The art of Emanuel Feuermann; Haydn and Bloch, part 1
From four College Radio in Amherst the eastern educational radio network presents the first in a six part series of programs devoted to the art of a manual for a man host for this series is cellist Seymour Itzkoff a member of the Department of Education at Smith College. The tragically premature death of the cellist Emanuel for human I May 25th 1942 at the age of 39 took from the musical world one of the most extraordinary talents that we have been privileged to hear. It is true that today when one thinks of the cello in cellists our first thought is to Pablo Casals because I was bored musicality and beauty to cello playing. Foreman once wrote of this in a note to his wife where as a cellist speaking for himself and other cellist Still to come he related his indebtedness to ghazals for establishing the cello as an instrument of warmth and interpretive eloquence without Casals who was 26 years appointment senior to point the way to demonstrate the possibilities inherent in the instrument. There would not have been a man believed the audience for the cello which existed
in his time. The preeminence of Casals as a representative of the cello is further due to the fact that he is perhaps one of the great humanitarians of our times. Happily as longevity has long enabled him to communicate not only his musical ideals but also his dedication to the cause of human liberty and democracy. His tenacious sacrifices for his Republican Catalonian compatriots answers in part for the enormous respect he has elicited for the cello notwithstanding all these important values that the great master Casals has contributed. It must be asserted that with regard to the expressive and virtuous of possibilities of the instrument itself. The manual for human has had no peer neither before nor since his passing before for human there have been no one to do for the cello what the legendary Paganini and Saraswati had done for the violin. Namely to create a symbolic standard or bridge to our city to be emulated by all aspiring instrumentalists. We will try to demonstrate through recordings in this and in
subsequent programs these unique cellist accomplishment of this artist. Unfortunately for him and made relatively few recordings as with many artist he was understandably both proud and critical of his work and usually shied away from the recording studios because he was hesitant as he put it in having any one performance or any temporary state of his art be inscribed for all eternity. Those recordings that he did make amply demonstrate the consistently high level of his mastery of the traditional technical difficulties of the instrument. Difficulties which have often detracted from its aesthetic possibilities in lesser hands. The problems of the cello are so unique that a word about them is perhaps in order. The melodic potentialities of the instrument are of course incomparable. Yet as a solo instrument melody alone is not enough. There are technical possibilities which must be exploited. The incipient virtuoso of the cello however has rather
great disadvantages when compared with the possibilities available to the violinist. The large size and volume of the cello make it a rather cumbersome opponent for the soloist necessitating an enormous expenditure of physical energy. The reaches and distances are quite extreme. Making rapid passage work over the thicker and less response of strings or the more difficult for both hands. The intonation problems of the left hand in maneuvering over these distances becomes a relatively minor matter when one considers the even more crucial feats that the bore must perform with a short stocky stick over the wide arc produced by the cello bridge and on the same aforementioned heavier and slower vibrating strings. These difficulties seemingly vanish with women the gruffness of bowl and the fuzzy and opaque articulation of the left hand which can mar the natural beauty of the cello and is so prevalent even in the playing of some of our greatest contemporary cellist does not exist in his repertoire of musical sounds. Often as in his chamber music
recordings with hyper took Primrose. It is difficult to identify the cello when a duplicate either in repetitions or Unison passages. The range of the higher instrument for women's achievement of a synthesis of musicality and technical facility considering the natural obstacles to this and is all the more amazing. For humans American debut was with the New York film Monica under Bruno Valter m January 3rd one thousand thirty five in the Haydn cello concerto. Walter had known both Emmanuel and his violinist brother Sigmund who was two years older for several years. The three had formed a piano trio and had given a number of recitals together. In addition vaulter had conducted performances of the brothers in the Brahms double concerto. Both Mr. and Mrs. Potter had taken a rather personal interest in the career of the young cellist. However had it not been for the vigorous urgings of Mrs Bowater the conductor might have lost the opportunity to be the one to introduce the 33 year
old cellist to the new world. Flamen had been appearing on the cutting stages of the world including Western Europe the Soviet Union and Japan for over a dozen years and in fact had been concertizing throughout Europe since he was nine. He was already somewhat of a legend. And this is premier was more than the traditional New York debut. In reviewing the forum in concert in the New York Times on downs duly noted the impressive caliber of the playing yet was not ready on the basis of one concert to accord for him a new claim that had followed him wherever he had played. However with each recital it for him and gave the accolades grew in a steady crescendo. For this first program in our series we are going to hear for Yemen in the work in which he premiered on the Bruno Valter the Haydn Cello Concerto in E major opus 101 recorded in England one year earlier with Malcolm Sargent conducting an orchestra.
Haydn composers concerto a beautiful blend of style and virtuosity for on time craft the capable first cellist of the Esterhazy orchestra. The concerto was really played in succeeding decades and was not heard in England until 1887 when finally published by friends who are good at the Brussels conservatory the famed cellist Joseph survey took it upon himself to popularize the work which since has been a staple of the cello repertoire. For human performance on this recording demonstrates a smooth and effortless technique. His cello provides a rich and supple foreground in what is a rather uninflected interpretation. You will hear the chorus rather thin orchestral sound in the introduction supplanted by the Clarion like assertiveness of the cello the soloist is then dominant throughout the relaxation and karma for women is deceptive. For every note and phrase have been carefully calculated.
Interestingly before women worked out his interpretations away from the cello for the most part and was able to transfer his intellectual organization of a piece of music to the instrument with a minimum of actual practice there was little that four women could not do on the instrument once you determine the course of his interpretation. Of a performance by 4 a.m. the same concerto with the film on it going to John Barbirolli several years after his American debut. The New York Times commented as follows. Never has his performance been more amazing in its combination of vital musicianship and consummate technique. The audience was his from the moment he put his bow to the string. Ooh. Ooh.
Ooh. Ooh wee.
- The art of Emanuel Feuermann
- Haydn and Bloch, part 1
- Producing Organization
- WFCR (Radio station : Amherst, Mass.)
- Four College Radio
- Contributing Organization
- University of Maryland (College Park, Maryland)
- AAPB ID
- Episode Description
- Haydn: Cello Concerto in D, Malcolm Sargent, conductor; Bloch: Schelmo, Leopold Stokowski, conductor
- 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: 67-22-1 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
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- Chicago: “The art of Emanuel Feuermann; Haydn and Bloch, part 1,” 1967-04-16, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed December 8, 2023, http://americanarchive.org/catalog/cpb-aacip-500-fx74000k.
- MLA: “The art of Emanuel Feuermann; Haydn and Bloch, part 1.” 1967-04-16. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. December 8, 2023. <http://americanarchive.org/catalog/cpb-aacip-500-fx74000k>.
- APA: The art of Emanuel Feuermann; Haydn and Bloch, 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-fx74000k