New England Conservatory; #2 (Reel 2)

Ferg and I had some difficulty in re-establishing himself to the level of prominence which he knew and in Europe and his early years in this country were difficult as were the years I suppose one could say of bar talk in this country. He had a very great mind and wit and year and he was a very

energetic one could say even pedantic teacher. He did not let anything go by and his year was so studious that you could not trust three or four fake a left hand on a company meant everything had to be precisely expressed to exactly the level suited suitable to the text or music. It is strange as I mentioned before that he felt the contemporary music was the language of the young people of the time. And when I took the term Baroque pieces into his studio he was relatively nonchalant about that. You said that your music and you'll figure it out. Which was a quite a different approach than when he taught Beethoven are shut down.

And. I think that to some extent the best to do business of his method was a result of his great connection to contemporary music and his period of study and consultation with Arnold Schoenberg whose piano music. He gave the first performance in almost all cases. But this delicacy and complexity of texture which is so necessary to project the Sherman Baroque pieces and other works of that type. Perhaps helped in decipher reading the multi-faceted possibilities of a relatively simple score

of Mozart or Beethoven superficially simpler one would say of course not really. And a less detailed. But. Try amend what project these difficulties insist on a solution. But do everything with a great sense of pleasure and joy with the music and also with great frequency so Donica with it. I was feeling very fortunate to have worked with him for 15 years and it is my good fortune now to have the opportunity to work at the New England Conservatory where I am teaching now with one of the story man's dearest friends. Also an intimate

member of the Sherman Burke school. I speak of a violinist Rudolf Cornish whose playing I hope will also appear on this series at some other occasion. Thank you very much Mr. Sherman for those vivid and warm recollections of your study with Mr. Storm on. We will return now to Jordan Hall for the final half of tonight's concert with of course Russell Sherman of the faculty at the piano. Thank you all. Thank. You. Russell. To perform 24 preludes that week shall pass. Why.

Why.

Why.

Why. Oh.

Whew.

Why.

A. Why.

No. All right.

That's. How. We. Do it. Look.

There will be an encore. Thank

you. Thank. YOU THANK YOU. Thank you. Thank you. Thank.

You. Thank you. The rondo of Mozart. We come to the end of this concert in Jordan Hall the New England Conservatory of Music a series heard each week on the station. Earlier on the program we heard two piano pieces of vinyl Schoenberg. A suite for piano or Edwin strawman for Stephon the photoplay partitions like Milton Babbitt. Sonata Number 10 percent any of Alexander scree Abbey and the 24 preludes Opus 28 a federally shall plan. This program was tape recorded during the performance on January the 10th 1969

broadcast at a later time. The ingenue for this evening's broadcast with Robert Carey and this is Robert Bailey speaking. This is the national educational radio network.