Olga Samaroff Vidéos
pianiste américaine
- piano
- musique classique
- États-Unis
- pianiste, professeur ou professeure de musique, critique de musique
Dernière mise à jour
2024-06-15
Actualiser
Chopin William Kapell Olga Samaroff Eugene Ormandy Leopold Stokowski Fritz Reiner Serge Koussevitzky Guido Cantelli Rudolf Serkin William Primrose Jascha Heifetz Artur Schnabel Khachaturian Prokofiev Horowitz Sergei Rachmaninov Landowska Toscanini Liszt Brahms Bach Glenn Gould Scarlatti Beethoven Schubert Mendelssohn Schumann Mussorgsky Debussy Albéniz Falla Shostakovich Paganini Copland Philadelphia Orchestra Carnegie Hall 1938 1940 1941 1945 1946 1947 1948 1951 1952 1953 2021
Urtext: (http•••) I. Grave - Doppio movimento 0:00 II. Scherzo (E♭ minor) - Più lento 5:42 III. Marche funèbre 11:20 IV. Finale. Presto 18:18 Bio written by Wojciech Bońkowski (Chopin Institute): "William Kapell was born to a family of Polish-Russian Jews; his parents run a bookshop on one of New York's main streets. Kapell studied piano playing with Dorothea LaFollette, and later +••.••(...)) with Olga Samaroff at the Philadelphia Conservatoire and the Julliard School of Music. In 1940 he won a young pianists' competition organised by the Philadelphia Orchestra, and made his debut under the direction of Eugene Ormandy. He became famous after winning the Walter Naumburg Prize in 1941. That same year, he played at Carnegie Hall, and soon became known as the best American pianist of the young generation, signing a recording contract with RCA. He played with the leading conductors of his time, including Eugene Ormandy, Leopold Stokowski, Fritz Reiner, Serge Koussevitzky and Guido Cantelli, and as a chamber musician with Rudolf Serkin, William Primrose, and Jascha Heifetz. He also studied with Artur Schnabel. He played in many concert halls in the US, and toured South America +••.••(...)), Australia +••.••(...)), and Europe (1947). He died in a plane crash at the age of 31. Kapell's legacy (letters and scores) is today held at the International Piano Archives, Maryland University. Kapell earned an early fame with his interpretations of Khachaturian's Concerto and Prokofiev's Concerto in C Major, stunning audiences with his incredible finger technique and pianistic might; he was seen as the next Horowitz. Yet Kapell came to feel at odds with the image of a virtuoso when he started offering deeper interpretations and a broader repertoire. This is evident in his renditions of Rachmaninov's Concerto in C minor and D minor, where he appears as a mature artist, linking with the classicist ideas of Landowska, Schnabel and Toscanini (his favourite musicians), understanding Rachmaninov as a great composer of the 20th century, not an heir to Romanticism. The main characteristics of these late recordings are a fine articulation, a sharp, percussive tone colour, a focus on rhythm and meter, and an emotional austerity or even purism that is reminiscent of Sergei Rachmaninov's own playing. Similar traits are to be found in recordings of works by Liszt, Brahms, Chopin and also Bach, where Kapell can be seen as a predecessor of Glenn Gould. Kapell's legacy on disc is fragmentary, interrupted as it was by his premature death. It includes isolated, often short pieces by Bach (Partita in D major), Scarlatti, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Mussorgsky (a fine Pictures from an Exhibition, 1953), Debussy, Albéniz (a phenomenal Evocación), de Falla, Shostakovich. A central role is occupied by Liszt (Sonetto 104 del Petrarca, Hungarian Rhapsody No. 11 and a famous Mephisto Waltz of 1945), Brahms (including the Concerto in D minor and the Violin Sonata in D minor with Jascha Heifetz), Rachmaninov (the above-mentioned concertos and the Rhapsody on a Theme by Paganini), American composers (including Copland's Sonata, which Kapell premiered), and Chopin. Of the latter, Kapell left recordings of the Polonaise-Fantaisie, Nocturne in E flat major Op. 55 No. 2, Waltz in E flat major Op. 18, 26 mazurkas +••.••(...)) and, crucially, the two sonatas, considered to be among the finest interpretations of these works. The massive sound and colossal technique of the Sonata in B flat minor of 1953 are an echo of Rachmaninov's own version, while in the Sonata in B minor (1952) Kapell reaches the heights of virtuosity (very fast tempos), but emphasises the lyrical third movement - although it is always a cold-blooded, opaque lyricism so typical of Kapell." Remastered By: Wayne Yang, USA-Taiwan
Chopin Agustin Anievas Edward Steuermann Olga Samaroff 1934
Agustin Anievas (1934 - United States) studied with Edward Steuermann , Adele Marcus and Olga Samaroff at the Julliard School. David Debal writes in "The Art of the Piano," (He) has the rare gift of intimacy. Rubato is natural to him and never after the fact. His recording of the Chopin Waltzes is ingratiating, and his twenty-four Chopin Etudes show his claim to virtuosity."
Lucy Mary Agnes Hickenlooper Bach Marmontel Walter Damrosch Tchaikowsky Leopold Stokowski George Gershwin Cary William Kapell Rosalyn Tureck Jerome Lowenthal Alexis Weissenberg Carnegie Hall Philadelphia Orchestra 1880 1882 1900 1905 1911 1912 1920 1921 1923 1924 1925 1928 1930 1939 1948 1953
J.S. Bach Fuge in g-minor BWV 578 from the Little Organ Book transcribed and played by Olga Samaroff +••.••(...)). Recorded June 1930 Olga Samaroff, born: August 8, 1880 - San Antonio, Texas, USA Died: May 17, 1948 - New York, NY, USA The American pianist, music critic, and teacher, Olga Samaroff [born: Lucy Mary Agnes Hickenlooper], grew up in Galveston, Texas, where her family owned a business later wiped out in the great hurricane of 1900. There being then no great teachers in the USA, after her talent for the piano was discovered she was sent to Europe to study, first with Antoine Francois Marmontel at the Conservatoire de Paris, and later with Ernest Jedliczka in Berlin, where she married, very briefly, Russian engineer Boris Loutzky. After her divorce from Loutzky, and the disaster which claimed her family's business, she returned to the USA and tried to carve out a career as a pianist but soon discovered she was hampered both by her rather awkward name and her American origins. An agent suggested a change and her professional name was taken from a remote relative. As Olga Samaroff she self-produced her New York debut at Carnegie Hall in 1905 (the first woman ever to do so), renting the hall, orchestra and conductor Walter Damrosch, and making an overwhelming impression with her performance of the Tchaikowsky Piano Concerto. She played extensively in the USA and Europe thereafter. Samaroff discovered Leopold Stokowski when he was church organist at St. Bartholemew's in New York and later conductor of the Cincinnati Orchestra. At that time much more famous than he, Samaroff lobbied her distinguished contacts to get him appointed (in 1912) to the vacant conductor's post at the famed Philadelphia Orchestra, launching his international career. She married Leopold Stokowski in 1911 and their daughter Sonia was born in 1921. Anecdote has it that the couple met at a musician's promotional luncheon where Leopold Stokowski (not knowing her real origin) was introduced to her and expressed his relief at being able to talk to another Russian. Samaroff made a number of recordings in the early 1920's for the Victor Talking Machine Company. In 1923, Leopold Stokowski left her for actress Greta Garbo in a scandal that made headlines. Olga Samaroff never recovered from his infidelity and took refuge in her friends which included George Gershwin, Irving Berlin, Dorothy Parker, and Cary Grant. In 1925 Samaroff fell in her New York apartment, suffering an injury to her shoulder which forced her to retire from performing. She worked primarily as a critic and teacher from then on. She wrote for the New York Evening Post until 1928, and gave guest lectures throughout the 1930's. Samaroff was also the first music teacher to be broadcast on NBC television. She taught at the Philadelphia Conservatory and in 1924 was invited to join the faculty of the newly formed Juilliard School of Music in New York. She taught at both schools for the rest of her life. Called "Madam" by her adoring students, she was a tireless advocate for them, supplying many of her Depression-era charges with everything from concert clothes to food, and pressing officials at Juilliard to build a dormitory - a project that was not realized for decades after her death. Her most famous pupil was concert pianist William Kapell who was killed tragically in a 1953 plane crash at 31. Other notable pupils are: Raymond Lewenthal, Alfred Teltschik, Rosalyn Tureck, Jerome Lowenthal, Bruce Hungerford, Vincent Persichetti, Claudette Sorel, Joseph Battista, Joseph Running, Eugene List and Alexis Weissenberg. Olga Samaroff published an autobiography, An American Musician's Story, in 1939. Teacher to the end, she died of a heart attack at her home in New York on the evening of May 17, 1948 after giving several lessons that day.
Liszt Paganini Agustin Anievas Edward Steuermann Olga Samaroff Chopin 1934
Agustin Anievas (1934 - United States) studied with Edward Steuermann , Adele Marcus and Olga Samaroff at the Julliard School. David Debal writes in "The Art of the Piano," (He) has the rare gift of intimacy. Rubato is natural to him and never after the fact. His recording of the Chopin Waltzes is ingratiating, and his twenty-four Chopin Etudes show his claim to virtuosity."
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- chronologie: Interprètes (Amérique du Nord).
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