The art of Emanuel Feuermann; Schubert and Dohnanyi, part1
From four College Radio in Amherst the eastern educational radio network presents the fourth in a six part series of programs devoted to the art of a manual for a man host for the series is cellist Seymour Itzkoff a member of the Department of Education at Smith College. Today I would like to play several examples of a manual for women in chamber ensemble as jealous so woefully aware of the literature for solo cello is a restricted one. It is therefore the rare cellist who doesn't find a need at one time or another to broaden its activities to include chamber music. There are major adjustments here which the soloist of temperament must make. The natural role of the cello whether in string quartet or in various trio combinations is one of support rather than leadership. But there are ample compensations for the cellist who put music ahead of ego in a string quartet for example he has the opportunity for participating in the most profound genre of musical composition. Whatever the make up of the Chamber Ensemble there can always be great satisfaction for the cellist in providing the rich tonal foundation for the harmonic and
rhythmic textures of the music. This necessitates a special kind of musical collaboration which has little to do with personal friendship or even has a direct correlation with virtue also capabilities. Certainly there is a minimum technical capacity which has to be presupposed but it is erroneous to assume that individual a great virtue OSI having a friendly disposition towards each other will necessarily produce great chamber music. In fact we have seen cases where the members of splendid ensembles found each other personally distasteful. The creation of a fine chamber group is not a mysterious accident. It can be done consciously and rationally but it necessitates the greatest care in the choice of personnel and the nurturing of their alchemist musical sensibilities. That's when Victor Records in 1941 asked Yasha to gather together a group for a series of recording sessions he had to choose wisely. He chose a manual for him and William Primrose an Arthur Rubenstein expecting that they would prove to be musically
compatible. He was already well acquainted with the styles of the string players. If there was a concern as to the ultimate success of these recordings it revolved around the problem of blending a brilliant pianistic individuals such as Rubenstein with the strings. But it will be obvious that this problem was so mounted. As far as point was concerned hybrids could not have chosen a more ardent chamber music devotee from the time of his first professional position in Cologne at age 16. For him and have been constantly involved in a variety of chamber music enterprises these included a trio form with Bruno Valter and Zygmunt pointman. And before Emanuel left Germany in 1933 he had been associated for several years with a noted string trio first with Max Walsh doll and violin. Then after his death with the useful concert master of the Berlin Philharmonic Simon Goldberg the violist in this trio was Paul had a myth. Later in New York he performed several times at the concerts of the new friends of music with Arthur novel and Branislav human invariably when four women
met violinist or violists one of the first questions he asked was Do you play chamber music. The weeks of practice that they engaged in prior to the recordings were by no means a period of perpetual amity. However the total of those yes mother musicians their confidence in each other's abilities. The lovely Hollywood setting and that they were constantly surrounded by their families were all conducive to the coalescing of their efforts into a unified product. When the job was completed there existed a deep mutual sense of accomplishment and satisfaction. I would like to play first the work which epitomizes to me the enthusiasm of the collaboration and brings out not only their ability to work together but the individual skills contributed by each. This is the Schubert trio in B-flat Opus 99 with Arthur Rubenstein Yasha Heifetz and Emmanuel Flamen. And you heard.
It. Right. There. And. And.
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- The art of Emanuel Feuermann
- Schubert and Dohnanyi, part1
- Producing Organization
- WFCR (Radio station : Amherst, Mass.)
- Four College Radio
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- Episode Description
- Schubert: Piano Trio in B-flat, Op. 99 (with Heifetz and Rubinstein); Dohnanyi: Serenade in C (with Heifetz and Primrose)
- Series Description
- Series exploring artistry of cellist Emanuel Feuermann, including historic recordings. The series is hosted by Seymour Itzkoff of Smith College.
- Media type
Host: Itzkoff, Seymour W.
Performer: Feuermann, Emanuel, 1902-1942
Producing Organization: WFCR (Radio station : Amherst, Mass.)
Producing Organization: Four College Radio
- AAPB Contributor Holdings
University of Maryland
Identifier: 67-22-4 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “The art of Emanuel Feuermann; Schubert and Dohnanyi, part1,” 1967-05-12, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed September 30, 2023, http://americanarchive.org/catalog/cpb-aacip-500-3b5wbc2c.
- MLA: “The art of Emanuel Feuermann; Schubert and Dohnanyi, part1.” 1967-05-12. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. September 30, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-3b5wbc2c>.
- APA: The art of Emanuel Feuermann; Schubert and Dohnanyi, part1. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-3b5wbc2c