88keys - The Composer Pianists Click on a Composerpianist to learn more. Charles-Valentin Alkan, FerruccioBusoni. samuil feinberg, Leopold Godowsky. Nikolai Medtner, http://www.88keys.com/docs/pianists.html
Extractions: Click on a Composer-Pianist to learn more. Charles-Valentin Alkan Ferruccio Busoni Samuil Feinberg Leopold Godowsky Nikolai Medtner Sergei Rachmaninov Alexander Scriabin Kaikhosru Sorabji Additional Artists Georgi Catoire Erno Dohnányi Marc-André Hamelin Charles-Valentin Alkan Ferruccio Busoni Samuil Feinberg Leopold Godowsky
88keys - The Composer Pianists - Feinberg samuil feinberg (18901962) by Allan Evans. known outside of Russia, Samuel feinberg(1890-1962 was prepared by Alexander Goldenweiser, a pianist and pedagogue http://www.88keys.com/docs/pi_feinberg.html
Extractions: by: Allan Evans Little known outside of Russia, Samuel Feinberg (1890-1962) performed, taught, and composed for nearly sixty years. An original and intellectually precocious musician, his pianism was of the highest level. As a young man, he was prepared by Alexander Goldenweiser, a pianist and pedagogue who frequented Tolstoy and wrote reminiscences of his visits with the writer. The young Feinberg began composing and met Scriabin, who praised Feinberg's interpretations. Feinberg managed to tour Europe before Stalin sealed off the country in the 1930's and was unable to travel abroad again. He taught at the Moscow Conservatory and had a modest career. After his death, manuscripts were published in which Feinberg had extensively elaborated his philosophy on music: they await translation into English. When listening to Feinberg interpret Bach, Scriabin, Beethoven, or others, it is difficult to imagine that one pianist can adopt such varied approaches. Feinberg seemingly transformed himself to draw forth the unique musical language of each composer. His recording of Bach's Well-Tempered Clavier, made shortly before his death, is probably the most musically compelling and original version ever documented, as is his Scriabin and Liszt playing. He stands above all later Soviet pianists, except Sofronitsky, as a foremost musical mind and soul.
Masterpieces Of Non-standard Piano Repertoire The PianoL list presents Masterpieces of non-standard piano repertoire feinberg, samuil Evgenevich (1890-1972). A pianist of the very first rank, a pedagogue responsible for the Soviet theory http://kith.org/jimmosk/piano.html
Planet Tree Music: Festival 2000 At the age of 18 Jonathan Powell became the first pianist ? other than further recordingwork including CDs of music by Skryabin, samuil feinberg and Sorabji http://www.planettree.org/2000/0411330.html
Extractions: Leonid Sabaneyev Sonata 'in Memory of Scriabin' Performer Jonathan Powell , born in 1969 in Lancashire, started playing the piano at the age of six and in 1979 was awarded a choral scholarship to Magdalen College School, Oxford where he made his first concert appearances. He went on to read music at Cambridge University, during which time he gave numerous performances of standard and contemporary repertory including his own compositions. He has since developed a multi-faceted career as a pianist, composer and musicologist. Among the influences on his pianistic development he acknowledges the guidance of Denis Matthews and Sulamita Aronovsky. At the age of 18 Jonathan Powell became the first pianist other than the composer himself to play Michael Finnissy's virtuosic English Country Tunes, at the BMIC in London. The following year he performed the work again, alongside Charles Ives' Concord Sonata, Ferneyhough's Lemma-Icon-Epigram and his own works at the Brighton Festival and at the Dartington Summer School.
Planet Tree Music: Festival 2000 Jonathan Powell is a composer, pianist and writer on music. He has recently beeninvited to record these sonatas and works by samuil feinberg by an American http://www.planettree.org/2000/1011730.html
Extractions: (Paul Griffiths, The Times, January 1991) 'Feinberg and Krein wrote works that rank among the greatest of the decade. With Powell, we get to experience a revelation. The vitality and finely judged tonal colouration of his playing allows us to understand how Scriabin did open up an entirely distinctive and novel sense of beauty. We are in Powell's debt for this presentation' [re Largo 5136 Krein CD]
Extractions: Across Boundaries. Discovering Russia 1910-1940 Der Titel der ersten CD - Visions Visionen - verdankt sich jener Komposition, die hier im Mittelpunkt steht: den Visions fugitives Statuettes (1930) von Joseph Achron (1886-1943) und die in scheinbar kindlichem Tonfall komponierte Sammlung Klavier im Kinderzimmer Berceuse (1932) von Samuil Feinberg (1890-1962), der Dance (1927) von Alexander Weprik (1899-1958) und die Vision (1919) von Lazare Saminsky (1882-1959) runden diesen Eindruck ab. Auch wenn nicht alle Kompositionen den klanglichen und strukturellen Reichtum der Visions fugitives Klavier im Kinderzimmer oder die kontrastreich angelegte Vision Mit dem Titel Danse rituelle du Sabbath (1919), von Nemtsov in sehr kraftvollem Duktus vorgetragen, aber auch das Hebrew Fairy Tale Sonate Nr. 2 Nicht nur hier, sondern auch in den charmanten Miniaturen aus der Kindersuite (1923) und in der virtuosen Komposition Sinfonische Variationen und Sonate über das jüdische Thema "El jiwneh Hagalil"
ALEXANDER MALKUS - Pianist (N M C) Traditions of school by prominent pianist and composer samuil feinberg who wasa teacher of.Natanson, had fruitful influence of Malkus' personality as a http://nmccom.hypermart.net/Malkus/
Extractions: Piano A lexander Malkus was bo rn in 1948 in Moscow in a family of a musician. His father, a we ll -known pianist-accompanist, began to acquaint h i s son with the world of great music since the latter was a five-year-old boy. Alexander passed all stages in the way to profession education: a music schoo l where he took lessons from a remarkable teacher Vera Tchemova , music college, the piano faculty of Moscow State Conse r vato i re class of prominent musician and teacher professor Vladimir Natanson under w^se guidance he also finished the postgraduate courses at Moscow Conservatoire).Later Alexander Malkus was being professor Natanson 's assistant at the Moscow Conservatoire. T raditions of school by prominent pianist and composer Samuil Feinberg who was a teacher of.Natanson, had fruitful influence of Malkus' persona l ity as a musician. W hen a student of the College played with success the First Concerto by Tchaikovsky and Concerto by Galynin with orchestra at the Great Hall of Moscow Conservatoire W hen a student of the Conservatoire Alexander Malkus successfully performed at international contests. In 1970 he became the
Extractions: Documents 81 - 90 of 137 on the subject : Variation Add to my e-mail alerts Anomalous Records - mail order stock list - main list ANOMALOUS RECORDS P.O. Box 22195 Seattle, WA 98122-0195 United States orders@anomalousrecords.com MAIL ORDER STOCK LIST - MAIN LIST last updated 12/15/00 * "Beach Tree And Birds / Bamboo And Birds" CDR $10.99 "Jeph Jerman ceases use of the name
Bach - Segment 16 pianists and composers, including Wilhelm Kempff, Percy Grainger, samuil feinberg,Camille SaintSa recording of it comes from the Romanian pianist Dinu Lipatti http://net.unl.edu/musicFeat/composer/cmbachday16.html
Extractions: J.S. Bach - segment 16 Bach in Transcription Bach-Busoni, Prelude and Fugue in D, BWV 532 (Gilels, 13 minutes) Busoni's Bach transcriptions for piano likewise include a number of chorale preludes, and these pieces have long been viewed as exacting tests of the pianist's craft. All of them require careful control of articulation and distinct partitioning of textures, sometimes in the midst of daunting demands for agility. Here are four of them played in a new recording by Murray Perahia. Bach-Busoni, 4 Chorale Preludes (list titles) (Perahia, 13 minutes) Johannes Brahms was also a great admirer of Bach's music and was actively involved in the Bach Society that published the first complete edition of Bach's works. His transcription of the Chaconne from the D minor violin partita is less well known than Busoni's but is in some ways even more demanding because it is for left hand alone. In this way Brahms seems to be responding to Bach's example in creating a vast polyphonic edifice with relatively limited means. Bach-Brahms, Chaconne (Anatol Ugorski, 18 minutes)
Virtuoso Piano Transcription : Discography SHURA CHERKASSKY THE LAST OF THE GREAT pianist ROMANTICS, VOLUME ONE, Shura CZS 767366 2); RUSSIAN PIANO SCHOOOL No.3, samuil feinberg (Melodiya, 74321 25175 2 http://www.ne.jp/asahi/piano/natsui/CD.htm
Extractions: DAVID SAPERTON PLAYS CHOPIN AND GODOWSKY, David Saperton (VAIA/IPA 1037-2) THE PIANO VIRTUOSO - ABBEY SIMON, Abbey Simon (VOX ALLEGRETTO, ACD 8204) PARAPHRASES AND TRANSCRIPTINS, Gyorgy Cziffra (HANGAROTON CLASSIC HCD31596) LISZT AT THE OPERA I, Leslie Howard (HYPERION, CDA66371/2) LISZT AT THE OPERA - IV, Leslie Howard (HYPERION, CDA67101/2) TRANSCENDENTAL BACH, Thomas Labe (DORIAN DISCOVERY, DIS-80117) BACH-BUSONI TRANSCRIPTIONS, Nikolai Demidenko (HYPERION, CDA66566) THE ART OF THE TRANSCRIPTION : LIVE FROM CARNEGIE HALL, Earl Wild (AUDIOFON, CD72008-2) RUSSIAN PIANO SCHOOL NO.16 : IGOR ZHUKOV, Igor Zhukov (MELODIYA 74321 33214 2) PIANO TRANSCRIPTIONS, Arcadi Volodos (SONY, SK 62691) EARL WILD : THE ROMANTIC MASTER, Earl Wild (SONY, SK 62036) PERCY GRAINGER: THE COMPLETE PIANO MUSIC, Martin Jones (Nimbus NI 1767) LEOPOLD GODOWSKY : PIANO MUSIC VOL.2; TRANSCRIPTIONS OF VIOLIN SONATAS BY J. S. BACH, Konstantin Sherbakov (MARCO POLO, 8.223794) PIANO WORKS FOR LEFT HAND, Leon Fleisher (SONY, SRCR 9183) CZIFFRA EDITION Vol.6 "BIS & INEDITS" (EMI, 7243 5 65255 2 8) A LA CHAPELLE SIXTINE
SLOVARJI.com kurt 1929-avstrijski tenorist-clan dunajske dravne opere fejnberg - feinberg- samuil jevgenjevic - 1890-1962-rus.pianist in skladatelj fellerer - karl http://www.slovarji.com/slovarji/ostalo.php?type=skladatelji&length=8
Russians; The Piano; A Legend. clear that no each and every Russian pianist represents equally Alexander GOLDENWEISSER(1875 1961) and his successors - samuil feinberg, Dmitry Kabalevsky http://pianoart.republika.pl/russianpiano.html
Extractions: R ussians; a P iano; the L egend (The very short story about Russian Classical Technique of Playing the Piano) F amous Russian Piano-Schooling System fascinates piano students worldwide again and again. Besides, many piano music admirers, indeed, as guaranty of the highest artistic quality see the Russian names. On the other hand it should be crystal-clear that no each and every Russian pianist represents equally high level; as well no each and every Russian or in Russia educated piano tutor could be able to work in the equally high professional way. Additionally, one might be sure that any fully homogenic Russian PIANO SCHOOL truly does not exist and this fact should be apparent for us all. In fact, several great individualities have appeared in the piano field in Russia, putting ultimate touches into development of the piano art, particularly in first half o the 20th Century. They were such artists as: Felix Blumenfeld (1863 - 1931); among his students were Vladimir Horowitz and Harry Neuhaus Alexander GOLDENWEISSER (1875 - 1961) and his successors Samuil Feinberg Dmitry Kabalevsky Grigory Ginsburg Tatiana Nikolaeva Dmitry Bashkirov Konstantin IGUMNOV (1873 - 1948); he taught, among others -
Arbiter Liner Notes One of Russia's master musicians, samuil Evgenievch feinberg (1890 He made us feinbergand his sister play four As a pianist you have this experience, because http://www.arbiterrecords.com/notes/118notes.html
Extractions: One of Russia's master musicians, Samuil Evgenievch Feinberg (1890-1962) was equally a profound interpreter, gifted teacher, and accomplished composer. Feinberg transformed his sound and style to enter the realm of each composer he played. His recording of Bach's Well Tempered Clavier remains unsurpassed, unique for being strict with the Preludes while taking the Fugues greater freedom. Modern music was important to Feinberg, who received the approval of Scriabin and the leading composers of his time: one program from Petersburg on May 18, 1924 is representative: Myaskovsky: Sonata no.2
Masterpieces Of Non-standard Piano Repertoire feinberg, samuil Evgenevich (18901972). A pianist of the very first rank, a pedagogueresponsible for the Soviet theory of legato playing, and a composer who http://www.kith.org/jimmosk/piano.html
Schepkin's Well Tempered Clavier, Book I Schepkin captures all this beautifully; he's a great badtimes pianist. 4. Also,has anyone listened to samuil feinberg's WTC lately? I hear every note sings. http://www.bach-cantatas.com/NonVocal/Klavier-WTC1-Schepkin.htm
Extractions: As promised, this begins my thorough review of WTC, Book I and Sergey Schepkin's new recording on Ongaku. First, some overall comments about the WTC. If you look at this body of works as a series of "miniatures", either you're not "getting it" or the performances are not sufficiently insightful. I think of each prelude and fugue as a musical journey through a key , with various emotional messages conveyed from Bach through the pianist: 1. Prelude in C - This is an amazing piece of music. In its elemental state and if played "straight, it can seem analagous to the playing of scales . The pianist's challenge is to dig into the work and bring to the surface as much of what's hidden as possible. Gould surfaces brilliantly the excitement, drive, and energy of the piece, while Jarrett surfaces the trance-like features. Schepkin plays the prelude well with a commanding bass line, and I did feel that I had been on a journey. But, he does not reach the heights displayed by Gould or Jarrett. On a scale of 1 to 4, Schepkin rates 2. Fugue in C - I call this the "steamroller" fugue. I look in a performance for the inexorable steam rolling effect of the bass line and the highlighting of the contrapuntal features. Schepkin does not succeed here. There's no magic - just a straight run-thru.
Extractions: TEMPLEMAN LIBRARY UNIVERSITY OF KENT Theatre Collections : Programme Collection Berlin Programmes UKC/PRG/BURT/CON FRIE : F175378 Programme for a musical performed at the Friedenauer Theater in Berlin. The programme is undated. Friedenauer Theater, Rheinstrasse, Berlin, Germany LIBELEI or Flirtatiousness designer : Leder, Wolf, Herr UKC/PRG/BURT/CON RUS : F175351 Programme for a concert held in Berlin in 1946. The programme is printed in Russian. Berlin, Germany UKC/PRG/BURT/CON RUS : F175352 Programme for a concert held in Berlin in 1946. The programme is printed in Russian. Berlin, Germany UKC/PRG/BURT/CON RUS : F175354 Programme for a concert held in Berlin in 1946 (?). The programme is printed in Russian. Berlin, Germany
Sleeve Notes - Alexandrov: Piano Music forgotten, even though he unlike Nikolai Myaskovsky and samuil feinberg, whodied as, for example, in the technically (for the pianist) very demanding http://www.hyperion-records.co.uk/notes/67328.html
Extractions: ANATOLY ALEXANDROV (1888-1982) Excerpts from the sleeve notes Having left school, Alexandrov initially received a private musical education. His mother, who had studied with Tchaikovsky, sent him in 1907 to Sergei Taneyev, the doyen of Moscows school of composition, who initially entrusted the budding composer to his progressively-minded pupil, Nicolay Zhilyayev (who fell victim to Stalins Reign of Terror in 1938). From 1908 Taneyev himself instructed him in counterpoint and composition. In 1910 Alexandrov was finally admitted to the Moscow Conservatoire where he was taught composition by Sergei Vasilenko and piano by Konstantin Igumnov (until 1915/16). From 1923 to his retirement Alexandrov himself taught composition at this most prestigious institution not only of the Soviet Union but also of the entire eastern bloc. Alexandrovs aesthetic development was influenced above all by the leading Moscow composers of the pre-Revolutionary Tsardom, in particular Scriabin and Medtner, who were described by Arthur Lourié as the diametrically opposed poles of Russian music at the beginning of the twentieth century. The names of Scriabin and Medtner stood on the one hand for the search for a new music that was characterized by ingenious exuberance and exceptional refinement of sound, and on the other hand for dense thematic concentration and spiritualization in the tradition of Beethoven. Rachmaninov, with his emotional directness and concern for melody, also had a deep and lasting influence on Alexandrov. The contradictory tendencies of Moscows musical culture clashed for Alexandrov in the two very different characters of his two composition teachers Taneyev and Zhilyayev:
Willkommen Bei Musik&Theater Translate this page gibt es für Sie als pianist beim täglichen auch russische Bach-Spezialisten zum Beispiel samuil Jewgenjewitsch feinberg, der vornehmlich http://www.musikundtheater.ch/mt/ausgabe/020708/kissin0207.html
Extractions: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: Aber sicher. EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: Nein. EVGENY KISSIN: Nur einen. EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: Was meinen Sie mit Chaos? EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: Sicher. Erst vor wenigen Monaten habe ich in Russland gespielt. EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN: EVGENY KISSIN:
Greenwood Publishing Group I1 Passionate Slav Vladimir M. Deshevov The Man of the Theater The ReluctantAvantGardists samuil E. feinberg The Post-Scriabin pianist Anatoliy N http://info.greenwood.com/books/0313267/031326709x.html
Sergio Fiorentino Memorial series, which has captured the insight of one of the greatest pianist of our on themodern piano has not sounded this good since samuil feinberg's recording of http://people.freenet.de/elumpe/Fiorentino.htm
Extractions: (from a conversation with his pupil and friend, pianist Alberto Neumann) "Ho ascoltato recentemente un pianista alla radio che mi ha impressionato molto: Sergio Fiorentino, lei lo conosce?" (Recently I listened to a pianist on the radio who impressed me very much: Sergio Fiorentino, do you know him?) T hese short statements by two pianists, considered by many as belonging to the league of the very greatest, will come as a major surprise to all those interested in the art of playing the piano. One can safely assume that both men did know what they were talking about. Contrary to their knowledge, until recent years, the name of Sergio Fiorentino was virtually unknown to a wider public. After tremendous success on concert stages of many European countries and through appearances in New York City and in South America in the late forties and early fifties, a chain of events caused Fiorentino to retreat from international concert life, dedicating most of his time to teaching at the Conservatory "San Pietro a Majella" in his native city and giving only the occasional concert and radio appearance in Italy.
