On Wednesday, February 17, 2010

Interpreters | Soloists

Moritz Rosenthal

Moritz Rosenthal

This pianist was born on December 17, 1862 inside the Austro-Hungarian Empire, specially in the city of Lemberg. Up to today one comments on the brilliant skill that Moritz Rosenthal demonstrated, up to a level that it is possible to categorize like extraordinary, with characteristics quite similar to his contemporaries like Josef Hofmann, Leopoldo Godowski and Ignaz Friedman. In his moment, when it was still very young, it went so far as to have big friendship with big composers like Johannes Brahms, Hans von Bülow, Johann Strauss, Anthony Rubinstein, Camille Saint-Saëns, Jules Massenet and Isaac Albéniz.

Rosenthal initiated his piano studies with a teacher called Galoth. According to any references, this teacher did not give very much accent on technical aspects, but rather as for the tonal transposition and the reading at first sight. Counting 10 years of age, that is to say, in 1872, he happened to study with Karol Mikuli, which had been a pupil neither more nor less than of Federico Chopin. With this teacher the requirements were already major. Precisely at this age small Moritz gave his first concert. With posteriority it goes on to hands of the Hungarian teacher Franz Liszt; this happened so much in Weimar as also in Rome. It did it for 2 years (1876 – 1878). In this time, 1876, that is to say, with only 14 years of age, did his first tour as soloist. It was in Romania and with big event.

The showy thing is that the famous musical critic and pianist Charles Rosen, who in his moment became a Rosenthal pupil, and according to the version of his teacher, this one never emphasized the benefits of having studied with Liszt. In fact this Rosenthal declaration was representing only his personality, pride, since the big Hungarian teacher yes who had done very much for him.
In this epoch it appeared also in the Imperial Russia offering recitals in Saint Petersburg. But then and in some time the young man Rosenthal separated something of his piano studies, since he studied and got doctor's degree on philosophy in the University of Vienna. After having obtained the above mentioned title it was poured out immediately to the piano, doing his début before the public in the German city of Leipzig. Then it crossed the Atlantic Ocean and appeared in Boston giving a big recital. It happened in 1888. In this concert he executed the “Rapsodia 3 ” and the Fantasy “Don Juan ” of Liszt. According to the reference that Harold Schonberg gives us, the famous critic and Austrian musicologist Eduard Hanslick published the following thing in relation to the Rosenthal performance:

“Para the New Yorkers the brilliant piano execution is not any innovation, but it is just to doubt that a public formed by lovers of the music, understood and perspicacious, they have been taken one day to the similar big one of enthusiasm (…) a phenomenal mastery of the mechanical aspect of the piano execution ”.

In effect, up to today one comments on the brilliant skill that this big pianist demonstrated, up to a level that it is possible to categorize like extraordinary, with characteristics quite similar to his contemporaries like Josef Hofmann, Leopoldo Godowski and Ignaz Friedman. In his moment, when it was still very young, it went so far as to have big friendship with big composers like Johannes Brahms, Hans von Bülow, Johann Strauss, Anthony Rubinstein, Charles Camille Saint-Saëns, Jules Massenet and of the Spanish Isaac Albéniz.

In the year 1922 it contracted nuptials with Hedwig Kanner in the city of Vienna. But due to the appearance of the National socialism, and since he was Jewish, it did not have any more remedy to emigrate to the United States. It settles in New York where it founds and directs a proper conservatory, although further on he was nominated a teacher of the “Curtis Institute ”. From the country of the north it did repeated visits to England.

As for his character, it was presenting quite showy characteristics; it was extremely sarcastic and up to pedant. It one could verify in the comments that it did on some of his companions; it never expressed a favorable comment with regard to them. In certain occasion it expressed the following thing in relation to the octaves passage executed by Vladimir Horowitz who was corresponding to the “Concierto 1 for piano and band of Tchaikowsky: “… is an Octavio, but not one to Stop …”. In another occasion he traveled to London to listen definitely to the “divo ” of the moment: Ignaz Jan Paderewski. When one asked Rosenthal what he was thinking about the concert of his companion, he answered with a very surprising comment, “sí, touches bien…supongo…pero it is not a Paderewki ”.

Rosenthal bequeathed to us also record material, approximately 40 works which were done when it had already spent sixty years of age. The same ones do not come in its entirety at three o'clock of duration and they were registered for the stamp “Ampico ”, and then spent to the outstanding figures “long play ” of the company “Klavier Keyboard series ”. Across the same ones we can appreciate a skill of high level, excellent phrasing, a pianist who knew very well what it was doing.

Moritz Rosenthal had two famous pupils, already mentioned Charles Rosen, who  in his moment had certain prestige like pianist, but then he stood out like big musical critic. Also he was a teacher of the Austrian pianist Robert Goldsand; this one had a long career like soloist and also it got out of debt like teacher in the “Manhattan School Music ”.

Moritz Rosenthal penetrated into the composition, as for example into the creation of preludes, nocturnes and waltzes. Also he was in charge of publishing the works of Liszt across the publishing house Ullstein Verlag.
This pianist died on September 3, 1946 in the city of New York due to the illness of Parkinson, unfortunate situation that removed from the piano execution last years of his life.

Anyhow he could write his autobiography, “Moritz Rosenthal: In Word and Music ” which there was published for Publishing Mark Mitchell, Allan Evanns Indiana University Press. It happened almost recently, in the year 2006.

Jorge de Hegedüs
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  • On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.

  • On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.

  • On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.

  • On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.

  • On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.


  • Daniel Barenboim
    "The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"

  • George Gershwin
    "It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"

  • Gustav Mahler
    "When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"

  • Franz Schubert
    "When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"

  • Bedrich Smetana
    "With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"


  • I agree for violin Op. 35

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    Edvard Grieg

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Astor Piazzolla

Astor Piazzolla

Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.


Carlos Gardel

Carlos Gardel

Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.

Paris, on February 16

Juan José Mosalini: the soul of the bandoneón beats in Paris

The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.

Granada, on February 16

International festival tango Granada dedicates his XXII edition to Carlos Gardel

75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.


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