Some Exemplary and Legendary Pianists from the Past

Total Page:16

File Type:pdf, Size:1020Kb

Some Exemplary and Legendary Pianists from the Past SOME EXEMPLARY AND LEGENDARY PIANISTS FROM THE PAST The great pianist Jorge Bolet advised: “I wish that every pianist would really study—I don’t mean just listen, but really study the performances of Rachmaninoff, Horowitz, Moiseiwitsch, Hofmann and Friedman and really analyze what made their performances so great.“ I endorse this wise admonition and add the following names for the reader to listen to and really STUDY! Videos and live recordings are most recommended since live music transcends studio recordings. Some of the names of the more recent pianists are not household names. However, they are testimony to my belief that many of the greatest musical performances are not always by the most heavily promoted and marketed artists who race from city to city playing primarily concerti. As Anthony Tommasini of the New York Times wrote in 1998 in an article entitled “Master Teachers Whose Artistry Glows in Private:” “There are many master teachers who are revered by young musicians as performers yet who seldom stray from the environs of a conservatory or college campus. Some of these teachers, though renowned within musical circles, have low profiles among the larger concertgoing public. .To them, passing on the practice to younger musicians is a sacred and self-empowering trust.” Claudio Arrau Moritz Rosenthal Malcolm Bilson--primarily fortepiano Arthur Rubinstien Shura Cherkassky Artur Schnabel Alfred Cortot Russell Sherman Clifford Curzon Abbey Simon Brigitte Engerer Solomon Cutner--used only 1st name Sergio Fiorentino Rosalyn Tureck Edwin Fischer Ignaz Friedman Walter Gieseking Emil Gilels Leopold Godowsky Myra Hess Josef Hofmann Vladimir Horowitz Gunnar Johansen William Kapell Howard Karp Wilhelm Kempff Ernst Levy Dinu Lipatti Josef Lhévinne Benno Moiseiwitsch Ivan Moravec Guiomar Novaes Ignacy Paderewski Menahem Pressler, of the Beaux Arts Trio--greatest chamber pianist of all time Sergei Rachmaninoff .
Recommended publications
  • Mozart Magic Philharmoniker
    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
    [Show full text]
  • March 21, 2018: to Pledge, Please Click Here!
    March 21, 2018: (Full-page version) Close Window Spring Pledge Drive Continues! To Pledge, Please Click Here! Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Mozart Fantasia in C minor, K. 475 Mitsuko Uchida Philips 412 617 028941261724 Awake! Huggett/Bury/Amsterdam 00:15 Buy Now! Bach Concerto in D minor for 2 Violins, BWV 1043 Erato 75358 08908853582 Baroque/Koopman 00:32 Buy Now! Haydn Cello Concerto No. 2 in D Harrell/Academy SMF/Marriner EMI 69009 077776900926 01:00 Buy Now! Elgar Serenade for Strings in E minor, Op. 20 English String Orch./Boughton Nimbus 5008 n/a USSR Radio and TV 01:12 Buy Now! Mussorgsky Night on Bald Mountain Melodiya 860 015775186026 Orchestra/Fedoseyev 01:25 Buy Now! Bellini Night Shadow London Festival Ballet/Kern Seraphim 69089 724356908925 02:01 Buy Now! Tchaikovsky Capriccio italien, Op. 45 Cincinnati Symphony/Kunzel Telarc 80041 N/A 02:17 Buy Now! Beethoven Piano Sonata No. 6 in F, Op. 10 No. 2 Wilhelm Kempff DG 429 306 n/a 02:31 Buy Now! Brahms String Quintet No. 1 in F, Op. 88 Steinhardt/Shanghai Quartet Delos 3198 013491319827 03:01 Buy Now! Rossini Overture ~ Semiramide Buffalo Philharmonic/Falletta Beau Fleuve n/a 692863162324 03:15 Buy Now! Mozart Violin Concerto No. 4 in D, K. 218 Grumiaux/London Symphony/Davis Philips 416 632 028941663221 BMG 03:39 Buy Now! Shostakovich Incidental Music to "Hamlet" Boston Pops/Fiedler 63308 090266330829 Entertainment 04:00 Buy Now! Strauss, R. Symphony in D minor Hong Kong Philharmonic/Schermerhorn Marco Polo 8.220323 73009923232 04:37 Buy Now! Bach Brandenburg Concerto No.
    [Show full text]
  • Elizabeth Joy Roe, Piano
    The John F. Kennedy Center for the Performing Arts STEPHEN A. SCHWARZMAN , Chairman MICHAEL M. KAISER , President TERRACE THEATER Saturday Evening, October 31, 2009, at 7:30 presents Elizabeth Joy Roe, Piano BACH/SILOTI Prelude in B minor CORIGLIANO Etude Fantasy (1976) For the Left Hand Alone Legato Fifths to Thirds Ornaments Melody CHOPIN Nocturne in C-sharp minor, Op. 27, No. 1 WAGNER/LISZT Isoldens Liebestod RAVEL La Valse Intermission MUSSORGSKY Pictures at an Exhibition Promenade The Gnome Promenade The Old Castle Promenade Tuileries The Ox-Cart Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade The Market at Limoges (The Great News) The Catacombs With the Dead in a Dead Language Baba-Yaga’s Hut The Great Gate of Kiev Elizabeth Joy Roe is a Steinway Artist Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. Notes on the Program By Elizabeth Joy Roe Prelude in B minor Liszt and Debussy. Yet Corigliano’s etudes JOHANN SEBASTIAN BACH ( 1685 –1750) are distinctive in their effective synthesis of trans. ALEXANDER SILOTI (1863 –1945) stark dissonance and an expressive landscape grounded in Romanticism. Alexander Siloti, the legendary Russian pianist, The interval of a second—and its inversion composer, conductor, teacher, and impresario, and expansion to sevenths and ninths—is the was the bearer of an impressive musical lineage. connective thread between the etudes; its per - He studied with Franz Liszt and was the cousin mutations supply the foundation for the work’s and mentor of Sergei Rachmaninoff.
    [Show full text]
  • Interpreting Tempo and Rubato in Chopin's Music
    Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings.
    [Show full text]
  • Jazz Concert
    Artist Series Andrew Cooperstock, piano Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Andrew Cooperstock, piano Music of Leonard Bernstein (1918-1990) A Centennial Tribute Friday, February 15, 2019 at 8pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM El Salón Mexico ........................................................................................................ (1936, orig. pub. 1939/arr. pub. 1941) Sonata for the Piano ................................................................................................................................... (1938, pub. 1979) I. Presto. Molto moderato. Presto. Scherzando II. Largo. Moderato. Molto moderato Selections from Anniversaries ................................................................................................................................ (1942-88) For Aaron Copland For Sergei Koussevitzky In Memoriam: Nathalie Koussevitzky For Felicia Montealgre For Susanna Kyle For Stephen Sondheim In Memoriam: William Kapell In Memoriam: Helen Coates Four Sabras .............................................................................................................................................
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles
    UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism.
    [Show full text]
  • Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russi
    ‘I wish for my life’s roses to have fewer thorns’: Heinrich Neuhaus and Alternative Narratives of Selfhood in Soviet Russia Abstract Heinrich Neuhaus (1888—1964) was the Soviet era’s most iconic musicians. Settling in Russia reluctantly he was dismayed by the policies of the Soviet State and unable to engage with contemporary narratives of selfhood in the wake of the Revolution. In creating a new aesthetic territory that defined himself as Russian rather than Soviet Neuhaus embodied an ambiguous territory whereby his views both resonated with and challenged aspects of Soviet- era culture. This article traces how Neuhaus adopted the idea of self-reflective or ‘autobiographical’ art through an interdisciplinary melding of ideas from Boris Pasternak, Alexander Blok and Mikhail Vrubel. In exposing the resulting tension between his understanding of Russian and Soviet selfhood, it nuances our understanding of the cultural identities within this era. Finally, discussing this tension in relation to Neuhaus’s contextualisation of the artistic persona of Dmitri Shostakovich, it contributes to a long- needed reappraisal of his relationship with the composer. I would like to gratefully acknowledge the support of the Guildhall School that enabled me to make a trip to archives in Moscow to undertake research for this article. Dr Maria Razumovskaya Guildhall School of Music & Drama, London Word count: 15,109 Key words: identity, selfhood, Russia, Heinrich Neuhaus, Soviet, poetry Contact email: [email protected] Short biographical statement: Maria Razumovskaya completed her doctoral thesis (Heinrich Neuhaus: Aesthetics and Philosophy of an Interpretation, 2015) as an AHRC doctoral scholar at the Royal College of Music in London.
    [Show full text]
  • Chopin: Poet of the Piano
    GOING BEHIND THE NOTES: EXPLORING THE GREAT PIANO COMPOSERS AN 8-PART LECTURE CONCERT SERIES CHOPIN: POET OF THE PIANO Dr. George Fee www.dersnah-fee.com Performance: Nocturne in E Minor, Op. 72, No. 1 (Op. Posth.) Introduction Early Life Performance: Polonaise in G minor (1817) Paris and the Polish Community in Paris Performance: Mazurkas in G-sharp Minor and B Minor, Op. 33, Nos. 1 and 4 Scherzo in C-sharp Minor, Op. 39 The Man Chopin (1810-1849) Parisian Society and Chopin as Teacher Chopin’s Performing and More on his Personality Performance: Waltz in A-flat Major, Op. 42 10 MINUTE BREAK Chopin’s Playing Performance: Nocturne in D-flat Major, Op. 27, No. 2 Chopin’s Music Performance: Mazurka in C-sharp Minor, Op. 50, No. 3 Chopin’s Teaching and Playing Chopin Today Chopin’s Relationship with Aurore Dupin (George Sand) Final Years Performance: Mazurka in F Minor, Op .68 No.4 Polonaise in A-flat Major Op. 53 READING ON CHOPIN Atwood, William G. The Parisian Worlds of Frédéric Chopin. Yale University Press, 1999. Eigeldinger, Jean-Jacques. Chopin: pianist and teacher as seen by his pupils. Cambridge University Press, 1986. Marek, George R. Chopin. Harper and Row, 1978. Methuen-Campbell, James. Chopin Playing: From the Composer to the Present Day. Taplinger Publishing Co., 1981. Siepmann, Jeremy. Chopin: The Reluctant Romanic. Victor Gollancz, 1995. Szulc, Tad. Chopin in Paris: The Life and Times of the Romantic Composer. Da Capo Press, 1998. Walker, Alan. Fryderyk Chopin: A Life and Times. Farrar, Straus and Giroux, 2018.
    [Show full text]
  • Review of “22 Chopin Studies” by Leopold Godowsky by OPUS KLASSIEK , Published on 25 February 2013
    Review of “22 Chopin Studies” by Leopold Godowsky by OPUS KLASSIEK , published on 25 February 2013 Leopold Godowsky (Zasliai, Litouwen 1870 - New York 1938) was sailing with the tide around 1900: the artistic and culturally rich turn of the century was a golden age for pianists. They were given plenty of opportunities to expose their pianistic and composing virtuosity (if they didn't demand the opportunities outright), both on concert stages as well as in the many music salons of the wealthy. Think about such giants as Anton Rubinstein, Jan Paderewski, Josef Hoffmann, Theodor Leschetizky, Vladimir Horowitz, Sergei Rachmaninoff, Ferruccio Busoni and Ignaz Friedman. The era of that other great piano virtuoso, Franz Liszt, was actually not even properly past. Liszt, after all, only returned from his last, very successful, but long and exhausting concert tour in the summer of 1886. The tour, through England and France, most likely did him in. (He died shortly afterwards, on the 31st of July 1886, at the age of seventy-four). Leopold Godowsky Godowsky's contemporaries called him the 'Buddha' of the piano, and he left a legacy of more than four hundred compositions, which make it crystal-clear that he knew the piano inside and out. Even more impressive, he shows in his compositions that as far as the technique of playing he had more mastery than his great contemporary Rachmaninoff, which clearly means something! It was by the way the very same Rachmaninoff who saw in Godowsky the only musician that made a lasting contribution to the development of the piano.
    [Show full text]
  • OWN BRAND Many Great Composers Are Decent Pianists, but Great Pianists Who Write Substantially for Themselves to Perform Tend to Be Taken Less Seriously As Composers
    PIANIST-COMPOSERS OWN BRAND Many great composers are decent pianists, but great pianists who write substantially for themselves to perform tend to be taken less seriously as composers. Benjamin Ivry celebrates the achievements of these pianist-composers, and highlights some works that throw light on their inspiration and artistry at the keyboard OMPOSERS WHO PLAY THE PIANO FOR PRACTICAL recognised composer/orator/statesman as well as pianist, Liszt purposes and pianists who write music from inner pupil Emil von Sauer (1862-1942) produced the witty miniature necessity are different beings: composer-pianists and Music Box (Boîte à musique), catnip for such performers as Karol Cpianist-composers. If we disqualify pieces by those principally Szreter (although rather more po-faced in Sauer’s own recording). known asc composers, glitzy display works, and didactic études, Sauer’s Aspen Leaf (Espenlaub) is a more earnest assertion of music written by pianist-composers can be compelling and humanity, better suited to the pianist’s temperament, like the sometimes overlooked, perhaps in part because they are not taken elegant nostalgia of his Echo from Vienna (Echo aus Wien) and so seriously as those by full-time composers. Concert Galop, giving the impression that Sauer had witnessed Unlike the authors of most compositions performed in concert, the can-can being danced in French estaminets during the pianist-composers are alive and present, adding vivacity to the Belle Époque. occasion. Recitals can become uniquely personal statements. In Unlike the massive landscape of Carnaval de Vienne by Moriz the 19th century, Clara Schumann (1819-1896) wrote a Piano Rosenthal (1862-1946), an arrangement of Johann Strauss, Trio, Op 17 (1846) that is an ardent triangular conversation.
    [Show full text]
  • Récital Krystian Zimerman Dimanche 28 Avril 2019, 16H
    Dossier de Presse Récital Krystian Zimerman Dimanche 28 avril 2019, 16h Krystian Zimerman, piano © Kasskara/ DG En 1977, Zimerman enregistre un récital d’œuvres de Krystian Zimerman, piano Chopin, un premier opus chez Deutsche Grammophon. Sa discographie comprend de nombreux enregistrements Programme : Krystian Zimmerman ne donne que rarement à l’avance le programme qui ont fait date : les concertos pour piano de Beethoven et de ses récitals, qu’il choisit presque au dernier moment, selon ses désirs Brahms avec l’Orchestre philharmonique de Vienne, dirigé et ses inspirations. par Bernstein ; des concertos de Grieg et Schumann avec l’Orchestre philharmonique de Berlin, dirigé par Karajan ; les Dimanche 28 avril 2019, 16h Préludes de Debussy ; les concertos pour piano de Chopin avec l’Orchestre du Festival Polonais, un ensemble de jeunes musiciens polonais virtuoses crée par Zimerman pour De 10 à 52€ célébrer le 150e anniversaire de la mort de Chopin en 1999. Il a également enregistré les concertos pour piano de Witold Krystian Zimerman Lutosławski, écrits spécialement pour lui. Le premier, Biographie publié chez Deutsche Grammophon en 1992, a été dirigé par le compositeur lui-même. Il a été suivi en 2015 d’un live Pour Krystian Zimerman, la musique est l’art d’organiser enregistré avec l’Orchestre philharmonique de Berlin, dirigé ses émotions dans le temps. Les interprétations du pianiste par Simon Rattle. Citons également : un album d’œuvres de polonais, de Beethoven à Schubert en passant par Chopin Grażyna Bacewicz (2011), le Concerto pour piano n °1 de et Szymanowski, révèlent des subtilités expressives infinies. Brahms avec l’Orchestre philharmonique de Berlin, dirigé La place de Zimerman parmi les plus grands artistes par Simon Rattle (2006) et le concerto pour piano n ° 1 de contemporains réside dans l’originalité de ses performances, Bartók avec l’Orchestre Symphonique de Chicago, dirigé toujours intensément personnelles et méticuleusement par Pierre Boulez (2005).
    [Show full text]
  • Fall 2003-Spring 2004)
    David Korevaar, Helen and Peter Weil Professor of Piano 1 Updated: July 2018 David Korevaar University of Colorado at Boulder, College of Music 301 UCB, Boulder, CO 80309-0301 303-492-6256, [email protected] www.davidkorevaar.com http://spot.colorado.edu/~korevaar Curriculum Vitae Educational Background: Doctor of Musical Arts, Piano, The Juilliard School, 2000. Doctoral Document: “Ravel’s Mirrors.” DMA Document. New York: The Juilliard School, 2000. xi + 196 pp. Awarded Richard French prize for best DMA Document, The Juilliard School, 2000. Committee: L. Michael Griffel, Robert Bailey, Jerome Lowenthal. Piano studies with Abbey Simon. Related area studies with Jonathan Dawe, Jane Gottlieb, L. Michael Griffel, David Hamilton, Joel Sachs, Maynard Solomon, Claudio Spies. Master of Music, Piano, The Juilliard School, 1983. Bachelor of Music, Piano, The Juilliard School, 1982. Piano studies with Earl Wild. Composition studies with David Diamond. Chamber music studies with Claus Adam, Paul Doktor, Felix Galimir, Leonard Rose, Harvey Shapiro. Independent piano studies: Paul Doguereau (1985-1998). Earl Wild (1976-1984). Sherman Storr (1969-1976). Andrew Watts (2013) Richard Goode (2013) Summer programs: Johannesen International School of the Arts, Victoria, B. C. (1980). Piano studies with John Ogdon, Robin McCabe, Joseph Bloch, Bela Siki. Bowdoin Summer Music Program (1981). Piano studies with Martin Canin. Aspen (1985). Piano studies with Claude Frank. David Korevaar, Helen and Peter Weil Professor of Piano 2 Teaching Affiliations: Academic year appointments: Current: Professor of Piano at the University of Colorado at Boulder (2011-); Associate Professor with tenure (2006-2011); appointed as Assistant Professor in 2000. Former: University of Bridgeport, Bridgeport, Connecticut (Adjunct position, “Head of Piano Studies”; 1995-2000).
    [Show full text]