Artikel „Eda Ker- gebildet und erhielt u. a. Violinunterricht von Edgar sey“, in: Wikipedia England; Wright 2012). Drei Jahre Mouncher, einem Schüler Otokar Sevciks, und Margaret später, im Oktober 1922 gab sie ein erstes eigenes Kon- Holloway, einer Schülerin Leopold Auers. Ab Ende der zert in der Londoner Æolian Hall (vgl. Konzertankündi- 1920er Jahre konnte sie sich als Solistin und Kammermu- gung in „The Times“ vom 22. Oktober 1920, S. 13). Ge- sikerin im englischen Musikleben etablieren. Sie konzer- meinsam mit ihrer Schwester, der Violoncellistin Rosalie tierte u. a. regelmäßig mit dem Birmingham Symphony Kersey, und weiteren Familienmitgliedern trat sie zudem Orchestra und dem BBC Orchestra unter Dirigenten wie als Streichquartett auf, so z. B. am 14. November 1924 in Sir Henry Wood und Joseph Lewis, veranstaltete Kam- Southhampton, wo sie das „Kersey String Quartet“ als mermusikkonzerte mit dem Pianisten Gerald Moore und Primaria führte. Auf dem Programm des Kammermusik- dem Violoncellisten Cedric Sharpe sowie in späteren Jah- konzertes standen eine Serenade von Wolfgang Amadeus ren mit der Pianistin Kathleen Long und dem Violoncel- Mozart sowie Streichquartette von Peter I. Tschaikowsky listen James Whitehead. Zwischen 1926 und 1944 gab (D-Dur op. 11), Johannes Brahms (a-Moll op. 51 Nr. 2) Eda Kersey mehr als 200 Rundfunkkonzerte. Zudem und Ludwig van Beethoven (B-Dur op. 130) (vgl. „The spielte Eda Kersey zahlreiche Uraufführungen und engli- Musical Times“ vom 1. Januar 1925, S. 70). Im Frühjahr sche Erstaufführungen, darunter Uraufführungen der 1926 bewarb sich Eda Kersey schließlich beim „Patron’s Violinkonzerte von Stanley Wilson, Arthur Benjamin Fund“ des Royal College of Music für ein Stipendium für („Romantic Fantasy“ für Violine, Viola und Orchester o. ausübende Künstler und konkurrierte dort mit den in op.) und Arnold Bax o. op. sowie die englische Erstauf- London institutionell ausgebildeten Musikerinnen und – 1 – Kersey, Eda Musikern. Dabei spielte sie Antonín Dvořáks Violinkon- („Am Mittwoch gab es neben der wirklich schönen Auf- zert a-Moll op. 53, wie aus einer Meldung der „Musical führung der Symphonie eine höchst lobenswerte Auffüh- Times“ hervorgeht: „Two rehearsals for executive artists rung des Violinkonzertes durch Fräulein Eda Kersey. have been given this term by the Patrons’ Fund. [...] The Fräulein Kersey ist als gute Violinistin bekannt, doch programme of the second rehearsal included [...] a perfor- dies war der erste wirklich große Test, und sie bestand mance of the Dvořák Violin concerto by Miss Eda Ker- ihn mit vollem Erfolg, da ihr Spiel rhythmisch stabil, süß sey, who studied privately.“ („Zwei Probeaufführungen im Klang und durchweg musikalisch war. Sie entwickelt für ausübende Künstler wurden in diesem Semester vom sich offensichtlich schnell zu einer ausgezeichneten Spie- Patrons’ Fund gegeben. […] Das Programm der zweiten lerin.“; „The Musical Times“ vom 1. September 1931, S. Probeaufführung beinhaltete […] eine Interpretation von 844) In den Promenade Concerts 1936 gab Eda Kersey Dvořáks Violinkonzert von Fräulein Eda Kersey, die pri- das Violinkonzert D-Dur op. 35 von Peter I. Tschaikows- vaten Unterricht hatte.“; „The Musical Times“ vom 1. ky, wiederum unter der Leitung von Sir Henry Wood, März 1926, S. 261) und zeigte – so die „Times“ – „that she has added as- surance and brilliance to her long-probed ability and ac- In den folgenden Jahren konnte sich Eda Kersey im engli- complishments.“ („... dass sie zu ihren lange erprobten schen Musikleben als Solistin und Kammermusikerin eta- Fähigkeiten und Errungenschaften Sicherheit und Brill- blieren und konzertierte sowohl in London als auch in anz hinzugefügt hat.“; „The Times“ vom 14. August 1936, zahlreichen weiteren britischen Städten. Zu ihrem Reper- S. 10) Gemeinsam mit der Violoncellistin Thelma Reiss toire gehörten dabei nicht nur die großen klassisch-ro- spielte sie in den Konzerten des Jahres 1937 das Doppel- mantischen Violinkonzerte von Ludwig van Beethoven, konzert für Violine, Violoncello und Orchester a-Moll op. Felix Mendelssohn Bartholdy, Peter I. Tschaikowsky und 102 von Johannes Brahms, und die „Times“ rezensierte: Johannes Brahms sowie die entsprechenden Kammermu- „The double concerto [...] does not show Brahms in his sikwerke, sondern auch – vor allem ab den 1940er Jah- easiest mood, but it was beautifully played last night by ren – zahlreiche aktuelle Kompositionen der jüngeren Miss Eda Kersey and Miss Thelma Reiss. Bigger and mo- englischen Generation, u. a. von John Ireland, Arthur re spacious readings are rarely so smooth and free from Benjamin und Arnold Bax, dessen Violinkonzert sie 1943 strain as this more modest but wholly musical treatment uraufführte. Ab Ende der 1920er Jahre überzeugte Eda of a rugged work. [...] The cooperation of the two players Kersey mit ihrem Spiel nahezu ausnahmslos Musikkritik was all that could be desired, and Sir Henry Wood gave und Publikum, auch wenn ihre Erfolge in der Presse häu- them every help to realize to the full their conception of a fig nur mit wenigen Worten gewürdigt wurden. work which rarely sounds so persuasive and convincing, even to its admirers, as it did in their hands.“ („Das Dop- Bekannt wurde Eda Kersey vor allem durch ihre Auftritte pelkonzert […] zeigt Brahms nicht gerade in seiner unbe- als Solistin bei den Londoner Promenade Concerts, die je- schwertesten Stimmung, doch es wurde letzten Abend weils im August und September stattfanden. Ihr dortiges von Fräulein Eda Kersey und Fräulein Thelma Reiss wun- Debüt im September 1929 unter der Leitung von William dervoll gespielt. […] Die Zusammenarbeit der beiden Walton mit Edouard Lalos „Symphonie Espagnole“ für Spielerinnen hatte alles, was man sich wünschen könnte, Violine und Orchester d-Moll op. 21 blieb zunächst ohne und Sir Henry Wood gab ihnen jede Unterstützung, um großes Presseecho („The Times“ vom 16. September ihre Konzeption eines Werkes in Vollendung zu realisie- 1929, S. 10). Als sie dort im August 1931 das Violinkon- ren, das, selbst für seine Bewunderer, selten so überzeu- zert D-Dur op. 77 von Johannes Brahms unter der Lei- gend und bestechend klang wie es unter ihren Händen tung von Sir Henry Wood spielte, zeigte sich u. a. die der Fall war.“; „The Times“ vom 19. August 1937, S. 10) „Musical Times“ begeistert: „On Wednesday, beside the Ein Jahr später, im August 1938 trat sie im Eröffnungs- really fine performance of the Symphony, there was also konzert mit Felix Mendelssohn Bartholdys Violinkonzert a most commendable performance of the Violin Concer- e-Moll op. 64 auf, wiederum unter der Leitung von Sir to by Miss Eda Kersey. Miss Kersey is known for a good Henry Wood, und verleitete den Rezensenten zu einer in violinist, but this was the first really big test, and she ca- der englischen Musikkritik seltenen blumigen Sprache: me out of it with complete success, for her playing was „Miss Eda Kersey played the most amiable of violin con- rhythmically steady, sweet in tone, and thoroughly musi- certos and led the butterfly’s ball in that finale of gossa- cal. She is obviously developing fast into a fine player.“ mer and dewdrops that Mendelssohn alone among the – 2 – Kersey, Eda great composers knew how to create.“ („Fräulein Eda ligent phrasing had admirable results both here and in Kersey spielte das reizendste aller Violinkonzerte und lei- Vaughan Williams’s ‚The Lark Ascending.’“ („Fräulein tete den Tanz der Schmetterlinge in diesem Finale von Eda Kersey spielte die Solopartie in Mozarts Violinkon- Spinnfäden und Tautropfen, den zu erschaffen unter den zert in A-Dur.
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