The art of Emanuel Feuermann; Strauss and Beethoven, part 1
From four College Radio in Amherst the eastern educational radio network presents the fifth 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.
The recording you have just heard was Gabriele forays operated on or played by Emmanuelle for him and was Franz wrote at the piano. Before we present our next selection the Beethoven E-flat do all for Viola and cello. I would like to say a word about the library of formal recordings which w FC are for College Radio in Amherst Massachusetts is developing. We believe that the recordings of the historically important artists the past and present ought to be always available to the public for the same reason that paintings are on permanent exhibition in museums. In the case of great music it is an addition very difficult to separate the written score from the important interpretations which have given the music life. Thus the interpretation becomes an integral part of the significance of the music. It should be said that the recording companies are sensitive to this fact and the resulting growing demand and are releasing many choice items of the past. It is rather sad to know that there are fuel for human soul recordings that can now be had from the usual commercial sources. And thus until his recordings are released we have decided to
create a for human collection here at WFC are we now have almost all of his commercial recordings but we are eager to know of any esoteric items that might be in existence. There may be for example tapes or recordings of performances and concert given during those years at 4am and tour of the United States. We would appreciate hearing about material such as these. Write to us at WFC are for college radio Amherst Massachusetts. Now let us listen to a short but lively recording of the Beethoven duel in the flats with the oboe and cello with William Primrose and Emmanuel for a moment. The recording was made in the summer of 1941 in Hollywood California.
You don't. Have. It.
Who did. It.
You have just heard a recording of the Beethoven duo in E-flat for the OHL and cello with William Primrose and a manual for women. The performance of Richard Strauss's Don Quixote which we are going to hear next was recorded for Victor Records by 4am and the Philadelphia Orchestra under Eugene Ormandy early in 1982. The circumstances under which the recording was made are interesting and their relating. Don Quixote was scheduled to be recorded following a performance at a regular subscription concert of the Philadelphia Orchestra at the Academy of Music. For women however it was not the soloist and the concert performance although his schedule was tight. Flamen was able to ride the night before in time for the concert and heard the actual performance. You Norman he recalls that immediately after the concert women rush to arm in his dressing room and they remain closeted there for two hours discussing and going through the solo part. At the recording session the next morning in the same Academy of Music only he states that quote Mr Foreman's performance was so wonderful that it was impossible to believe that he had not
rehearsed the work before hand. It was an unbelievable performance unquote. One might add that this achievement was not an accident. Growing out of an unusual set of circumstances but a typical aspect of for humans virtuous city the recording session however was not without incident an incident which allows us to note another characteristic for human trait. There isn't variation 10 of Don Quixote a delicate point ensemble wise during which Don Quixote represented by the cello engages in combat with his neighbor and intended benefactor. The Bachelor Sampson Costco who disguised as a knight of the white moon is somewhat overwhelmingly represented by the entire wind and brass choirs. The cello hits a forte high Yeth and has met a half hour later with a resulting 20 from the massed ensemble. During the recording session the rapid sequence of statement in reply did not correspond perhaps as were many remarks because the brass was a bit late or frame and missed the F by a
fraction after the second try for him and finally spoke up and in a very apologetic tone said please give me a piece of chalk. So I can mark where the Eth is. The tension was of course broken and the next try was successful. The foreman sense of humor was famous in the musical world. He had the ability to engage disengage himself momentarily from the important work at hand to empathize with the average musicians prosaic attitude towards the drudgery of rehearsals. His humor elicited an immediate response from musicians in part because it complemented and hence their appreciation of him for even as an intensely devoted practitioner of his craft. Strauss completed done Kyoto in December of 1897 when he was 33 years old. It is a unique composition in the sense that it represents a pinnacle of achievement in his career. It is doubtful that any prior or subsequent orchestral work of Strauss is so rich in musical imagery exhibits to control over the orchestral medium and yet still
displays the necessary maturity of musical expression sufficient to support the technical brilliance For these reason Strauss's achievement in the creation of this work at such an early age is doubly impressive. Norman Del Mar in his critical study of the music of Strauss has commented as follows concerning the Don Quixote. It is never a turgid or bombastic and its okay tional Banality is a deliberate and fitting to the subject. On the side of you murder and the incredible fertility of invention Strauss had no time surpassed what he accomplished throughout Don Quixote though he equalled it perhaps during some of the stage works which lay ahead. Whatever may survive the passing of the years and Strauss as output Don Quixote is short to remain a firm landmark in the post-Romantic school focused on music unquote. One of the banalities Del Mar presumably refers to is the section variation too where Strauss has the orchestra imitate the bleating of a flock of sheep. Nevertheless it is a good example of one of the many brilliant orchestral effects that are to be found in the
piece. Another critic is claimed to have located fifty three themes and subthemes in Don Quixote and this does not take cognizance of the innumerable times that several themes are simultaneously interwoven in a contrapuntal manner. Turning to the actual program for the cello solo we want to note that though the cello represents Don Quixote the solo violin in several places contributes to the characterization. Strauss reserved three themes to depict the night of the mournful countenance. Each of these themes is invested with the dignity and nobility that is held to in the score. In spite of the most bizarre and fantastic imbroglios to which goatee is subjected in the music central Pons a faithful servant has also given three themes. But these contrasts dramatically with those of the night. Puns as themes are rustic awkward even coarse the soul of your hero played by Samuel if she underlines this quality very nicely. The listener will not find in Don
Quixote or Euro cello concerto the solo part was originally intended for the first chair in the orchestra and is held tacit for long sections of the work. Its great difficulty however is usually in the sense of Tate and outstanding cello soloist. Emmanuel Foreman's contribution to this performance is cello playing that is brilliantly assertive controlled yet highly expressive. One ought to note at least two passages which exemplify his capabilities in addition to the famous and sadly glowing finale in which the cello movingly depicts the death of the valiant knight. There is another passage of remarkable beauty this passage occupies variation 5 which depicts Quixotes vigil over his armor in the reverie into which he then falls. He had visions a noble attribute of his imaginary patroness Dulcinea Delta Bosso and proceeds to pour out his heart to her distant image. The passage calls for the solo cello to play slowly but in a freely sentimental and
declamatory manner the cello practically stands alone with just the lightest harmonic and rhythmic support the expressive possibilities of this variation are great but if they are really taken advantage of it is because while the notes are not difficult the control necessary to keep the melodic line within the rhythmic pulse. And yet retain the requisite freedom to evoke the mood is more than most cellists can muster. Well if women is able to do with the passage without prior rehearsal is not only testimony to what's to KOSKY is described as a seemingly endless technical powers but also to his ability to recreate the spirit of the music for which purpose technique was intended. Also mention ought to be made of the sensitive support that Eugene Ormandy maintains throughout the recording. Let us now listen to Richard Strauss's Don Quixote. You do know I mean the conducting the Philadelphia Orchestra with Alexander Healdsburg violin Samuel if she Viola and Emmanuel for him and cello recording made early in
- The art of Emanuel Feuermann
- Strauss and Beethoven, part 1
- Producing Organization
- WFCR (Radio station : Amherst, Mass.)
- Four College Radio
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- Episode Description
- Strauss: Don Quixote, Eugene Ormandy, conductor; Beethoven: Duet in E-flat Major for Viola & Cello (with 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: 67-22-5 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “The art of Emanuel Feuermann; Strauss and Beethoven, part 1,” 1967-05-16, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 4, 2023, http://americanarchive.org/catalog/cpb-aacip-500-8s4jr353.
- MLA: “The art of Emanuel Feuermann; Strauss and Beethoven, part 1.” 1967-05-16. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 4, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-8s4jr353>.
- APA: The art of Emanuel Feuermann; Strauss and Beethoven, part 1. 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-500-8s4jr353