Category: Performers and performances
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Imogen Cooper on a lesson with Alfred Brendel
He was a wonderful teacher. He is extremely articulate and very demanding. He made no concessions to my age. In my first lesson, I was playing a Schubert piano sonata, and the first chord took 20 minutes. I played it again and again, and Brendel wandered around the room saying: “No, balance of sound wrong…
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A typical recital in England in 1897
John E. Borland described in a paper of June 1897: It was customary to commence with a Bach prelude and fugue (usually perverted from one intended for the organ), a Beethoven sonata (choice limited to four or five), some Chopin pieces (there were about twelve orthodox ones to select from), and a Liszt rhapsody. These…
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Mahler’s bowing instructions
Rachmaninoff played his Third Concerto in January 1909 in New York, conducted by Gustav Mahler. Rachmaninoff recalled the rehearsal: Suddenly, Mahler, who had conducted this passage a tempo, tapped his desk: “Stop! Don’t pay any attention to the difficult bowing marked in your parts. … Play the passage like this,” and he indicated a different…
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Karajan and direction
Seiji Ozawa recalls Karajan’s overarching concept of music: I really shouldn’t start comparing Karajan and Bernstein. I’m thinking of the word “direction” – the direction of the music. In Maestro Karajan’s case, he had it from birth – the ability to make long phrases. It was something he taught us, the ones who studied with…
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“Didn’t you like it?”
Leonard Bernstein and Mildred Spiegel attended the Boston Symphony Orchestra season in 1933. They sat, she remembers, in the second balcony “under one of the male Greek nude statues.” One evening, during a standing ovation for the orchestra’s music director, Serge Koussevitzky, Lenny “just sat there” clapping very softly. “What’s the matter,” I asked, “didn’t…
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Hough and Schnabel on piano rolls
I want to believe in piano rolls. The idea that we can insert an object into a present-day piano and hear long-dead pianists and composers perform again as if they were in the same room is a tantalisingly attractive prospect. It has a magical aura about it. But, I’m afraid, it’s a conjuring trick, or…
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Arthur Rubinstein’s youthful practice habits
Interviewer: So many children hate to take music lessons. Can you understand this? Rubinstein: Oh, yes, I was one of them. You see, music lessons mean always this horrible dictatorial attitude of the professors. They slap four fingers and aarh; they shout at you: “Can’t you learn that? You must practice scales!” I mean, it…
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A young Josef Hoffmann
The Polish pianist, Josef Hoffmann may have been a child prodigy. Upon hearing him play, Anton Rubinstein, who typically disliked child prodigies said told his manager, “This prodigy I believe in. Hear him!” (1) Yet in 1908, The Daily Graphic looked back on having seen the young pianist: When Joseph Hoffmann was an infant prodigy,…
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Paderewski, the dandy
Overheard in a New York street car:— Average Young Man (to neighbour): “Everything they say about Paderewski is true. He’s a perfect genius. Why, he played fourteen pieces and did not once look at the programme. Yet he played straight ahead and never once forgot what piece was to come next. I tell you the…
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Vladimir Horowitz on encores
”You see,” he said, ”I have a very substantial program, and after a substantial program, you can’t play a substantial encore. You play a little … ” at this, he strummed the air with his fingers, tinkling an imaginary piano. ”It is,” he said, ”anticlimactic.” Clyde Haberman, “3,500 Japanese Applaud Horowtiz for 14 Minutes”, The…
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Claudio Arrau in Newcastle
While the Century Theatre in Broadmeadow (Australia) primarily operated as a cinema, it was also hosted concerts, including by the Sydney Symphony Orchestra. On one occasion, Claudio Arrau performed in the theatre, as recalled by Harry Armstrong: With only a few minutes to go before the famous pianist was scheduled to commence his performance, which…
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The art of playing the triangle
George Plimpton, a writer and sportsman, asked if he could play in the New York Philharmonic for a month to write about the workings of an orchestra. Leonard Bernstein assigned him to the percussion section. The principal percussionist, Walter Rosenberg, recalled his experience: During rehearsals I would lean over and point to where we were…
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It’s the page turner’s fault
Several years ago, Mr. Kalichstein hired a young music student who kept reaching across the score to turn pages from the bottom right corner, in the process obscuring several measures of the concerto. “Take it from the top!” the frustrated Mr. Kalichstein finally hissed; reflexively, the page turner flipped the score back to the beginning.…
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The London Proms in the 1930s
A recollection of the London Proms in 1936: The behavior of the Promenaders was more genteel in those days … there wasn’t the same degree of shouting as now. During the famous hornpipe in Henry Wood’s Fantasia on British Sea Songs people tapped with their umbrellas and sticks, rather than stamping. As the applause went…
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This music is too hard
In 1862 Brahms went to Vienna: Although he been in Vienna only a few weeks, Brahms was already making a name for himself. After the first performance of his First Serenade, Hanslick wrote more favorably, calling the work “one of the most charming of modern compositions.” A few months later, the leading Viennese orchestra played…
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How to get an audience
Johannes Brahms and the violinist Eduard Remenyi had been concertizing to great success in Cello and Lüneberg. By this time the two musicians were so elated over their success that they decided to try a concert in the city of Hildesheim entirely on their own. They had no one there to herald their coming, write…
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Gramophone: no substitute for live performance
British conductor Thomas Beecham was not too impressed with early recording technology (the gramophone): It was put to him that for people who lived in remote districts, far from orchestral concerts, the gramophone was an alternative: "It is no alternative to this," he said, waving his arm towards the hall, where the orchestra was waiting…
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The price of an encore
At a concert in London in December 1911, Rachmaninoff was received to great acclaim: perhaps a little too much from the orchestra's view point, who wanted to play the rest of their program: The London Philharmonic Concert given on November 7, provided an object lesson in this study of the relation of applause to encores. …
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A bewitched recording
Early phonograph recordings were a little rough. In 1889, pianist Hans von Bülow was asked to play into a phonograph in America: After playing upon a pianoforte, from which issued sounds compared to the soft and dreamy gurgle of a brook, the far-off sighign of the night wind and the roar of the cataract, he…
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Conditions stipulated for the Imperial Court Chapel
The Imperial Chapel Choir was founded in Vienna in 1498 and performed exclusively for the court. Composers that worked with the choir included Musicians like Heinrich Isaac, Paul Hofhaimer, Heinrich Ignaz Franz Biber, Johann Joseph Fux, Wolfgang Amadeus Mozart, Antonio Caldara, Antonio Salieri and Anton Bruckner. Schubert was a chorister. After the dissolution of the…
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The ghost of Paganini
The Belgian violinist Eugène Yasÿe frightened Busoni by playing the Bach Chaconne and Paganini Caprices on a kit violin in the darkened passages of a hotel. ”It was like the ghost of Paganini, purposely exaggerating all the worst mannerisms of the typical virtuoso, and Busoni could never forget the sight of Ysaÿe’s vast bulk and…
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As good as Paderewsky
“At the end of a dinner he was attending by a lady in Liege, Ysaÿe was asked to listen to a young violinist. Although he felt tired and was longing to go back home he could not but accept his hostess’s request. The young man played several pieces from his repertoire. Then, after a long…
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Loyalty to a lead
John Sublett (stage name, John Bubbles) was a tap dancer unable to read music. He was chosen by Gershwin to perform the role of Sportin’ Life in Porgy and Bess. However…. Rehearsing as Sporting Life, John Bubbles was a special problem. He was so laid back as to be often absent when needed. At one…
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Gershwin’s playing (and sense of humour)
The composer Burton Lane describes George Gershwin’s playing: You could feel the electricity going through the room when he played. He could transpose into any key with the greatest of ease. He had total command of what he was doing. Musical surprises, unusual changes of keys. He was one of the few composers who had…
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Gershwin conducting
Isaac Goldberg described Gershwin’s enthusiasm when conducting: He conducted not just with his baton, but with his cigar, his shoulders, his hips, his eyes and whatnot. Nothing but a sense of propriety keeps him from leaping over the footlights and getting right into the show himself. Cited in: Greenberg, Rodney (2008) George Gershwin. New York: Phaidon…
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George Gershwin at the piano
The theatre director Rouben Mamoulian describes Gershwin’s playing: George at the piano was George happy … like a sorcerer celebrating his Sabbath. He would draw out a lovely melody like a golden thread, then juggle it, twist it and toss it around mischievously, weave it into unexpected intricate patterns, and hurl it into a cascade…
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Beethoven and the candlesitcks
Beethoven once gave a performance of a new piano concerto in which he forgot he was the soloist and began to conduct instead. At the first sforzando he threw out his arms so vehemently that he knocked both candlesticks off the piano. The audience burst out laughing, which enraged Beethoven. He made the orchestra start…
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A simple request
Humorists Ilf and Petrov described a concert by Rachmaninoff In New York (November 1935): The night we went to hear him he appeared tall, bent, and thin, with a long sad face, his hair closely clipped; he sat down at the piano, separated the folds of his old-fashioned back swallowtail, adjusted one of his cuffs…
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Pierrot Lunairre
A performance of Schönberg’s Pierrot Lunaire was given by Artur Schnabel (piano), Boris Kroyt (violin), Gregor Piatigorsky (cello), Paul Bose (flute), Marie Gutheil-Schoder (speaker), conducted by Fritz Stiedry. Gregor Piatigorsky was amused at the need for a conductor, given the size of the ensemble: The half-spoken, half-sung voice indicated in the score was partly filled…
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Stokowski playing Bach on the organ
Stewart Warkov, assistant manager of the Symphony of The Air in 1961 described Stokowski playing Bach on the organ: Stokowski played Bach on the organ for me, each time one of the great pieces he had arranged. The sound, the phrasing, and the registration, the ritards and the accelerandos, gave me the impression of hearing…
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A very specific error indeed
The following is an account of the conductor Hans von Bülow: The newspaper critics Bülow continued to despise because of their self-importance, and he lost no opportunity to expose their musical ignorance. On one occasion, Bülow, at a public rehearsal in the Philharmonie, remarked upon a printing error in the second horn part of the…
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Don’t wish me luck
“From here on out, I declare that no one ever wish me again to ‘break a leg’”. Joyce DiDonato, American mezzo soprano, shortly after having broken a leg on stage in a production of The Barber of Serville at the Royal Opera House. DiDonato insisted on continuing the performance in a wheel chair. Source: Kirkup,…
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Here’s a pencil … and an eraser
‘The following is an account of the conductor Hans von Bülow: Young composers whom Bülow decided to feature in the concerts were encouraged to present themselves at the rehearsals, and even to direct the orchestra themselves, whenever it was deemed to be helpful. We can only admire the resourcefulness of the budding symphonist who, in…
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Where to curse the orchestra
The following is an account of the conductor Hans von Bülow: Bülow’s close relationship with his Berlin audience was not achieved without some stress and strain along the way. At a Philharmonic concert in January 1892, a half-dozen latecomers, who had been held up at the cloakroom during the intermission, made a noisy entrance in…
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Baroque they are not
Between 1910 and 1938 the Austrian violin virtuoso Fritz Kreisler produced some arrangements of works by Boccherini, Martini, Couperin, Vivaldi and Porpora. They were positively achieved by the crticis. In 1935, Kreisler revealed that there were not arrangements at all, but in fact works which he had written from scratch. Suddenly critic’s attitudes to the…
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Who needs four strings anyway?
In his work Le Streghe (The Witches), the virtuoso violinist Paganini would use scissors to reduce the number of strings on his violin throughout the piece, until he would be left playing the work on just the G string. Source: Haylock, Julian, “Nicolo Paganini”, Classic FM, December 2009, p. 41.
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People must hear me
“I cannot tell you how much I love to play for people. Would you believe it – sometimes when I sit down to practice and there is no one else in the room, I have to stifle an impulse to ring for the elevator man and offer him money to come in and hear me.”…
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Just as we checked the tuning …
In 1853, Brahms went on a tour of German cities with the Hungarian violinist Eduard Reményi. In the town of Celle, they were scheduled to play Beethoven’s Sonata in c minor (op. 30, no. 2): but it was found that the piano in the hall was tuned a half tone too low. Reményi refused to…
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Two hands or one
American pianist Seymour Lipkin, a student of Rudolf Serkin recalled a performance of Beethoven’s Hammerklavier Sonata Back in the 1970s I gave a recital at Curtis at Mr. Serkin’s invitation. I was playing the Hammerklavier in those years. Why, in my right mind … I should never have … but I did. There, sitting in…
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Concentrate on the performance
Daniel Saidenberg ws the first cellist of the Philadelphia Orchestra, conducted by Leopold Stokowski. He recalled: Stoki’s ability to exert disciplines was occasionally matched by a sense of humor. After a concert at which I had played the Saint-Saëns A-minor Concerto, one of my buddies said, “Watch your step, Danny. All through the second movement,…
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The silent bass clarinet
During a rehearsal of Schubert’s Unfinished Symphony: Stokowski had inserted a gratuitous part for bass clarinet. “It so happens,” wrote O’Connell, “that the player of this instrument was a quite temperamental gentleman as well as a composer, and when he saw Stokowski’s addition to Schubert’s score, he was possessed by fury.” When he expressed his…
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Stokowski’s orders
A letter from the conductor Leopold Stokowski to Sylvan Levin gives an insight into his sense of humour: Caro Maestro Illustre, Now that you have not a thing to do!!!!! Do you think you would have time to do me a favor and time the whole of Parsifal without cuts? I suggest you do this…
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Rehearsal conditions must be suitable
Strengthened by his initial triumph and by daily evidences of the ever-mounting appreciation and support of the Philadelphia’s new claim to artistic fame, Stokowski tried once again to convince the board that first-class musical results were impossible unless the orchestra rehearsed exactly where they performed. The men engrossed in the financial problems of balancing budgets…
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Climbing Mount Fuji with a cello in hand
“In 2007 Italian cellist Mario Brunello climbed to the summit of Mount Fuji and played selections from Bach’s cello suites, declaring that “Bach’s music comes closest to the absolute and to perfection.” Source: Siblin, Eric (2009) The Cello Suites. Crows Nest: Allen & Unwin. p.6.
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How not to get an audience
Satie’s ballet Relâche (1924) had trouble pulling a crowd: the title translates as “this performances is cancelled”. Source: Lawrence, Christopher (2001) Swooning. Sydney: Random House, p.70.
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Musicians in Dresden in 1720s
”There was rivalry among the musicians in Dresden in the 1720s. Daniel Heartz describes some incidents: Silvius Weiss, the famous lutenist, saw his livelihood threatened when he was attacked by a French violinist named Petit, who attempted to bite off the top joint of his right thumb. On 13 August 1722 Veracini jumped to the…
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Maiky’s recording of Bach’s cello suites
“The Latvian cellist Mischa Maisky recorded the Bach’s cello suites “at a small guest house he converted into a studio and called Sarabande, he had a fence built around it with all the notes of the fifth sarabande crafted on the metalwork. He gleefully points out that the studio’s address is 720, his Montagnana cello…
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Beethoven’s contest
In 1800, an improvisation contest occured between Beethoven and the pianist Daniel Steibelt. It was agreed that Prince Lobkowitz would sponsor Steibelt and Prince Lichnowsky sponsor Beethoven, the improvisation contest to take place in Lobkowitz’s palace. As the challenger, Steibelt was to play first. He walked to the piano, tossing a piece of his own…
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Brahms’ ladies choir
Brahms formed a Ladies Choir of about fifty singers: “Fix oder Nix” was the motto he coined for them – “Bang up or nothing”; and he promised to write all the music they could sing if they would meet regularly, and always on time. He even drew up a set of humorous rules. “Avertimento” it…
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Sondheim on audiences
“I do think audiences become more sophisticated. You try something out on them and they say, “Ugh”. You try it a second time and they say, “Oh”. You try it a third time and they say, “Ooh”. You try it a fourth time and they say, “Oh, that’s awfully old hat.”’ He laughs. ‘That’s the…
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The state of opera: 1720s
In 1720 in Italy, opera was largely dictated by the egos of the singers, rather than considering the text, or the composer: The satirical writer Marcello wrote that the opera composer will hurry or slow down the pace of an aria, according to the caprice of the singers, and will conceal the displeasure which their…
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A matter of tempo
Bruno Walter, Friedrich Buxbaum, and Arnold Rosé were to perform Erich Korngold’s Piano Trio in D in 1910. Korngold was only 13 at the time. These three great musicians were to remain Korngold’s devoted friends and admirers, and they frequently performed his subsequent works. Previous to this performance, Bruno Walter had known of the boy’s…
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Beethoven’s duet
Beethoven was premiering his piano duet, March (op. 45) with duet partner Ferdinand Ries. When a young count spoke loudly to a lady friend in the room next door, Beethoven jumped up and shouted “I will not play for such swine.” Source: Arganbright, Nancy (2007) “The Piano Duet: A medium for Today”, The American Music…
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Autumn Leaves
Pianist Roger Williams on his hit recording of Autumn Leaves (which was recorded three days after signing his contract with Kapp records): “I said, ‘You mean ‘Falling Leaves’? I didn’t even know the title,” Mr. Williams told the Los Angeles Times in 1996. “I stayed up Friday and then Saturday night working on an arrangement.”…
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A concise rehearsal
Hans Knappertsbusch (1888-1965) was a German conductor. However, he had a dislike of rehearsals. Karajan recalled: One time he was going over Tchaikovsky’s Fifth with the Vienna Philharmonic. He came to the second movement, with the horn solo, and said, “Let’s start.” He did a few bars, stopped, and said, “See you this evening. You…
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Debussy’s reception in England
In 1908-9, Claude Debussy made two appearances conducting his own works in England. The Musical Times reported on the occasions. The report on the first concert: Nothing could have been heartier than the applause which greeted M. Claude Debussy as he stepped on to the platform at Queen’s Hall on February 1. The warmth of…
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Practising at every opportunity
The conductor Stokowski was co-conductor of the San Francisco Symphony Orchestra. He was rehearsing his own orchestration of Mussorgsky’s Pictures at an Exhibition. The orchestra, however, was used to playing Ravel’s exuberant orchestration. Charles O’Connell recalled: “In the midst of the rehearsal, one of the second violinists busied himself practising the Mendelssohn Violin Concerto, which…
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Stokowski on contemporary music
Leopold Stokowski was a champion of contemporary music. He conducted music without judgement, believing judgement to be the public’s job. During the Philadelphia Symphony Orchestra’s 1915-16 season,he programmed orchestral suites from Stravinsky’s Firebird and Petrushka, Richard Strauss’ Alpine Symphony, Scriabin’s Poem of Ecstasy, and Schoenberg’s Kammersymphonie No. 1. “This last, very cerebral work, although not…
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Mozart improvising
In 1777, Mozart was having lunch with his uncle at the Holy Cross Convent in Ausburg. Mozart played a sinfoni and Vanhall’s Violin Concerto in B. In the evening, at supper, he performed his Strasbourg concerto, a keyboard prelude and his Fischer Variations (K179). It was suggested to the deacon of the Holy Cross Conen,…
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What a difference an audience makes
Mozart was in Paris in 1778. He visited the duchess of Chabot, Elisabeth-Louise de la Rochefoucauld, wife of Louis-Antoine-Auguste de Rohan. Mozart described the visit in a letter to his father: A week went by without any reply, but she had informed me to see her in a week’s time, so kept my word and…
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In the event of a lack of singers
In a letter to his friend Abbé Joseph Bullinger, Mozart jokes about the musical environment in Salsburg. One of his subjects is the search for an additional final principle singer. “I can hardly believe it!” he wrote “A female singer!? When we have so many already! – and all of them first rate…” (1). Mozart…
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Stokowski and singers
Leopold Stokowski was staging a concert version of Mussorgsky’s Boris Godunov. Natalie Bodanya, one of the finest singers at Curtis at the time, refused to audition, noting how “impersonal and impossible Stokowski was. Stokowski had filled all the roles, with the exception of that the Princess. “Is it possible” Stokowski asked Sylvan [Sylvan Lenin, a…
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Word of mouth encore
Leopold Stokowski gave the Philadelphia premiere of Ravel’s Bolero as an “encore” at a Friday afternoon concert. The newspaper critics had all left the hall, and so once again word of mouth had to prove its effacy, for at the Saturday night concert, after the last number, the audience applauded with unusual fervour and would…
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Dress regulations for Handel’s Messiah
In the eighteenth century, hooped skirts were a popular choice of ladies dress attire as they enabled a dramatic entrance, and also flattered the figure when pregnant. They did take up considerable space though. For the performance of the Messiah Handel instructed the ladies to come without hooped skirts, and gentlemen without their swords. The…
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Advice to opera performers
In the early 18th century, the standard of Italian opera performances had become somewhat questionable. In 1720, The satirical writer Marcello offered some advice to those involved in opera performance: [The opera performer] will hurry or slow down the pace of an aria, according to the caprice of the singers, and will conceal the displeasure…
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Mozart’s magic ring
When Mozart was in Naples, he so impressed his audience that they suspected “musical sorcery”. They ordered him to play without wearing his ring, the apparent source of his “magic”. Source: Marek, George (1969) Beethoven: Biography of a Genius. London: William Kimber, p.20.
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Page turning for Beethoven
Ignaz Xaver Seyfried was asked to turn pages for Beethoven in a performance of Beethoven’s Third Piano Concerto (5 April 1803). He recalled: In the playing of the concerto movements he asked me to turn the pages for him; but – heaven help me! – that was easier said than done. I saw almost nothing…
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Beethoven conducting
On 5 April 1803 Beethoven conducted an concert of his own works: the First and Second Symphonies; The Third Piano Concerto, and his oratorio Christ on the Mount of Olives. It is likely that the he directed the piano concerto (which he played) from the piano. Ignaz von Seyfried gave an account of Beethoven’s conducting…
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Not just a one hit wonder … but there was an audience favorite
Rachmaninoff’s Prelude in C-sharp minor proved very popular with the public. At times, it was programmed “by request” (1), and if not was freqently expected as an encore. In 1922, Rachmaninoff performed in the Queens Hall (London). A critic in the Musical Times described the event: It was clear that the bulk of those who filled Queen’s Hall…
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Conducting gloves
The practice of wearing white gloves whilst conducting was common in the nineteenth century. The Musical times reported in July 1884 that: “A German conductor,” we are told, “in order that the public may be more deeply impressed with the feeling of grief intended to be produced by the Funeral March in Beethoven’s ‘Eroica Symphony,’ wears…
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A monkey on his shoulder
Cellist Walter Joachim spend some time in Calcutta, India. He recalled: “I bought a monkey with which to amuse myself. We played. He was sitting on my shoulders for hours when I was practising.” Joachim practised at least one or two movements of a Bach suite. “I started my day usually with Bach or a…
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Paper and matches for maintenance
When Spanish cellist Pablo Casals was in his seventies, he retired from the concert stage and lived in Prades, Southern France. Casals began each day by playing from Bach’s Well-Tempered Clavier on the piano (1), then heading out for a walk with his German shepherd, cocking an ear for birdsong and saluting the snow-capped peak…
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A little ahead … or a little behind
Samuel Sebastian Wesley received great reviews for his conding at Gloucester’s annual Three Choir Festivals in 1865. An critic in The Musical Times wrote in the October issue: We have said nothing of the orchestra during these performances, for in truth the perfect manner in which the whole of the instrumental portions of the works…