News Emanuel Feuermann

Applications Open for Kronberg Academy's Feuermann Cello Competition 

  The Kronberg Academy's Grand Prix Emanuel Feuermann will award its first prize winner €10,000. The first round of the competition will be held virtually and must include a Prelude and Sarabande from Bach Cello Suite No. 4 or No. 6, the first movement of Schubert's Arpeggione Sonata, Strauss' Don Quixote, and Julius Klengel's Scherzo […] The post appeared first on The World's Leading Classical Music News Source. Est 2009..

Leipzig Gewandhaus Orchestra Appoints First Principal Cellist 

Worlitzsch previously served as principal cellist of the Frankfurt Radio Symphony ((HR-Sinfonieorchester) from 2018 to 2020. His top prize-winning performances included those in the International Music Competition "Pacem in Terris," the Grand Prix Emanuel Feuermann in Berlin, and the Leoš Janáček International Competition.  He was also a semi-finalist at Munich’s ARD International Music Competition and […] The post appeared first on The World's Leading Classical Music News Source. Est 2009..

[…] "Instrumental Revelation" at the Victoires de la Musique Classique. Previously, he had won the Third Grand Prix and the Prize for Best Recital at the André Navarra International Competition in 2011. In 2014, he won the Nicolas Firmenich Prize at the Verbier Festival and then the Third Prize and the Audience Prize at the prestigious ARD International Competition in Munich. He also received Special Prizes at the Tchaikovsky International Competition in June 2015 and the Feuermann Competition in Berlin in November 2014. In 2015, Bruno Philippe was named Classical Revelation of ADAMI and in 2016, he won the Prix pour la Musique de la Fondation Safran for the cello. In 2017 he was a laureate of the Queen Elisabeth Competition in Brussels. Bruno Philippe appears in prestigious venues and festivals in France (Théâtre des Bouffes du Nord, Philharmonie de Paris, Auditorium du Louvre, La Grange au Lac, Festival de […]

[…] soon decided that teaching composition is impossible, and that only the craft of handling music material could be taught.  Lacking suitable textbooks, he embarked on leaning Latin and mathematics in order to be able to read old musical manuals.  In 1929 Hindemith left the Amar Quartet and founded a string trio with Josef Wolfstahl, who a year later was replaced by Szymon Goldberg, then the concertmaster of the Berlin Philharmonic, and the celebrated cellist Emanuel Feuermann; thus in the early thirties Hindemith was playing in a trio with two Jewish musicians.  Hindemith was not a man of the Left, he didn’t share political views of the likes of Bertolt Brecht, Hanns Eisler or Kurt Weill, but when the Nazis came to power in 1933, they nonetheless declared most of Hindemith’s music “cultural Bolshevism.”  His trio could no longer perform in Germany, only abroad, and his Jewish colleagues at the Hochschule […]