#Shura Cherkassky

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[ralphdvd]

The great pianist Shura Cherkassky playing Godowsky's piano arrangement of Camille Saint-Saëns's "The Swan"

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Shura Cherkassky - Ritual Fire Dance

The Music Masters

1971

[sunset-supergirl]

Happy birthday Shura Cherkassky

[fclauturisticallyzealouschopshop]

Shura Cherkassky joue SUITE DE PIÈCES de Jean-Baptiste Lully

[holysandwichfest]

How Did We Get Here? The History of best portable keyboard

On the age of eighty one, the pianist Shura Cherkassky states He's touring much more now than he did in his 70s. Mr. Cherkasskys performances have attained common recognition particularly in the final 10 years, when he was labeled an awesome Romantic pianist -- towards his wishes.

I dont similar to this label, he stated emphatically in a very current telephone job interview from his property in London, where he has lived for over a decade. I dont belong to any Specific category.

Mr. Cherkassky, who began undertaking in 1923, will Enjoy a recital on Friday at 8 P.M. with the McCarter Theater in Princeton, a method He'll repeat at Carnegie Corridor on April 21. On the program is going to be Bachs Toccata and Fugue in D insignificant (BWV 565), Schuberts Sonata in a very (Op. Posth.), D. 959, two works by Chopin -- the Ballade in F slight and Variants on Mozarts La ci darem la mano from Don Giovanni -- Berios Encores Pour Piano and Balakirevs Oriental Fantasy (Islamey).

Seeking back again above his many years as being a pianist, Mr. Cherkassky claimed that in relearning aged items, I play them otherwise. He additional: Its tricky to know whats improved. My taking part in is much more mature, richer.

He methods four hours on a daily basis instead of a single minute less, he said. Once i practice, I need a clock.

He doesnt educate, and refuses to give master classes. Some pianists like to show, but I dont, he claimed. Thank goodness I dont have to show.

Performers, he explained, dont make great academics. They may be much too egotistical and self-centered, he said. Ages ago, After i experienced to do it fiscally, I taught some female who stored building blunders. I wouldnt know very well what to convey. I explained, Enable it to be sing, and she mentioned, How do I do it? And that i explained, I wouldnt know the way.

Mr. Cherkasskys taking part in is noted for his singing tone, but he states he simply cannot review how he produces it.

Mr. Cherkassky has sturdy emotions about judging musical competitions. Being a prominent musician, he has usually been invited to guage, but has refused. I dont think its truthful, because someone must win, he reported. Its very good for small business. Possibly they are entitled to it, Or even the 1 who will not win is much better than the one particular who wins.

You will find possibilities towards the Level of competition route for young artists endeavoring to Develop Occupations, he explained, if they have ample willpower and self-discipline, and should they dont let something exterior -- emotions -- disturb them.

Its crucial psychologically to become an entire slave to a vocation, he stated. If you're able to resist private things, artwork gets better.

Born in 1911 in Odessa, Russia, Mr. Cherkassky was an only little one. His father was a dentist and an beginner violinist, and his mother was a pianist and piano Trainer. His spouse and children came to The us in 1923 because of the political upheaval in his homeland. It wasn't until 1976 that he returned to Russia. His performances At the moment, he claimed, experienced terrific psychological significance for him.

Soon just after his arrival in The us with the age of twelve, he played a command general performance for the White Household for President Warren G. Harding and gave performances for the two Paderewski and Rachmaninoff. The good pianist and Instructor Josef Hofmann, he claimed, was the greatest impact on his taking part in.

In the 1991-92 time, Mr. Cherkassky gave a number of Worldwide performances in celebration of his eightieth birthday, on Oct. 7.

Men and women talk to how at my age I have a great deal power, he mentioned. He attributes his excellent health and fitness to ingesting large quantities of plain yogurt each day and also to a every day dose of the Japanese consume known as Pocari Sweat, which contains sugar, nutritional vitamins and nothing synthetic. It had been advised by a doctor in Tokyo being a heal to the flu.

This season, Mr. Cherkasskys performances contain concert events in Italy, the Netherlands, Germany, Japan, Canada and The us.

I adore Japan, he claimed. Its the only real place in which I get alongside very well. They may be fanatics on punctuality, plus they think of every little thing in advance.

The Berio items on Fridays application are identified as Water Piano, Earth Piano and Hearth Piano and are quick abstract functions. You must make use of your creativeness, Mr. Cherkassky said. The first piece is melodic, almost like Chopin. The second a person is placing notes, no melody in the slightest degree, and the final one is more like the fire, with plenty of operating passages.

Chopins Don Giovanni Variants, an early Chopin get the job done, is not as famous as Liszts variants on precisely the same concept. After, Mr. Cherkassky performed both equally sets of versions on the identical system, he said. The combination presented an extreme dose with the operatic topic, but an interesting comparison. Chopins variations tend to be more sensitive and even more lyrical than Liszts, Mr. Cherkassky explained.

Tickets for the Princeton live performance are $25 and $28. Reservations can be obtained by calling (609) 683-8000.

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heard u have children now

Deception is a 1946 movie released by Warner Brothers, and directed by Irving Rapper. The film is based on the play Monsieur Lamberthier by Louis Verneuil. The screenplay was written by John Collier and Joseph Than. It stars Bette Davis, Paul Henreid, and Claude Rains who had also appeared together in the highly successful Now, Voyager (1942).[3] The film was based on a play Monsieur Lamberthier by Louis Verneuil, which was first performed in Paris in 1927. It opened on Broadway as Jealousy on October 22, 1928 at Maxine Elliott's Theatre, as a two-hander (play with only two main characters), with Fay Bainter and John Halliday. It was turned into a film also entitled Jealousy (1929) with Jeanne Eagels and Fredric March and directed by Jean de Limur. The play was presented again on Broadway on October 1, 1946 under the title Obsession at the Plymouth Theatre, with Eugenie Leontovich and Basil Rathbone. Warner Bros. originally purchased the play as a vehicle for Barbara Stanwyck and Paul Henreid. Davis' solo piano playing was performed by Shura Cherkassky. Henreid's cello playing was dubbed by Eleanor Aller. The music for Hollenius' Cello Concerto was by Erich Wolfgang Korngold, who composed the music for this film. Korngold subsequently expanded this material and published it as his own cello concerto.

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Shura Cherkassky - Pavane pour une Infante défunte (Ravel)

#music #classical 

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Berlin Philharmonic Orchestra, Shura Cherkassky, Leopold Ludwig ‎– Concerto No.1 in B Flat Minor for Piano and Orchestra, Op. 23 Decca ‎– DL 9605 Gold Label Series – Released:1952

All day classical jag. Highly recommended.  I am slowly, comfortably becoming the weird old white guy with the cats and the record collection.  There are much worse things, none of which sound as good. Album version unavailable, but this is the same concerto LISTEN: Pyotr Ilyich Tchaikovsky : Piano Concerto No. 1 in B minor

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The History of fireinsidemusic

Within the age of 81, the pianist Shura Cherkassky suggests He's touring much more now than he did in his 70s. Mr. Cherkasskys performances have reached common recognition specifically in the final decade, when he was labeled a terrific Romantic pianist -- in opposition to his needs.

I dont similar to this label, he stated emphatically inside of a modern telephone job interview from his residence in London, where by he has lived for much more than a decade. I dont belong to any Specific classification.

Mr. Cherkassky, who commenced executing in 1923, will Enjoy a recital on Friday at 8 P.M. for the McCarter Theater in Princeton, a plan He'll repeat at Carnegie Hall on April 21. On This system is going to be Bachs Toccata and Fugue in D small (BWV 565), Schuberts Sonata inside of a (Op. Posth.), D. 959, two operates by Chopin -- the Ballade in File minimal and Variants on Mozarts La ci darem la mano from Don Giovanni -- Berios Encores Pour Piano and Balakirevs Oriental Fantasy (Islamey).

Wanting back again above his a few years as a pianist, Mr. Cherkassky stated that in relearning outdated pieces, I Engage in them differently. He extra: Its tricky to know whats altered. My playing is more mature, richer.

He practices four several hours per day and not one particular moment significantly less, he mentioned. When I follow, I want a clock.

He doesnt instruct, and refuses to present master courses. Some pianists like to teach, but I dont, he said. Thank goodness I dont have to teach.

Performers, he reported, dont make fantastic instructors. They can be far too egotistical and self-centered, he mentioned. Ages back, After i experienced to make it happen financially, I taught some lady who stored building faults. I wouldnt know what to state. I mentioned, Enable it to be sing, and she said, How can I do it? And that i claimed, I wouldnt know how.

Mr. Cherkasskys taking part in is recognized for his singing tone, but he claims he cannot review how he makes it.

Mr. Cherkassky has potent inner thoughts about judging musical competitions. Being a distinguished musician, he has typically been invited to evaluate, but has refused. I dont Consider its reasonable, for the reason that anyone should earn, he said. Its Great for business. Perhaps they should have it, or maybe the a person who will not acquire is better than the one who wins.

There are actually options to your Levels of competition route for younger artists attempting to Develop Professions, he explained, if they have got sufficient willpower and self-control, and when they dont let something outdoors -- emotions -- disturb them.

Its vital psychologically for being a complete slave to some profession, he claimed. If you're able to resist own issues, art gets far better.

Born in 1911 in Odessa, Russia, Mr. Cherkassky was an only child. His father was a dentist and an novice violinist, and his mother was a pianist and piano Trainer. His spouse and children arrived to The us in 1923 due to political upheaval in his homeland. It wasn't until 1976 that he returned to Russia. His performances at that time, he claimed, experienced great psychological importance for him.

Shortly immediately after his arrival in the United States at the age of twelve, he performed a command effectiveness at the White Dwelling for President Warren G. Harding and gave performances for both of those Paderewski and Rachmaninoff. The nice pianist and Instructor Josef Hofmann, he reported, was the best influence on his playing.

In the 1991-92 year, Mr. Cherkassky gave a series of international performances in celebration of his eightieth birthday, on Oct. 7.

Men and women talk to how at my age I've much toughness, he said. He attributes his excellent health to feeding on large quantities of basic yogurt everyday and to a each day dose of the Japanese consume called Pocari Sweat, which contains sugar, natural vitamins and very little synthetic. It absolutely was proposed by a health care provider in Tokyo as being a heal to the flu.

This year, Mr. Cherkasskys performances incorporate concert events in Italy, the Netherlands, Germany, Japan, Canada and The usa.

I adore Japan, he mentioned. Its the sole country where I get along perfectly. They are fanatics on punctuality, and so they think about almost everything beforehand.

The Berio parts on Fridays plan are termed Water Piano, Earth Piano and Fire Piano and so are shorter summary is effective. It's important to use your creativity, Mr. Cherkassky stated. The main piece is melodic, Just about like Chopin. The second just one is putting notes, no melody in the slightest degree, and the final one is more like the fire, with loads of managing passages.

Chopins Don Giovanni Variants, an early Chopin operate, just isn't as famous as Liszts variations on the exact same concept. When, Mr. Cherkassky performed both of those sets of versions on the exact same program, he explained. The mix presented an excessive dose of your operatic topic, but a fascinating comparison. Chopins variants tend to be more delicate and even more lyrical than Liszts, Mr. Cherkassky reported.

Tickets towards the Princeton live performance are $twenty five and $28. Reservations are offered by contacting (609) 683-8000.

[lindsay36ho]

Nelson Goerner – Exploring the depths

Nelson Goerner is a sort of ‘rare bird’ on the concert platform. Each of his concerts is a unique experience. His most recent CDs featuring major works by Brahms, Godowsky and Paderewski are simply breathtaking. Eric Shoones met him in Groningen to discuss his recordings, his views on his artistry and about Maria Tipo, with whom he studied.

Goerner grew up in San Pedro, a small town near Buenos Aires. He was a prodigy who taught himself to read and write before he was three years old. When he was seventeen he played for Martha Argerich and, with her help, gained a scholarship in Europe. On her advice he went to Maria Tipo, by then already a legend, for further instruction. He won the Concours de Genève and eventually even took over Maria Tipo’s class at the Conservatoire de Musique de Genève. At the invitation of Daniel Barenboim he recently also taught for two years at the Barenboim-Said-Akademie in Berlin. But Nelson Goerner’s focus is primarily on giving concerts – much to the delight of his audiences.

– Maria Tipo wasn’t unknown in Argentina. – No, she was an icon, and played everywhere – not just in Buenos Aires. When I took my entrance exam in Geneva, I immediately felt that something incredible awaited me.

– She was a very demanding teacher. – (laughs) Very much so; all of her students were reduced to tears at some point. She was enormously critical, also of herself, and was rarely satisfied with her playing. She really liked teaching, and never forgot an appointment. We spent a lot of time together, and she really took care of her pupils. After teaching for hours she would then go and practise herself. Generous as she was; she let me play one of her concerts because, despite winning the prestigious Geneva competition, I had very few opportunities to perform at first. My career was slow to get started. She knew it would take a while before I got a proper engagement in Italy, and that’s why she let me take her place.

Nelson Goerner and Martha Argerich

– Quite unlike the teachers who alienate their pupils from concerts. – Yes, I’d like to stress that. She put in an appearance at the concert, and also made the arranger aware that she hadn’t cancelled because she’s received a better offer or because she wanted to be rid of it. It was a most unusual thing to do. I played Beethoven’s ‘Hammerklavier’ Sonata. She was very exact about the structure, the context and the dynamic construction of the fugue. Above all it shouldn’t sound like a stunt. She was a very natural pianist; just watching her play was a lesson in itself. She had an incredible legato, like a great singer, and her use of the pedal was quite extraordinary – all the critics wrote about it. She combined sonorities in a magical, very unorthodox way. ‘You have to stroke the keys’, as her mother Ersilia Cavallo always said, who had studied first with a pupil of Rubinstein and later under Busoni. Her sound was never hard or aggressive, the way you often hear today, and that’s insufferable. Listen to her Scarlatti recordings, which made her famous at a stroke in 1955. So refined – they’re really dances, and she doesn’t imitate the harpsichord, but uses all the potential of the piano, with taste, character and imagination. Every sonata has its own character.

– When I listened in on your rehearsals yesterday, I was struck by the way you work with sound relationships within a chord, between melody, bass and middle parts. – Yes, it’s hard to make a chord sing; the balance between the various voices is so important; you train your fingers, but you train your ears even more. Ultimately you can achieve unbelievable things even on a mediocre piano, and I try to develop this sensitivity to sonority in my pupils as well.

– Your most recent CD include music by Paderewski, Godowsky and Brahms. Can you discern the pianist behind the composer? – Always, and especially in the case of pianists like Godowsky who had such an all-encompassing technique. Paderewski was a fabulous pianist as well. His recording of his own Nocturne, Op. 16 No. 4 – which I have recorded too – is incredible, but I also admire La leggierezza by Liszt and the F minor Variations by Haydn greatly. Likewise, for instance, Grieg’s Ballade and Chopin’s Études played by Godowsky.

– You say that Godowsky was always nervous at recordings. – Yes, unfortunately there aren’t any recordings of him in large-scale works, but that applies to many artists. I never heard Arthur Rubinstein in person, but some of his live recordings give an idea of what he sounded like in real life, and I find this immediacy slightly lacking in his studio recordings.

– Therefore the recently discovered recording by Rachmaninov is also so stunning. – Exactly, he wasn’t aware that he was being recorded. The idea that something was being set down for all eternity made him nervous too. But a recording is just a snapshot in your development.

‘I’ve already been living with Brahms’s Third Sonata for 25 years.’

– Is that why you perform the programme of your CDs in concert first? – Absolutely, it’s essential – not the other way around in order to sell more CDs! A CD is the result of a long process of study, searching for the meaning of every note – a process that continues in concerts too – where, if you feel at ease on stage, you find out a lot that doesn’t become apparent when practising at home. It’s the only way. I’ve already been living with Brahms’s Third Sonata for 25 years – half my life. It’s such an incredible piece; it contains everything – power, drama, youthful optimism. Brahms was still young, but already in possession of all his faculties. Moreover it’s also very original for its time.

– And still – not every recording is the result of such a long process. – No; I played Paderewski’s Variations and Fugue on an Original Theme at the request of the Chopin Institute, where I’m a member of the advisory board, and it was love at first sight. I love playing Paderewski’s Piano Concerto, but the Variations are more profound, in a certain sense enigmatic, psychologically very multi-faceted, and the fugue is grandiose. People see Paderewski as a miniaturist, but this is something wholly different. I hope that in a modest way I can contribute to the fame of these Variations.’

– And the feeling of freedom during a concert? – Yes, I try to achieve that in the studio too, but it’s very difficult, because at a concert you’re sharing the music with hundreds of people. That’s a very special feeling. For that reason I make as many live recordings as possible. In the studio you’re searching more for an ideal.

– Is there such a thing? – At a specific moment, yes, but the concept keeps on developing, and that’s why I don’t like listening to my own recordings.

– At the rehearsal yesterday I noticed how a single note can clarify the structure of a piece, so that unexpected dimensions arise. – I learned that from the great pianists such as Josef Hofmann and Ignaz Friedman. They reveal the psychological content of the music in such an immediately recognizable way, without losing their personalities and without placing their own egos in the foreground. Just recently I heard Josef Hofmann in Chopin’s Fourth Ballade. So extreme, individual and overwhelming, with a demonic power, intense lyricism, and completely in Chopin’s spirit. His pupil Shura Cherkassky was recently a role model for me in this respect.

– Many would regard it as a gamble to play Brahms’s Paganini Variations in concert. – (laughs) And so it is. They’re notoriously difficult, but their virtuosity is not that of Liszt, who was also a performer in the best sense of the word. He makes some concessions to the taste of his time, when the piano gained its place as the king of instruments. I am totally against the view – often still encountered today – that Liszt was superficial; but unfortunately many pianists still go for superficial virtuosity.

– The same is actually true of Rachmaninov. – You shouldn’t play the Third Concerto like a big show. Listen to Rachmaninov himself; he has so much grandeur, and it’s so noble, so rich and also so emotional. He never displays his technique for its own sake. It’s impossible to deny the truth of this role model.

– You have no time for great extravagance. – I have learned to avoid it completely – a very important point, because it keeps you away from the real meaning of the music. You can see with the really great pianists: they don’t try to seduce the audience with grand gestures, for example. If you do that, you’re more concerned with yourself, and less with the music. Consciously or unconsciously – both are bad. I also see it as one of my duties as a teacher to make genuine talents aware of this. You must approach the music from within, I don’t decide anything from the externals. It remains an eternal quest – otherwise you just turn into a copy of yourself.

Recent Albums

Brahms: Sonata, Op. 5; Variations on a Theme by Paganini, Op. 39. Alpha Classics 557

Paderewski: Variations and Fugue; Godowsky: Künstlerleben. Narodowy Instytut Fryderyka Chopina, NIFCCD 061

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Author: Eric Schoones

More about Nelson Goerner: www.nelsongoerner.com

This article is a contribution from the German and Dutch magazine Pianist through Piano Street’s International Media Exchange Initiative and the Cremona Media Lounge.

Pianist Magazine is published in seven countries, in two different editions: in German (for Germany, Austria, Switzerland, Luxemburg and Liechtenstein) and in Dutch (for Holland and Belgium). The magazine is for the amateur and professional alike, and offers a wide range of topics connected to the piano, with interviews, articles on piano manufacturers, music, technique, competitions, sheetmusic, cd’s, books, news on festivals, competitions, etc. For a preview please check: www.pianist-magazin.de or www.pianistmagazine.nl

from Piano Street’s Classical Piano News https://www.pianostreet.com/blog/articles/nelson-goerner-exploring-the-depths-10073/

[musicmakesyousmart]

Shura Cherkassky - Ritual Fire Dance

ICI

1971

[sunset-supergirl]

Happy birthday Shura Cherkassky

[fclauturisticallyzealouschopshop]

SHURA CHERKASSKY RECITAL PART ONE. HANDEL HARMONIOUS BLACKSMITH.