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The Life and Legacy of Samul Feinberg Solomon Eichner University of South Carolina

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The Life and Legacy of Samul Feinberg Solomon Eichner University of South Carolina University of South Carolina Scholar Commons Theses and Dissertations 5-2017 The Life and Legacy of Samul Feinberg Solomon Eichner University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Eichner, S.(2017). The Life and Legacy of Samul Feinberg. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/ etd/4104 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE LIFE AND LEGACY OF SAMUIL FEINBERG By Solomon Eichner Bachelor of Music Manhattan School of Music, 2011 Master of Music Peabody Conservatory, 2013 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2017 Accepted by: Joseph Rackers, Major Professor Marina Lomazov, Committee Member Charles Fugo, Committee Member Ana Dubnjakovic, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Solomon Eichner, 2017 All Rights Reserved ii DEDICATION I want to dedicate this paper culminating my Doctorate of Musical Arts Degree to my family. The 3 M’s in my life: Momma, Meme and Marko and my dear wife Becky. Without your love, support and dedication I would not be who I am today. My wife Becky who has endlessly supported me and helped me along the way. My mother Marlene who gave me the gift of music and always says, “Just do it.” My grandmother Meme and grandfather Marko who helped raised me and teach me the essence of life. iii ACKNOWLEDEGMENTS I want to acknowledge many people who helped shape my musical career. To my first piano teacher Irina Kreymer who started teaching me at the age of five, I am forever grateful. To my manager and dear friend Jane Anderson who showed me the world of performing. To my piano teacher and mentor during high school and throughout college Virginia Reinecke who helped me find my own personal sound. Thank you for those endless lessons and your stories about Bauer and Munz. I want to thank my piano teachers at Manhattan School of Music, Arkady Aronov and at Peabody, Alexander Shtarkman for helping me become an artist. I would like to express my profound gratitude to the members of my dissertation committee: Dr. Joseph Rackers (chair), Dr. Marina Lomazov, Dr. Charles Fugo, and Dr. Ana Dubnjakovic for their continuing support and advice. iv ABSTRACT Samuil Feinberg (1899-1962), a modern day Liszt, has not been given the credit he deserves. Living under the Stalin Regime, he was neglected and repressed. This pianist, composer and pedagogue lived an artistic life that is worth studying and reviving. Heavily influenced compositionally by Scriabin, Feinberg played an important role in continuing the Russian revolutionary avant-garde style between 1915 and 1930. Feinberg went through two compositional periods, the first being a more virtuosic experimental style and the second a more conservative, contrapuntal and folk influenced style. Feinberg had a deep connection to Bach and transcribed many of his pieces in the romantic style. Feinberg’s own compositions are mainly for piano solo and also include several songs and three piano concertos. Feinberg is regarded as one of the greatest Russian pianists of the 20 th century, a man who never compromised his compositional style and intentions. Feinberg always stayed true to the text he was performing. His recordings are a testament to the “golden- age” style of playing also represented by Godowsky, Paderewski, Neuhaus and Rachmaninoff. The “Golden-Age” style of piano playing started from Paderewski at the end of the 19 th century and continued until the mid 20 th century. “Golden-Age” piano playing is characterized by the effects created at the piano by the great pianists of this time. The main features of “Golden-Age” pianists included a bel-canto singing style, tonal and timbre variety, virtuosity, melodic long lines, flexibility, improvisational style, v and rhythmic freedom. 1 Feinberg’s contributions to the Russian piano school are immense, himself being a protégé to Goldenweiser at the Moscow Conservatory and later training future russian pianists. Feinberg’s pedagogical legacy is also continued through his book “Pianism as Art”, which he requested to have published posthumously. Feinberg always stressed the importance of the organic connection between the artist and his art, never separating the two. This paper focuses on Feinberg’s life, legacy, performance style, compositional style, and includes translated interviews/correspondence with and about Feinberg that give a clear impression of him and his pedagogical teachings. Multiple appendices with significant details regarding Feinberg are included. These include his extensive discography (both his performances of works of other composers and other performers recordings of his compositions), a catalog of works and sample concert programs. The author includes an analysis of material in the appendices; including Feinberg’s interviews, correspondence and pedagogical writings. Further analyses are included of Feinberg’s playing through his recordings. The author hopes that this discovery of Samuil Feinberg, the pianist, composer and pedagogue, will further aid his historical legacy and bring more attention to his music. 1 Dubal, David. The Art of the Piano: Its Performers, Literature, and Recordings . vi TABLE OF CONTENTS DEDICATION ................................................................................................................... iii ACKNOWLEDGEMENTS ............................................................................................... iv ABSTRACT .........................................................................................................................v LIST OF EXAMPLES ....................................................................................................... ix CHAPTER 1: INTRODUCTION AND HISTORICAL BACKGROUND ........................1 Purpose of Study ..........................................................................................2 Limitations of study .....................................................................................2 Related Literature.........................................................................................3 Methodology ................................................................................................4 CHAPTER 2: LIFE AND PERFORMANCE STYLE ........................................................5 Analysis of Feinberg’s playing through his recordings .............................11 Bach ...........................................................................................................12 Beethoven ..................................................................................................16 Chopin ........................................................................................................17 Liszt............................................................................................................17 Scriabin ......................................................................................................18 Compositional Style ...................................................................................18 CHAPTER 3: PEDAGOGICAL INFLUENCE, ANALYSIS OF THE TRANSLATED INTERVIEWS, PEDAGOGICAL WRITING ..........................................46 vii CONCLUSION ..................................................................................................................52 BIBLIOGRAPHY ..............................................................................................................55 Books ........................................................................................................55 Articles ......................................................................................................57 Internet Sources ........................................................................................57 APPENDIX A: INTERVIEWS/CORRESPONDENCES (Translated from Russian to English) ......................................................................................................58 Psychologist A.V. Vitsonsky ....................................................................58 Leonid Feinberg (brother) .........................................................................68 Alexander Goldenweiser ...........................................................................69 APPENDIX B: DISCOGRAPHY......................................................................................72 Feinberg’s own recordings of various classical pieces .............................72 Recent recordings of Feinberg’s compositions .........................................80 APPENDIX C: CD REVIEWS ..........................................................................................84 Reviews of Feinberg’s recordings of various classical pieces ..................84 Reviews of CDs recorded by recent musicians performing Feinberg’s pieces ........................................................................................................89 APPENDIX D: CATALOG OF WORKS .......................................................................101 APPENDIX E: EXAMPLES OF FEINBERG’S CONCERT PROGRAMS ..................104 APPENDIX F: AN EXCERPT FROM FEINBERG’S
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