Ossip Gabrilowitsch Vidéos
pianiste, chef d'orchestre et compositeur américain d'origine russe
- piano
- musique classique
- Empire russe, Union soviétique
- pianiste, compositeur ou compositrice, chef ou cheffe d'orchestre
Dernière mise à jour
2024-05-15
Actualiser
Ossip Gabrilowitsch Clara Clemens Anton Rubinstein Rubinstein Anatoly Lyadov Alexander Glazunov Nikolai Medtner Theodor Leschetizky 1878 1894 1897 1905 1909 1915 1927 1936
The standard English transliteration of his name is "Osip Gabrilovich", but he chose to use the German version "Ossip Gabrilowitsch" after leaving Russia in 1894. Married Clara Clemens (daughter of Samuel Clemens) in 1909. In the first picture you can see him and his wife (Mark Twain's daugther by the way). If you like the uploads you can help me out with a paypal donation :-) www.paypal.me/gamma1734 (and before someone comments like last time, I play all pieces myself, I create the videos so it is a fair thing) He studied the piano and composition at the Saint Petersburg Conservatory, with Anton Rubinstein, Anatoly Lyadov, Alexander Glazunov and Nikolai Medtner among others. After graduating in 1894, he spent two years studying piano with Theodor Leschetizky in Vienna. In July 1905 he recorded ten pieces for the Welte-Mignon reproducing piano, one of the first pianists to do so. Between 1915 and 1927, he subsequently recorded at least fifteen more reproducing rolls for Duo-Art and at least five reproducing rolls for Ampico. Gabrilowitsch composed a few works, primarily short piano pieces for his own use. He was a National Patron of Delta Omicron, an international professional music fraternity. He lived from 1878-1936. The pieces were published in 1897., so this valse was composed when he was 19 years old or younger.
Brahms Ossip Gabrilowitsch Detroit Symphony Orchestra 1928
Brahms: Obertura Académico Festiva Op 80 Ossip Gabrilowitsch Detroit Symphony Orchestra First Issued Victor 6833 (1928)
Moritz Moszkowski Modest Moussorgsky Thomas Beecham Cécile Chaminade Percy Grainger Grieg Ossip Gabrilowitsch Clara Clemens Paderewski Franz Liszt Schumann Carnegie Hall Fair Deal 1700 1839 1960 2017
Moritz Moszkowski (casually confusable with his near-namesake/contemporary Modest Moussorgsky [1839-81], as in 'Pictures at an Exhibition') led about as colourful a life as any better-known practising Romantic-age musician. Born at Breslau in Prussia, he studied at Dresden, taught in Berlin and settled in Paris, from where ~ thanks not least to then-newfangled steam travel, by rail and water ~ he established contacts all over the known musical world: Thomas Beecham was his orchestration student, for instance. After early acclaim as a prodigy, later years were (perhaps inevitably) less kind to him: a failed marriage to the sister of pianist-composer Cécile Chaminade, financial mistakes, and a neurological condition progressively eroding finer control of his right arm and hand. A Carnegie Hall benefit concert during what would be his final months, with no fewer than 15 pianos onstage, involved a veritable roll-call of those days' foremost musicians including the Australian Percy Grainger (also a champion of Grieg), and Ossip Gabrilowitsch (husband to Mark Twain’s daughter, soprano Clara Clemens); Paderewski, apparently, cabled his apologies. Among much else he left an engaging 2nd piano concerto in E major, very popular in its day: an early performance had featured M.M. as soloist (of course) with the 'orchestra' parts doubled on a second piano by Franz Liszt, no less, who had convened the concert. Virtuosi aside, students and salon pianists gratefully remember M.M. for his 4-hand 'Spanish Dances' and seven characteristic pieces 'From Foreign Parts': 'Germany' (where he spent his formative years) is here portrayed in a gorgeous sarabande, which Ian solos on the organ's orchestral clarinet. The acoustic instrument was a German invention (c.1700) whose early champions included Mozart, with his sublime concerto; this piece's many canonic imitative passages also evoke Schumann's Pedal Piano Sketches when approached in this spirit. Ian offers no apology for another 'foreign' track, nor its visual links to the Rheinland, as his own life began at Mönchengladbach: his then quite newlywed parents ~ both with the British Army on the Rhine (BAoR), which cleared their prospective union only once each had been cross-vetted for security by the other's spooks ~ were working-out their contracts before returning to Britain, where Ian would later be born a Londoner. But he was conceived on a British exclave of German soil, in BAoR married quarters. The whole compound has long since been handed on to NATO, then back to the German government which now houses asylum seekers in its core buildings. Drone-shot videos of the camp, elsewhere on YouTube, offer a bittersweet overview for any who knew the place in its heyday (as did a pair of Ian’s Sussex neighbours) ~ or more generally interested in how Nature steadily reclaims such sites. Ian was in the Rhineland in 2017, visiting a former TEFL homestay student from Rüdesheim ~ itself twinned with Swanage, a town with which he is doubly familiar: several of this Interlude's local images date from that week. A gateway to UNESCO's Mittelrheintal World Heritage site, the town hosts Siegfrieds Musikkabinett (a fine, living mechanical-music museum) and the world’s oldest Wine Museum (where Ian was fortuitously caught during a rainstorm after an already splendid town walking tour!). One finer evening he headed out as a novice Segway rider, in a group run by Laura’s father, through the cobbled Altstadt and up into vineyards. Another day, in the 60th anniversary week of his likely conception, Ian went to explore Rheindahlen. All he could access at BAoR was its cemetery (everything else being barriered-off, with patrols at the guardhouse) including graves of many children of what would have been his own cohort ~ and who, despite the best available forces'-grade medical support of ca.1960, failed to live in some cases more than even a few hours ... a plangent, disturbing find on such an already particular pilgrimage. That same evening en route back to Rüdesheim, at a high-school on the outskirts of Bonn, an international youth production of 'West Side Story' was being staged as a pan-European holiday project, involving musician friends from Oxford (and Abingdon) alongside their German twinners and some young Dutch dancers. Barely a year after Britain's Advisory Referendum, and with the afternoon's Rheindahlen experiences behind him, it deeply heartened for Ian to watch the 1950s American version of the Romeo & Juliet story brought so vividly alive again: a cooperative international retelling of a classic cautionary tale, in which (as it were) adult non-cooperation famously ends with prime young lives poignantly yet needlessly forfeit. So there is a fair deal of 'baggage' behind this choice of piece and its performance ... which, it is hoped, will as ever bring its own enjoyment to listeners ~ while also reminding some of a splendid composer who can perhaps all too easily tend to be relegated.
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