Eraïm Miriam Delaborde Videos
französischer Pianist, Komponist und Musikpädagoge
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2024-05-12
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I decided to play some more Chabeaux, but solo piano this time. 0:00 Minuetto 2:44 Duettino 5:30 Valse viennoise Publishing date might be 1879. Also I tried his Piano sonata but was not very fond of it, at least after first glance. Fun fact is that it is dedicated to his "ami", so friend, Delaborde, who was Alkan's son. I -could- play the sonata, but it didn't seem to be particularly cohesive and I have rather high standards for sonatas, that's why (amongst other reasons like they take so much time to study) I normally don't play them here.
Bach Lucy Hickenlooper Wolfsohn Delaborde Charles Valentin Alkan Ernest Hutcheson Boise Anton Rubinstein Rubinstein Tchaikovsky Richard Strauss Felix Weingartner Artur Nikisch Gustav Mahler Grieg Leopold Stokowski Beethoven William Kapell Weissenberg Anievas Sorell Carnegie Hall Cincinnati Symphony Orchestra Philadelphia Orchestra 1880 1898 1905 1908 1909 1911 1912 1920 1926 1930 1948
Her name was Lucy Hickenlooper, and she was born in San Antonio, Texas, August 8, 1880. Later, not surprisingly, her manager Henry Wolfsohn thought that a name change was a necessary career move. She chose the professional name of Olga Samaroff from a remote Russian relative. At the age of 12, she was taken by her grandmother to Europe where she remained until she was 21. Her talents were so impressive that she was given a scholarship in the piano class at the Paris Conservatoire thus becoming the first American woman to be granted that honor. There she studied with among others, Elie Delaborde (the illegitimate son of Charles-Valentin Alkan). Samaroff writes that when she was first introduced to Delaborde, he gruffly ordered her to play. While she played he restlessly beat time with his foot ..muttering to himself a sort of running commentary on Americans and their lack of musical talent. It was the first injustice that I had encountered in life. When Delaborde noticed that her name (Hickenlooper) had a Germanic origin, he suddenly found that her playing had vastly improved. After completing her studies at the Paris Conservatoire, she made a highly successful debut in Paris. Samaroff then married a Russian engineer, Boris Loutzky, and went to Berlin (1898) where she studied with Ernest Hutcheson, Otis B Boise and Ernest Jedliczka (pupil of Anton Rubinstein and Tchaikovsky). During her Berlin years, she met Richard Strauss, Felix Weingartner, Artur Nikisch, and Gustav Mahler among others. Later she performed the Grieg Piano Concerto several times under Mahlers direction in the United States. Her brief marriage to Loutzky was annulled. Samaroffs American debut took place on January 8, 1905 at Carnegie Hall with the New York Symphony Orchestra. Her debut was a complete success. About 1908, she met an obscure English organist and choir master who was a recent arrival in New York His name was Leopold Stokowski. Evidently, Samaroffs families (Hickenlooper-Grunewald) were also prominent members of the City of Cincinnati as they were able to secure for the unknown Stokowski the position of conductor of the Cincinnati Symphony Orchestra. +••.••(...)). Thus began the career of a legendary conductor. Samaroff and Stokowski were married in 1911. Their marriage ended in divorce twelve years later. About 1920, Samaroff performed nearly all of Beethovens keyboard works in several cities. The concertos were, of course, conducted by her husband who by that time was conductor of the Philadelphia Orchestra. This project included all 32 of the piano sonatas. (There have been rumors for years that it was Stokowski who pushed Samaroff into giving these recitals. Whatever the truth is, they were enormously significant both musically and historically). Unfortunately, except for Samaroffs recording of the Beethoven-Rubinstein Ruins of Athens Turkish March there are no other compositions of Beethovens music in her discography. (She was asked by RCA Victor to record the Moonlight Sonata. There were four takes. She did not approve any of them). In 1926, Samaroff suffered an injury to her left arm. She subsequently devoted herself to teaching at Julliard and the Philadelphia Conservatory. She held both positions until her death after a brief illness. She died in her New York apartment on May 17, 1948. Among her many students were, William Kapell, Claudette Sorel, Rosalyn Turek,Eugene List, Sigi Weissenberg, Raymond Lewenthal, Augustin Anievas and Bruce Hungerford. Her pupil Claudette Sorell writes, Life with Madam was a continuous series of surprises, adventures and brainstorms. Nobody but Madam would call at 7 a.m. or 12.30 p.m. as she suddenly had decided a certain pupil should demonstrate the Romantic Period at her famous Laymans Music Courses at Town Hall, the following day. She would say, I do not care if you have to stay up all night long, but get it ready. And, invariably, the piece was prepared and the pupil was ready to collapse after the performance.This particular recording introduced me to Olga Samaroff. When I was in high school at Verdugo Hills in the late 1940s, this recording was a part of the schools library. We had a little group that met at lunch time in Ms. DArge music room and never a meeting ended without playing this performance. We thought that this was the non plus ultra of Bach recordings. Do we hear a little bit of "Stoky" in this transcription? Never the less, I love this recording, even though as a musician, I am very aware of "authentic Baroque performance practice."
Wagner Ernest Hutcheson Lucy Hickenlooper Wolfsohn Delaborde Charles Valentin Alkan Boise Anton Rubinstein Rubinstein Tchaikovsky Richard Strauss Felix Weingartner Artur Nikisch Gustav Mahler Grieg Leopold Stokowski Beethoven William Kapell Weissenberg Anievas Sorell Carnegie Hall Cincinnati Symphony Orchestra Philadelphia Orchestra 1880 1898 1905 1908 1909 1911 1912 1920 1922 1926 1948
Her name was Lucy Hickenlooper, and she was born in San Antonio, Texas, August 8, 1880. Later, not surprisingly, her manager Henry Wolfsohn thought that a name change was a necessary career move. She chose the professional name of Olga Samaroff from a remote Russian relative. At the age of 12, she was taken by her grandmother to Europe where she remained until she was 21. Her talents were so impressive that she was given a scholarship in the piano class at the Paris Conservatoire thus becoming the first American woman to be granted that honor. There she studied with among others, Elie Delaborde (the illegitimate son of Charles-Valentin Alkan). Samaroff writes that when she was first introduced to Delaborde, he gruffly ordered her to play. While she played he restlessly beat time with his foot ..muttering to himself a sort of running commentary on Americans and their lack of musical talent. It was the first injustice that I had encountered in life. When Delaborde noticed that her name (Hickenlooper) had a Germanic origin, he suddenly found that her playing had vastly improved. After completing her studies at the Paris Conservatoire, she made a highly successful debut in Paris. Samaroff then married a Russian engineer, Boris Loutzky, and went to Berlin (1898) where she studied with Ernest Hutcheson, Otis B Boise and Ernest Jedliczka (pupil of Anton Rubinstein and Tchaikovsky). During her Berlin years, she met Richard Strauss, Felix Weingartner, Artur Nikisch, and Gustav Mahler among others. Later she performed the Grieg Piano Concerto several times under Mahlers direction in the United States. Her brief marriage to Loutzky was annulled. Samaroffs American debut took place on January 8, 1905 at Carnegie Hall with the New York Symphony Orchestra. Her debut was a complete success. About 1908, she met an obscure English organist and choir master who was a recent arrival in New York His name was Leopold Stokowski. Evidently, Samaroffs families (Hickenlooper-Grunewald) were also prominent members of the City of Cincinnati as they were able to secure for the unknown Stokowski the position of conductor of the Cincinnati Symphony Orchestra. +••.••(...)). Thus began the career of a legendary conductor. Samaroff and Stokowski were married in 1911. Their marriage ended in divorce twelve years later. About 1920, Samaroff performed nearly all of Beethovens keyboard works in several cities. The concertos were, of course, conducted by her husband who by that time was conductor of the Philadelphia Orchestra. This project included all 32 of the piano sonatas. (There have been rumors for years that it was Stokowski who pushed Samaroff into giving these recitals. Whatever the truth is, they were enormously significant both musically and historically). Unfortunately, except for Samaroffs recording of the Beethoven-Rubinstein Ruins of Athens Turkish March there are no other compositions of Beethovens music in her discography. (She was asked by RCA Victor to record the Moonlight Sonata. There were four takes. She did not approve any of them). In 1926, Samaroff suffered an injury to her left arm. She subsequently devoted herself to teaching at Julliard and the Philadelphia Conservatory. She held both positions until her death after a brief illness. She died in her New York apartment on May 17, 1948. Among her many students were, William Kapell, Claudette Sorel, Rosalyn Turek, Eugene List, Sigi Weissenberg, Raymond Lewenthal, Augustin Anievas and Bruce Hungerford. Her pupil Claudette Sorell writes, Life with Madam was a continuous series of surprises, adventures and brainstorms. Nobody but Madam would call at 7 a.m. or 12.30 p.m. as she suddenly had decided a certain pupil should demonstrate the Romantic Period at her famous Laymans Music Courses at Town Hall, the following day. She would say, I do not care if you have to stay up all night long, but get it ready. And, invariably, the piece was prepared and the pupil was ready to collapse after the performance.
Cyprien Katsaris Rachmaninov Monique Bruchollerie Emil Sauer Franz Liszt Louwerse Élie Miriam Delaborde Charles Valentin Alkan György Cziffra Jean Hubeau Beethoven Chopin Grieg Mahler Brigitte Fassbaender Thomas Moser Moser David Serero Théâtre Champs Élysées 1951 1966 1969 1970 2001 2006 2011
Cyprien Katsaris (Greek: Κυπριανός Κατσαρής; born 5 May 1951) is a French-Cypriot virtuoso pianist, teacher and composer. Amongst his teachers were Monique de la Bruchollerie, a student of Emil von Sauer, who had been a pupil of Franz Liszt. Katsaris was born in Marseilles, France. Katsaris first began to play the piano when he was four, in Cameroon where he grew up. His first teacher was Marie-Gabrielle Louwerse. He studied piano at the Paris Conservatoire with Aline van Barentzen (a pupil of Élie-Miriam Delaborde, who was a pupil of Charles-Valentin Alkan), and Monique de la Bruchollerie (a pupil of Emil von Sauer, who was a pupil of Franz Liszt). Briefly, Katsaris studied under György Cziffra. In 1969, Katsaris won the piano First Prize. As well as piano, Katsaris studied chamber music with René Leroy and Jean Hubeau, and he won First Prize for this in 1970. Katsaris gave his first public concert in Paris, at the Théâtre des Champs-Élysées on 8 May 1966. He performed the Hungarian Fantasy by Liszt, with the Orchestre Symphonique d'Ile-de-France conducted by René-Pierre Chouteau. Since then he has gone on to perform with many orchestras and conductors fréquentes. Katsaris was the first musician to record the complete Liszt transcriptions of Beethoven's nine symphonies – reissued by Warner Classics in 2006 – the transcriptions are among the greatest, and most technically demanding in the pianistic repertoire. He has also recorded the music of Mozart, Chopin, Grieg, and other composers, including the rare piano version of Mahler's Das Lied von der Erde with Brigitte Fassbaender and Thomas Moser. In 2001 Katsaris created his own recording label, Piano 21. In 2011, he performed a concert with French baritone David Serero in Paris. (http•••) / Please subscribe to my channnel.
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