Magaloff
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================================Ludwig van Beethoven "Kreutzer" II.Andante con variazioni -In 2 parts, this is Part1of2(Sonata for piano and violin No.9)Clara Haskil,piano Arthur Grumiaux,violin. ================================Related information:The Perfect Clara Haskilby Peter FeuchtwangerAs Clara sat down "the music materialized as if from nowhere. Her arm seemed to glide over the keyboard without preparation, just as a flat stone skims across the water. This was so typical of her playing; nothing seemed to start or end, and everything became timeless."Admiration and international fame came late in life for Clara Haskil, in a career beset by poor health and the adversities of a world war. Dinu Lipatti described her playing as "the sum of perfection on earth," Wilhelm Backhaus called it "the most beautiful in the world," Tatyana Nikoleyeva burst into tears when she first heard Haskil, and Rudolf Serkin nicknamed her "the perfect Clara." Haskil's close friend, Nikita Magaloff wrote,"I had the great privilege of hearing her, at her home and mine, thumbing through fingering, deciphering and running over the most diverse works, and that is why the Chromatic Study by Debussy, the Etude Tableau in E flat minor by Rachmaninoff, a passage from the Totentanz of Liszt or a Rondo of Chopin rest engraved in my memory as played so inimitably by her. Never, even amongst my most illustrious colleagues, have I met with that incredible and disconcerting facility and pianistic ease, which a spontaneous, uncalculated, natural flow of the music. That which others achieve by work, research, and reflection, seems to come to Clara from heaven without problems." (The Journal of the British Institute of Recorded Sound, July-October, 1976)I first heard Clara Haskil's name mentioned by Dinu Lipatti after a recital he gave in Switzerland. When I congratulated him on his Mozart playing, Lipatti said, "In two weeks' time you must hear Clara play Mozart. Then you will realize how far the rest of us are from the truth." I was young at the time, but the name stuck in my mind. Who was this mysterious Clara? Five years later during another visit to Switzerland, the mystery was solved. At a concert in the Tonhalle in Zurich on September 7, 1952, Clara Haskil was the soloist in Mozart's Concerto in E flat, K. 271. The concert was well-nigh sold out, and the only tickets available were for the cheapest seats in the annex. Mine was behind a pillar, where I could hear well but not see. The concerto begins with a question from the orchestra that is answered by the soloist in the second bar. The question repeats, prompting the soloist to emphasize the answer. Haskil's response aroused my curiosity and made me listen. Nothing, though, prepared me for that was to com. After the ensuing tutti, the B flat trill suddenly materialized, and I heard something akin to Mary Garden's description of Nellie Melba's top C at the end of the fist act of La Bohème.The note came floating over the auditorium of Covent Garden: it left Melba's throat, it left Melba's Body, it left everything, and came over like a star and passed us in our box, and went out into the infinite. I have never heard anything like it in my life, not from any other singer, ever. It just rolled over the hall of Covent Garden. My God, how beautiful it was! Since then I always wait for that note when I hear the first act of La Bohème. (Mary Garden's Story, Michael Joseph) Likewise, I now wait for that B flat trill whenever I hear this concerto. Haskil recorded K. 271, but no recording can capture the consummate musical expression or magic of a great artist, which is something ineffable. Haskil's performances in the concert hall were often miracles, and miracles simply cannot be reproduced. Her performance that night was greeted with stormy applause, so I seized the opportunity to look around the pillar to see who was responsible for such divine sounds. Grasping the conductor's hand as if for reassurance and with a look of disbelief on her face, Clara Haskil acknowledged the audience's enthusiasm. I glimpsed at the pianist who one London critic described as playing "Mozart for the Gods." http://www.peter-feuchtwanger.de/feuchtwangerdrucktexte/claraengl_print.html================================*Note:Support the artist, their families and their legacy by purchasing their music.
Author: tHEnOOSEsWINGS
Keywords: Beethoven Kreutzer Clara Haskil Piano Arthur Grumiaux Violin
Added: June 30, 2008
Etude No.6 in A Minor (Theme and Variations) - After Paganini's 24 Caprices for solo violin #24 (Played by N.Magaloff)
Author: FranzFerencLiszt
Keywords: grandes etudes paganini theme variations liszt magaloff
Added: May 31, 2008
Etude No.5 in E Major (La Chasse) - After Paganini's 24 Caprices for solo violin #9 (Played by N.Magaloff)
Author: FranzFerencLiszt
Keywords: grandes etudes paganini la chasse liszt magaloff
Added: May 31, 2008
Etude No.4 in E Major (Vivo "Arpeggio") - After Paganini's 24 Caprices for solo violin #1(Played by N.Magaloff)
Author: FranzFerencLiszt
Keywords: grandes etudes paganini arpeggio liszt magaloff
Added: May 31, 2008
Etude No.4 in E Major (Vivo "Arpeggio") - After Paganini's 24 Caprices for solo violin #1(Played by N.Magaloff)
Author: FranzFerencLiszt
Keywords: grandes etudes paganini arpeggio liszt magaloff
Added: May 31, 2008
Etude No.4 in E Major (Vivo "Arpeggio") - After Paganini's 24 Caprices for solo violin #1(Played by N.Magaloff)
Author: FranzFerencLiszt
Keywords: grandes etudes paganini arpeggio liszt magaloff
Added: May 31, 2008
Etude No.4 in E Major (Vivo "Arpeggio") - After Paganini's 24 Caprices for solo violin #1(Played by N.Magaloff)
Author: FranzFerencLiszt
Keywords: grandes etudes paganini arpeggio liszt magaloff
Added: May 31, 2008
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