Word: schnabel
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Mozart: Quartet in G Minor for Piano and Strings, K. 478 (Artur Schnabel, piano; the Pro Arte Quartet; Angel). This addition to Angel's fine "Great Recordings of the Century" is one of the best. Recorded in London in 1934, it has better quality than the date might suggest. The piano, generally, comes through more clearly than the strings, which is no tragedy, since Schnabel's performance is supple and airy...
...days of one of the world's best-known modern heroines, little was known except that she had died, like millions of other Jews, in a German concentration camp. To fill out the chronicle of her short life, West German Publisher S. Fischer last year assigned Author Ernst Schnabel to search the German and Dutch archives and interview survivors of the camps who might have known her. In Paris Le Figaro Littéraire printed excerpts from Schnabel's findings, to be published as a book in the U.S. this fall...
...Russian-born parents. Brooklyn-born Eugene Istomin abandoned a boyhood ambition to play for the Dodgers (he served as their water boy during one spring training) in favor of a scholarship at Curtis, where he studied under Pianist Rudolf Serkin. San Francisco-born Leon Fleisher studied under Artur Schnabel in Manhattan, got his biggest professional boost five years ago when he won Belgium's International Concours. Nowadays when the three are in Manhattan together, they reserve Steinway's basement on 57th Street every free evening and test new pianos ("We are always on the lookout for pianos that...
...four-year-old 20 precious minutes. Amazed, he listened to her for two hours, then got her a scholarship to Philadelphia's Curtis Institute of Music, offering to teach her himself. Later she was sent abroad to study and took lessons (all free) from Egon Petri, Artur Schnabel, Alfred Cortot, Wilhelm Backhaus. Said Sergei Rachmaninoff: "In one year you will be magnificent. In two years you will be unbelievable . . . Would you like some cookies...
...music is all there, and what really matters is Schnabel's playing. To hear him is suddenly to see light across the generations that separate the composer from today; to be delighted at Schnabel's surprising methods of treating Beethoven's surprising turns of phrase; to laugh or sigh, sometimes almost to cower in fright. This playing has the kind of sanity that is expressed in one of Schnabel's provocative remarks. "Back around the turn of the century," he once said, "it became the idea that Beethoven's opening theme in the Fifth Symphony...