There is no doubt that the pianist and composer Artur Schnabel
was a man of strong opinions: he made no secret of his preferences in piano manufacturers, the impact of sound recording on artistic creation, and his devotion to the music of Beethoven, Mozart, and Schubert.
Toklas, Louis Bromfield, Artur Schnabel
and Maria deacosta--offers a panoramic view of an era.
The CD version of the Beethoven piano sonatas performed by Artur Schnabel
may sound cleaner and crisper than the original LPs, but some of the original atmosphere is gone.
One of my favorite quotes of Artur Schnabel
is, "The notes I handle no better than many pianists.
Here we find fellow pianists such as Josef Hofmann, Ignacy Jan Paderewski, and Artur Schnabel
, although it is difficult to imagine any reader of the book who is unfamiliar with these individuals.
, for whom technique (mightily impressive nevertheless) took second place to intellectual insight and grasp, is warmly accompanied by the London Philharmonic Orchestra under the then Dr Malcolm Sargent in readings of the Third and Fourth Concerti set down in 1933.
What was also evident was a rambunctious, freewheeling pianism--what the young Artur Schnabel
noted as Brahms's "creative vitality and wonderful carelessness.
The central figures in the second category are Artur Schnabel
, Dinu Lipatti and Edwin Fischer and, in classical romantic and impressionistic music, Wilhelm Kempff, Solomon and Walter Gieseking; their disciples today would include the wonderfully gifted Mitsko Uchida, Peter Serkin (who has always seemed a more refined and gifted musician than his father) and Richard Goode, as well as Schiff, Lupu, Argerich and Zoltan Kocis.
The professional careers of Artur Schnabel
(1882-1951), his wife Therese Behr Schnabel (1876-1959) and their son Karl Ulrich Schnabel (1909-2001) spanned the entire 20th century.
Vladimir Horowitz's year of birth (1903) is erroneously given as 1904, while Emil Sauer was really born in 1862, not 1863, and Artur Schnabel
was born in 1882, not 1881.
Misha traces his musical lineage to the two great pianistic traditions of the twentieth century: the Russian romantic school, as personified by Lhevinne, and the German classical style, which was passed on to him by Aube Tzerko, a pupil of Artur Schnabel
He also responds to subjective criticism of certain of his favored performers and performance styles with equally subjective belittling of pianists, such as Artur Schnabel
and Alfred Brendel, whom he regards as being in an opposing camp.
She shows that the performance and music journalism societies of Vienna also fell into these camps: the critics Eduard Hanslick, Max Kalbeck, and Richard Heuberger as well as Gustav Mahler, Alexander Zemlinsky, Heinrich Schenker, Artur Schnabel
, and Schoenberg joined the Tonkunstlerverein (Society of Musicians); Maximilian Muntz, Georg von Schonerer, and Anton Bruckner joined the Wagner-Verein (Wagner Society).