Pardon me, this could be considered off topic. I use a computer based sound system, with music on an external hard drive, going from computer to dac to preamps and amps.The sound quality was recently greatly enhanced by a very inexpensive simple addition: a POWERED USB hub between computer and dac. Evidently the computer was not providing the dac with a sufficient flow, so the sound would cut out and then the dac needed to be reset. I had consulted IT experts, including one with an advanced degree from MIT, and they could not fix my problem! A powered usb hub costs as little as $10 on Amazon, that was all that was needed. But it must be a powered usb hub, one that connects to your household ac.
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thanks Jim, thanks Schubert just a word about hard drives they definitely do self destruct in time last month, mine did. fortunately, i had made a copy onto another hard drive that is kept unplugged so i lost very little, only the most recent additions my computer tek wizard says an external drive might last 5 yearsif used frequently i just bought another XHD, 8Tb, for $119, at Costco
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jimwhat instrument(s) do you play? guessing: piano
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Jim please describe your guitars and lutes i play an old Guild F30 flat top steel string, have others, fancier, but the Guild plays so easy I seldom play any other i play simple stuff, dylan, beatles, fingerstyle (no pick) got a piano last year, an old Yamaha U1 learning to read! it would be wonderful to play classical music, but I started so late in life
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Your Martin D19 is a surprise, as it is steel string. And I thought you classical guitarists always played nylon string!I have a Martin 00028, which I love, best sounding guitar I have ever played. Just a little smaller than your Martin D.
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jim love pletnev! and with Argerich too, eg, Cinderella
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Keola Beamer is among the most sentimental Hawaiian guitarists. His most well known recordings are very prepared, e.g., Honolulu City Lights. My personal taste favors the more improvisational style, and my favorite today is Led Kaapani. I also love his voice, including that delicate "almost yodeling" popular in the old Hawaiian style. And he also plays uke. Here is a series of Led live performances (and it is not all Hawaiian music): https://www.youtube.com/watch?v=B_6Tkab-L3c&list=PL429498FD3C9B3ACE&index=6
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thanks Jim downloading some now
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thanks Jim found the Chopin/Liszt recording, downloading now cannot find any others yet
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Jim found Martin Taylor instructional videos, very inspirational, so glad to see he plays fingerstyle, but I fear my fingers are too old and weak
and thanks for Mariam, I sent you some old material on her my favorite pianists of those beautiful devotional Liszt pieces remain: Freire and Barenboim
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Andre Previn recorded it, also Julius Katchen II. Earl Wild recorded an acclaimed album of his Gershwin transcriptions, but I don't think it includes Rhapsody in Blue.
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Idil Biret Listening to her Schubert/Liszt transcriptions, so beautiful. I am not a fan of leider (or opera) so really appreciate these "naked" melodies. It is on a 9cd compilation that Biret did for the 200th anniversary of Liszt.
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thanks Jim i love Bolet's renditions too
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Helen Grimaud, Memory ECHO ugh Hélène Grimaud Releases ‘Memory Echo’ Remixed by Nitin Sawhney
Pianist Hélène
Grimaud collaborated with Nitin Sawhney on ‘Memory Echo’ featuring
remixes of Satie, Debussy, Rachmaninov and new works.
Published on November 7, 2019Pianist Hélène Grimaud collaborated with composer and producer Nitin Sawhney on their new digital release Memory Echo. Sawhney and Grimaud returned to music and ideas they began exploring in 2018 for Grimaud’s Memory album where she explored piano miniatures. On Memory Echo Sawhney has woven together four of his original compositions performed by Hélène Grimaud – The Fourth Window, Picturebook, Time and Breathing Light
– with remixes of Satie’s ‘Gnossienne No.1’, Debussy’s ‘Clair De Lune’
and Rachmaninov’s ‘Vocalise’. By refining the essence of his
collaboration with pianist Hélène Grimaud Nitin Sawhney has developed
her extraordinary Memory album even further.
Sawhney’s remixes and new works complement the lyricism of Hélène Grimaud’s artistry. Each track evokes echoes of Memory with a subtle blend of electronics, acoustic sounds, mantra-like vocals and minimalist melodic riffs.
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Chopin/Godowsky/Bolet now listening to Bolet playing Godowsky's arrangement of Chopin Etudes wonderful I have listened to others play this (eg Hamelin) but vastly prefer this recording by Bolet It is included in the 55 cd compilation "Decca Sound - The Piano Edition" The recordings that I have by Godowsky himself are not as satisfying technically
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rvpiano re Liszt I am not into the "crash and bang" side of classical music, including some of Liszt. But Liszt wrote some of the most beautiful peaceful music ever. suggestions: Barenboim, Notturni - Consolations - Sonetti de Petrarca https://www.amazon.com/Liszt-Consolations-Petrarca-Rigoletto-Paraphrase/dp/B000V6Q7SCNelson Freire, Franz Liszt 1811-1886Harmonies du soir, S 139/11 decca 478 2728 Leslie Howard, Harmonies poetiques et religiieuses on hyperion Barenboin, On My New Piano includes Harmonies P&R on DG |
Yes Jim, Godowsky is legendary for his technique, agree.I was referring to the technical aspect of the recordings that I have heard (not to the way the piano was played).I have read that Godowsky's small audience performances were the best of anyone ever, but that he did not play as well in a concert hall, or when recording. Call it stage fright? Not for me to say, never heard him, wish I could have. I have also read that many accomplished pianists do not perform some of his works because they are so difficult.
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now listening to Perahia's 2018 recording of Hammerklavier and Moonlight Sonatas so fine, lively
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Benjamin Grosvenor Now listening to his "This and That" cd. The 2 Scarlotti sonatas are as fine as anything ever. The 2 Chopin Nocturnes are lovely (no surprise). The other pieces (Kapustin and Moszkowsky) are not to my taste. The label says "Bowers and Wilkins Music Club 7"
So thanks Jim (I think it was you) for recommending Grosvenor.
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Re: Brendel, Beethoven Sonatas
I think there are more than 2 recordings by Brendel of Beethoven Sonatas. There is the Vox/Turnabout series, and the Phillips Series, and there is also a newer series. Plus there are recordings of various Beethoven Sonatas (eg, Beethoven - Favorite Sonatas) that are not in a complete set. I do not have a definitive handle on all these recordings, but they are different from one another, and I think the later the better, but they are all excellent. If any of you knows more about this, please fill me in. Also: agree that Brendel is superb, clearly one of my favorites.
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2leftears i have Volodos recording of Schubert piano works from long ago,and look forward to hearing the latest version. Thanks for the tip.
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Listening to Mitsuko Uchida playing Mozart sonatas. It does not get any better, especially at this time of year.
I cannot count how many recordings on Mozart I own, but Uchida is my favorite.
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Mitsuko Uchida Here is an interview/demonstration about Debussy. It shows her depth of knowledge and skill, the seriousness of her attitude, and also her linguistic ability (she speaks german with german interviewer, with translation to english in subtitles). I really appreciate her complete package. She is not making a PR appeal with clothes or winks. She is the real deal. https://www.youtube.com/watch?v=TA1Pn_pv4Y8 |
Just heard the news. Time to listen to Mozart Requiem.
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Listening to Munch conducting Berlioz Requiem.BSO (i think), best orchestra I have ever heard live.
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Mahler, what a nice surprise! I heard Philadelphia Orchestra once, in Philadelphia, Thanksgiving concert, 1960. Tchaikovsky violin concerto was part of the program, featuring Nathan Milstein.In the last movement, Milstein's bow began shedding, and whenever he had a second, he would reach over with his left hand and strip the loose ends. The first violinist stood next to him and offered his bow, Milstein rejected the offer and proceeded. When the piece ended, the crowd erupted in applause, and Milstein was so excited that he reached up to Ormandy (on his pedestal) and nearly dragged him over, as Ormandy was somewhat impaired (hips? maybe). The crowd gasped, and then resumed applause.Remember it like yesterday, that was 60 years ago.
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Schubert Wow, thanks. I am on a search for a flac version of this piece.So beautiful. Story about music and unwell child: When my son (now 6.5, 210 lbs) was very young, he had terrible earaches, agony. We watched. Finally I got out my stand up bass and played really simple tunes, and the sound penetrated his body, and after awhile he stopped struggling, stopped crying, began listening, and finally fell asleep. This happened many times until he finally "outgrew" the problem. Some medication helped too.
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Arvo Part Wiki says he is the most popular living composer in the world! Downloaded a dozen cds, listened all night. Lots to love, including horns that rival Wagner.
Thanks again Schubert
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Leon Fleisher, 92, Dies; Spellbinding Pianist With One Hand or TwoUnable
to use his right hand, he performed pieces written for left hand only,
conducted and taught. After 30 years, he made a triumphant two-handed
comeback.
By Allan Kozinn - Aug. 2, 2020, 7:43 p.m. ET
Leon
Fleisher, a leading American pianist in the 1950s and early ’60s who
was forced by an injury to his right hand to channel his career into
conducting, teaching and mastering the left-hand repertoire, died on
Sunday in a hospice in Baltimore. He was 92. His
death was confirmed by his son Julian, who said he was still teaching
and conducting master classes as recently as last week. Mr.
Fleisher came to believe that his career-altering malady, focal
dystonia, was caused by overpracticing — “seven or eight hours a day of
pumping ivory,” as he told The New York Times in a 1996 interview — and
for 30 years he tried virtually any cure that looked promising,
including shots of lidocaine, rehabilitation therapy, psychotherapy,
shock treatments, Rolfing and EST. At times, he later said, he was so
despondent that he considered suicide. But
he also realized that the musicality and incisiveness that had been so
widely admired in his early years could be mined in other ways. He had
joined the faculty of the Peabody Conservatory, in Baltimore, in 1959,
and he devoted himself more fully to teaching, both at Peabody and at
the Tanglewood Music Center, where he was artistic director from 1986 to
1997.
He
also made his way through the estimable catalog of works composed by
Ravel, Prokofiev and many others for the pianist Paul Wittgenstein (the
brother of the philosopher Ludwig Wittgenstein), who lost his right arm
during World War I, and commissioned new left-hand works from American
composers. He helped start the Theater Chamber Players in Washington.
And he began conducting.
Eventually,
a combination of Rolfing — a deep massage technique — and Botox
injections provided sufficient relief that he was able to resume his
career as a two-handed pianist in 1995. He continued to play recitals
and concertos, and to make recordings, until last year. Mr.
Fleisher often pointed out after his comeback that he was not, and
never would be, fully cured. But he also acknowledged, late in life,
that the incapacitation of his right hand in 1964 ultimately gave him a
far more varied musical life than he might have had if he had been able
to pursue a conventional career as a virtuoso pianist. That
realization is implicit in the title of his autobiography, “My Nine
Lives: A Memoir of Many Careers in Music” (2010), which he wrote with
the music critic Anne Midgette.
Early
in his career, though, Mr. Fleisher was a commanding pianist who
produced a warm, sharply etched and thoughtfully contoured sound that
was ideally suited to 19th-century Viennese classics — Beethoven, Brahms
and Schubert, most notably — but also yielded illuminating readings of
Rachmaninoff, Debussy and Liszt, and of contemporary American composers
like Roger Sessions (with whom he briefly studied music theory) and
Aaron Copland. Mr. Fleisher’s
recordings of the Brahms and Beethoven piano concertos with George Szell
and the Cleveland Orchestra, made between 1958 and 1963, are still
considered among the most vivid and moving accounts of those works. In
the 1990s, he recorded spellbinding performances of the peaks of the
left-hand repertoire, including concertos by Ravel, Prokofiev and
Britten, chamber music by Korngold and Schmidt, and solo works by
Saint-Saëns, Godowsky and Bach (Brahms’s left-hand arrangement of the
Chaconne from the Partita No. 2 for solo violin). Even
after he returned to recording two-hand works, on the albums “Two
Hands” (2004) and “The Journey” (2006), he continued to revisit the
left-hand works that had kept him going for three decades. His
album “All the Things You Are” (2014) included not only left-hand
arrangements of Gershwin’s “The Man I Love” and the Jerome Kern song
that gave the collection its name, but also pieces composed for Mr.
Fleisher by George Perle and Leon Kirchner, and a deeply thoughtful,
spacious reconsideration of the Bach-Brahms Chaconne. Leon
Fleisher was born in San Francisco on July 23, 1928, to Isidore and
Bertha Fleisher. His parents, Jewish immigrants from Eastern Europe — he
was from Odessa, then in Russia, now in Ukraine; she was from Poland —
each managed one of the family’s two hat shops.
An
older brother, Raymond, was given piano lessons. He showed little
interest in them, but when Raymond went out to play after his lessons,
Leon, who was then 4 years old, would go to the piano and repeat, by
ear, everything he had heard. His
mother soon decided that Leon, rather than Raymond, should study the
instrument. She made her intentions for her younger son clear: He would
either be the first Jewish president of the United States or he would be
a concert pianist. So devoted was
his mother to his musical training that after two weeks of kindergarten,
during which he objected strenuously to nap time, she withdrew him from
public school and hired tutors so he could devote his time to
practicing at the piano. She also found ways of bringing him to the
attention of two important San Francisco conductors, Pierre Monteux and
Alfred Hertz, who in turn persuaded the pianist Artur Schnabel to take
Leon on as a student in 1938, when he was 9, despite his policy of not
teaching children. By the time Leon
began working with Schnabel, he had already played a few concerts, but
Schnabel’s single condition for teaching the boy was that there be no
more concerts. Schnabel relaxed the rule in 1944 and allowed Mr.
Fleisher to play the Brahms Piano Concerto No. 1 in D minor with Monteux
and the San Francisco Symphony and then with the New York Philharmonic
at Carnegie Hall, also with Monteux conducting. Noel
Strauss, reviewing the performance for The New York Times, wrote that
Mr. Fleisher, making his New York debut, “scored heavily in the exacting
work and at once established himself as one of the most remarkably
gifted of the younger generation of American keyboard artists.” In
1945, at Ravinia, Mr. Fleisher played the Brahms again — it quickly
became one of his signature pieces — as well as the Liszt Concerto No. 2
in A, with Leonard Bernstein conducting the Chicago Symphony Orchestra.
He also performed four concertos at Ravinia the next summer, under the
direction of William Steinberg and Szell, who soon engaged Mr. Fleisher
to perform with the Cleveland Orchestra, which he took over later that
year.
By
1949, although he had played with many of the major American orchestras
and had given recitals across the country, engagements began to dry up.
Mr. Fleisher moved to Paris in 1950 and remained in Europe — relocating
first to the Netherlands, then to Italy — until 1958. In
1952, he became the first American to win the gold medal at the Queen
Elisabeth Competition in Brussels. That victory included a substantial
list of engagements in Europe; it also revived interest in Mr. Fleisher
among American orchestras, managers and concert promoters. When
Szell and the Cleveland Orchestra were signed to a new recording
contract with the Epic label in 1954, Szell invited Mr. Fleisher to be
his go-to soloist for recordings of the great piano concertos. Shortly
after his return to the United States in the late 1950s, Mr. Fleisher
accepted an offer to teach at the Peabody Conservatory, while also
pursuing a hefty performing and recording schedule.
“I
was driven, if anything, even harder by all of my successes,” he wrote
in his memoir. “There was always more to attain, and more to achieve,
and more musical depths to plumb, and lurking behind it all, the
terrifying risk of failure.”
Failure
was not far away. During the winter of 1963, he noticed what he
described as laziness in his right index finger, as well as “a creeping
numbness” in his right hand. By the summer, the fourth and fifth fingers
of his right hand had begun to curl inward toward his palm. The
timing was disastrous. Mr. Fleisher had planned to celebrate the 20th
anniversary of his New York debut with a busy season that included 20
performances in New York alone and a spring 1964 tour of the Soviet
Union, in which he was to be the soloist in Mozart’s Concerto No. 25 in C
(K. 503) with Szell and the Cleveland Orchestra. Shortly
before the tour, Mr. Fleisher performed the Mozart in Cleveland. Szell
noted the strain Mr. Fleisher was under and told him that he did not
feel he could undertake the tour. The pianist Grant Johannesen traveled
with the orchestra instead. “The
initial problem was a very stupid kind of overwork,” Mr. Fleisher said
in 1996, cautioning young pianists against following his path. “I
see kids still falling into this, and there are many reasons for it.
The perfection that they’re bombarded with from recordings. The kind of
sound a Horowitz produced, which is wonderful, but people don’t realize
that he had his technician work very hard on the piano, so the piano
itself helped. So when kids go to an acoustically dead hall, and get a
dead piano, and try to make these Horowitz kinds of sounds, they end up
brutalizing themselves.” Mr. Fleisher
resisted taking up the left-hand repertoire, partly because he felt
that to do so would be an admission that he would never regain the use
of his right hand. But after two years without playing concerts, he
reconsidered, agreeing to play both Ravel’s Concerto for the Left Hand
and Benjamin Britten’s left-hand work “Diversions” with Seiji Ozawa and
the Toronto Symphony in 1967. The
next year, with the pianist and composer Dina Koston, he started the
Theater Chamber Players, a flexible chamber group meant to present both
contemporary music and classics.
The ensemble — initially based at the Washington Theater Club, later at
the Smithsonian National Museum of Natural History and ultimately at
the Kennedy Center — provided an opportunity for Mr. Fleisher to both
play and conduct. And an invitation to become music director of the
Annapolis Symphony Orchestra in Maryland, a semiprofessional community
group, gave him a chance to work on the symphonic repertoire. Soon,
Mr. Fleisher was guest-conducting around the country — his debut at the
head of a professional orchestra took place at Lincoln Center's Mostly
Mozart Festival in 1970 — and in 1973 he became associate conductor of
the Baltimore Symphony Orchestra. He
held that post for only five years, but he maintained a close
relationship with the orchestra thereafter. When the ensemble was
preparing to inaugurate the new Joseph Meyerhoff Symphony Hall in 1982,
its music director, Sergiu Comissiona, invited Mr. Fleisher to be the
opening-night soloist. Having
recently had an operation to relieve carpal tunnel syndrome, Mr.
Fleisher began to regain the use of his right hand, if only partly and
inconsistently. But he felt he could make the jump back to two-handed
playing, with the televised opening of Meyerhoff Hall as the occasion
for his comeback. In a bold moment,
he told the orchestra that he would play Beethoven’s Fourth Piano
Concerto. But as the occasion drew near, he decided to play Franck’s
shorter and less pianistically exposed Symphonic Variations instead.
Most
listeners thought the performance went well. But Mr. Fleisher was not
satisfied. In his view, the amount of effort he expended working to
control his right hand precluded the kind of interpretive depth he hoped
for, and he dropped plans for a broader return to two-handed playing.
Shortly
after the Baltimore performance, Mr. Fleisher married Katherine
Jacobson, a pianist who had been one of his students at Peabody. She
survives him as do his children from his first marriage, to Dorothy
Druzinsky Fleisher, Deborah Fleisher, Leah Fleisher and Richard; and his
children from his second marriage, to Rikki Rosenthal, Paula Fleisher
and Julian; and two grandchildren. Both of Mr. Fleisher’s earlier
marriages ended in divorce. In 1991,
Mr. Fleisher found a doctor who was experimenting with Botox injections
for injuries like his. At first he found that the injections loosened up
his still-cramped fourth and fifth fingers, to the point where he could
play. But the injections wore off, and Mr. Fleisher was still looking
for a permanent cure. Having tried
Rolfing in the 1970s, he decided to try again in 1994. This time he had
better results, and he found that a regimen of Rolfing and Botox
injections was enough to keep him in playing trim. As
an experiment, he played Mozart’s Piano Concerto No. 12 (K. 414) with
the Theater Chamber Players in April 1995, and with the Cleveland
Orchestra and at Tanglewood shortly thereafter.
“Nothing
felt sweeter,” he wrote in his memoir of those first performances,
“than the feeling of those notes falling into place, the right hand
singing, the left hand balancing it on the lower part of the keyboard,
and the piece growing into something whole and complete, a dream become
reality.” Mr. Fleisher gradually
reclaimed the repertoire he had been unable to play for more than three
decades — but cautiously, building his recital programs with both
two-hand and left-hand works, and playing programs of piano four-hand
works with his wife.
He
was made a Commander of the Order of Arts and Letters by the French
government in 2006, and in 2007 he was a recipient of a Kennedy Center
Honor. A film about his struggle with focal dystonia, “Two Hands,”
directed by Nathaniel Kahn, was nominated for an Academy Award for best
short documentary in 2006. Toward the
end of his life, Mr. Fleisher spoke about the level of despair he felt
when he was unable to use his right hand. But, having regained that
ability, he was also philosophical about the challenges life presents. “There
are forces out there,” he told The International Herald Tribune in
2007, “and if you keep yourself open to them, if you go along with them,
there are wondrous surprises.” Jack Kadden contributed reporting.
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Listening to Idil Biret play Rachmaninov Etudes. I am in love!
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sorry, that's Rachmaninov Preludes Op 23
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Mompou "Complete Piano Works" it is Mompou himself playing piano! a sensitive delight
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rv yes Richter was really something! that documentary about him shows him "at work" doing things that are unimaginable
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Valentin Silvestrov I first heard his composition on a Jenny Lin recording ("Nostalgia") where she plays "The Messenger". I liked it so much that I downloaded some more, includingВалентин Сильвестров - Диалоги и посвящения, which is translated "Dialogues and Initiations". And another "Valentin Silvestrov - Hieroglyphen der Nacht - Anja Lechner, Agnès Vesterman (2017) [96-24]" Silvestrov is Ukrainian, still alive, has composed in many styles and for many orchestrations, from symphony to solo piano. I appreciate most his post Soviet compositions for piano, when he no longer had to worry about what the government thought of him.
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Leopold Godowsky
It is during these early years of the 1930s
that Bolet had some sessions with the legendary pianist Leopold
Godowsky, going up to New York City for lessons. JB’s teacher at
Curtis, David Saperton was Godowsky’s son-in-law and had arranged the
connection. (Godowsky resided in the luxurious Ansonia Hotel on the
Upper West Side, at 2109 Broadway, between West 73rd and 74th Streets,
but moved into an apartment with his daughter Dagmar on Riverside Drive
overlooking the Hudson River after his wife Frieda’s death in December
1933.) Bolet would practise some of Godowsky’s fiendishly difficult
music (few other of his contemporaries were up to the task) and then
play it to the composer.
‘Jorge’s scores of
these pieces bore Godowsky’s markings in red crayon—the daunting
“Passacaglia,” based on themes from Schubert’s “Unfinished” symphony;
the “Fledermaus” and “Kunstlerleben” symphonic metamorphoses; the “Java
Suite”; the Sonata in E minor; pieces from the “Triakontameron.” ’
[Albert McGrigor]
Bolet listed these
lessons for 1932-3 in a submission to Grove's Dictionary; but they do
not seem to have been systematic lessons. Gregor Benko has said, 'I
remember a party at Sidney Foster’s house when he, Bolet and Abbey Simon
reminisced about Leopold Godowsky, who apparently used sarcasm and
insults with students..., and it left an indelible impression on these
great artists, who had all played for him and suffered abuse.'
Godowsky's biographer, Jeremy Nicholas, states: ‘Occasionally, Saperton
and Bolet would go to New York and visit Godowsky, and Bolet would play
Godowsky to Godowsky, as it were, and get advice from him. He said that
in that sense, yes, he had studied with Godowsky. Of course he also, in
the same way, had advice from (and played for) Hofmann as he was head of
piano at Curtis. But his main teacher was Saperton, though Bolet told
me the greatest purely musical influence was the French musician Marcel
Tabuteau, first oboe with the Philadelphia Orchestra – the greatest musical mind I have ever known.’
Who was Godowsky? more here, including pictures https://jorge-bolet.webs.com/1930s
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The famous (notorious) Etudes
Godowsky's most famous work in this genre is the 53 Studies on Chopin's Études (1894–1914), in which he varies the (already challenging) original études using various methods: introducing countermelodies,
transferring the technically difficult passages from the right hand to
the left, transcribing an entire piece for left hand solo, or even
interweaving two études, with the left hand playing one and the right
hand the other. The
pieces are among the most difficult piano works ever written, and only a
few pianists have ventured to perform any of them. Among such pianists
are Marc-André Hamelin, who recorded the entire set and garnered a number of prestigious awards. Other pianists who frequently perform Godowsky are Boris Berezovsky and Konstantin Scherbakov.
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i did not write it, entirely quotes source is the link providedthere is a lot more there including pictures etc about Bolet's life including his "Mikado" in occupied Japan in 1946
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Ekaterina Dershavina
has also recorded 9 cds of Haydn, very nice.+ Alexy Stanchinsky, which i have not been able to find.+ Nikolay Medtner, 2 cds, unable to find.
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now listening to Dershavina's Stanchinskyopener sounds like Tom stalking Gerrysome beautiful serious sounds too
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