Artur Schnabel: Wikis

  
  

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Artur Schnabel, about 1906

Artur Schnabel (April 17, 1882 – August 15, 1951) was an Austrian classical pianist, who also composed and taught. Schnabel was known for his intellectual seriousness as a musician, avoiding pure technical bravura. He is one of the 20th century's important pianists, whose vitality, profundity and spirituality in playing of works by Beethoven and Schubert, in particular, have been hailed as exemplars of interpretative penetration.

Quote: "The notes I handle no better than many pianists. But the pauses between the notes—ah, that is where the art resides."

Contents

The early years

Born in Kunzendorf, a small suburb of Bielitz, Galicia, in the Silesian part of the Austro-Hungarian Empire (today Lipnik, Bielsko-Biała, Poland),[1][2] Schnabel was the youngest of three children born to Isidor Schnabel, a Jewish textile merchant, and his wife Ernestine (née Labin). He had two sisters, Clara and Frieda.[2][3].

The family moved to Vienna in 1884, when Schnabel was two. He began learning the piano at the age of four, when he took a spontaneous interest in his eldest sister Clara's piano lessons. His prodigious talent quickly became evident. At the age of six he began piano lessons under Professor Hans Schmitt of the Vienna Conservatory (today the University of Music and Performing Arts, Vienna). At the age of nine, he was accepted as a pupil by the famous piano pedagogue Theodor Leschetizky.[2][3]

The Leschetizky years

Schnabel remained under Leschetizky's tutelage for seven years, between 1891 and 1897. His co-students of Leschetizky during that period included Ossip Gabrilowitsch, Mark Hambourg and Ignaz Friedman.

Initially, for his first year under Leschetizky, he was given rigorous preparatory technical tuition from Anna Yesipova (Leschetizky’s second wife and a famous pianist in her own right) and also from Malwine Bree who was Leschetizky's assistant.[3] From age ten, he participated in all Leschetizky's classes.[1]

Following a failed initial approach to Anton Bruckner, Schnabel studied music theory and composition under Eusebius Mandyczewski. Mandyczewski was an assistant to Johannes Brahms, and through him Schnabel was introduced to Brahms' circle and was often in the great composer's presence. The young Schnabel once heard Brahms play in a performance of his first piano quartet; for all the missed notes, said Schnabel, it "was in the true grand manner."[1]

Schnabel made his official concert debut in 1897, at the Bösendorfer-Saal in Vienna. Later that same year, he gave a series of concerts in Budapest, Prague and Brünn (today Brno, Czech Republic).[2]

The Berlin years

Schnabel moved to Berlin in 1898, making his debut there with a concert at the Bechstein-Saal.[2] Following World War I, Schnabel also toured widely, visiting the United States, Russia and England.

He gained initial fame thanks to orchestral concerts he gave under the conductor Arthur Nikisch as well as playing in chamber music and accompanying his future wife, the contralto Therese Behr, in lieder.

In chamber music, he founded the Schnabel Trio with the violinist Alfred Wittenberg and the cellist Anton Hekking; they played together between 1902 and 1904. In 1905, he formed a second Schnabel Trio with Carl Flesch (with whom he also played violin sonatas) and the cellist Jean Gérardy. In 1914, with the outbreak of the First World War, Gérardy (a Belgian) left the trio as he could no longer remain in Germany. He was replaced by Hugo Becker and this became the third Schnabel Trio.

Later, Schnabel also played in a quartet with violinist Bronisław Huberman, composer/violist Paul Hindemith and the cellist Gregor Piatigorsky (with whom he also played and recorded cello sonatas). Schnabel also played with a number of other famous musicians including the violinist Joseph Szigeti and the cellists Pablo Casals and Pierre Fournier.

He was friends of, and played with, the most distinguished conductors of the day, including Wilhelm Furtwängler, Bruno Walter, Otto Klemperer, George Szell, Willem Mengelberg, and Sir Adrian Boult.

From 1925 Schnabel taught at the Berlin State Academy, where his masterclasses brought him great renown. Among Schnabel's many piano pupils were Clifford Curzon, Rudolf Firkušný, Adrian Aeschbacher, Lili Kraus, Leon Fleisher, Carlo Zecchi, Claude Frank, Leonard Shure, Alan Bush, Nancy Weir, Jascha Spivakovsky, Eunice Norton, Henry Jolles, and radio personality Karl Haas. His last and favourite pupil was Maria Curcio.[4][5]

The later years

Schnabel, a Jew, left Berlin in 1933 after the Nazi Party took control. He lived in England for a time while giving masterclasses at Tremezzo on Lake Como in Italy, before moving to the United States in 1939. In 1944, he became a naturalized citizen of the United States. There he took a teaching post at the University of Michigan, returning to Europe at the end of World War II. Among his pupils in Michigan was composer Sam Raphling.

He continued to give concerts on both sides of the Atlantic until the end of his life, as well as composing and continuing to make records, although he was never very fond of the whole studio process. He died in Axenstein, Switzerland and was buried in Schwyz, Switzerland.

Family

Schnabel married Therese Behr in 1905. They had two sons, Karl Ulrich Schnabel (1909-2001) who also became a classical pianist and renowned piano teacher, and Stefan Schnabel (1912-99) who became a well regarded actor.

Repertoire

Schnabel was best known for his devotion to the core German composers, especially the Viennese classics of Mozart, Beethoven and Schubert. He was also renowned for his playing of works by Brahms and Schumann. He also played and recorded works by Bach.

However, his repertoire was wider than that. During his young virtuosic years in Berlin, he played works by other composers including Liszt, Chopin and Weber. On his early American tours, he programmed works such as the Chopin Preludes and Schumann's Fantasia in C.[6] Among other works that he played, as recalled by those such as Claudio Arrau and Vladimir Horowitz, who had heard Schnabel in the 1920s, were Chopin's E minor Piano Concerto and the Piano Sonata No. 2 in B-flat minor, and Weber's Konzertstück and Piano Sonata No. 2.[7][8] Schnabel himself mentioned that he had played the Liszt Sonata in B minor "very often", as well as the Liszt E-flat piano concerto.[1]

It is not clear why Schnabel dropped those from his performing repertoire in the 1930s, after his final departure from Germany. He claimed that it was because he decided that he wanted to play only "music which is better than it could be performed".[1] However, it has been suggested by some that "Schnabel, uprooted from his native heritage, may have been clinging to the great German composers in an attempt to keep his cultural origins alive".[9]

Schnabel was known for championing the then-neglected sonatas of Schubert and, even more so, Beethoven, including his more challenging late works. While on a tour of Spain, Schnabel wrote to his wife saying that during a performance of Beethoven's Diabelli Variations he had begun to feel sorry for the audience. "I am the only person here who is enjoying this, and I get the money; they pay and have to suffer," he wrote. Schnabel did much to popularize Beethoven's piano music, making the first complete recording of the sonatas, completing the set in 1935. This set of recordings has never been out of print, and is considered by many to be the touchstone of Beethoven sonata interpretations, though shortcomings in finger technique mar many performances of fast movements (Sergei Rachmaninoff is supposed to have referred to him as "the great adagio pianist"). It has been said that he suffered greatly from nerves when recording; in a more private setting, his technique was impeccable. He also recorded all the Beethoven piano concertos.

Schnabel as composer

Despite his performing repertoire being concentrated largely on the works of Beethoven, Schubert, Mozart and Brahms, almost all of his own compositions (none of which are in the active repertoire) are atonal. (It is interesting, in this regard, to note that Schnabel was a close friend of Arnold Schoenberg, his Austrian-American compatriot, who was famous as a pioneering composer of atonal and twelve-tone music.)

They are "difficult" yet fascinating and complex works, and are marked by genuine originality of style. Composers Ernst Krenek and Roger Sessions have commented that they show signs of undoubted genius (see biography of Schnabel by Cesar Saerchinger). Schnabel's list of compositions eventually included three symphonies, a piano concerto, a piano sonata (premiered by Eduard Erdmann at the 1925 Venice ISCM Festival[10]) and five string quartets, amongst various smaller works.

In recent years, a number of his compositions (notably championed by the violinist, Paul Zukofsky) have been recorded and made available on CD, including three of his string quartets, the three symphonies, and piano sonata.

Further reading

Schnabel's book My Life and Music (reprinted 1988; Mineola, NY: Dover Publications; ISBN 0-486-25571-9), is a mixture of autobiography and commentary on a variety of musical subjects.

Saerchinger,C. Artur Schnabel. London, 1957 (with disc.)

Music and the line of most resistance. Princeton University Press, 1942

External links

References

  1. ^ a b c d e Schnabel, Artur (1961, republished 1988). My Life And Music. New York & London: Dover/Smythe.  
  2. ^ a b c d e Artur Schnabel: Musiker 1882-1951, Archives of the Akademie der Künste, Berlin. Berlin: Wolke-Verlag. 2001.  
  3. ^ a b c Saerchinger, Cesar (1957). Arthur Schnabel: A Biography. New York: Dodd, Mead & Co..  
  4. ^ The Guardian, 14 April 2009
  5. ^ Telegraph, 7 April 2009
  6. ^ Schonberg, Harold C. (1963). The Great Pianists. New York: Simon & Schuster. pp. 426.  
  7. ^ Schonberg, Harold C. (1992). Horowitz: His Life and Music. New York: Simon & Schuster.  
  8. ^ Arrau in conversation with Peter Warwick, 31 July 1976
  9. ^ Harris Goldsmith, Artur Schnabel: Paradigm or Paradox?, Keynote 3, March 1982
  10. ^ Grove's Dictionary of Music and Musicians, 5th ed., 1954, Eric Blom. ed.

Quotes

Up to date as of January 14, 2010

From Wikiquote

Artur Schnabel (1882-04-171951-08-15) was a pianist and composer, born in Lipnik in the Austro-Hungarian Empire (now Lipniki in Poland). He moved to Britain and then America, becoming a US citizen in 1944.

Sourced

  • Applause is a receipt, not a note of demand.
    • Saturday Review of Literature September 29, 1951.
    • Explaining why he never played encores.
  • The notes I handle no better than many pianists. But the pauses between the notes – ah, that is where the art resides.
    • Quoted in the Chicago Daily News, June 11, 1958.

My Life and Music (1961)

  • I am attracted only to music which I consider to be better than it can be performed. Therefore I feel (rightly or wrongly) that unless a piece of music presents a problem to me, a never-ending problem, it doesn't interest me too much.
    • Page 121.
    • Often misquoted as "Great music is better than it can be performed".
  • Children are given Mozart because of the small quantity of the notes; grown-ups avoid Mozart because of the great quality of the notes.
    • Page 122.
  • I know two kinds of audience only – one coughing, and one not coughing.
    • Page 202.

External links

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Simple English

Artur Schnabel (April 17, 1882August 15, 1951) was an Austrian classical pianist, composer and teacher. He was one of the best pianists of the twentieth century. He was a very serious pianist. He did not try to impress people by playing fast or loud. He was most famous for playing music by Mozart and Beethoven and Schubert.

The place where Schnabel was born was called Kunzendorf. It was near a town that was called Bielitz, in Austria-Hungary. Now Kunzendorf is called Lipnik, and Bielitz is called Bielsko-Biała, and it is in Poland.[1] When he was two years old his family moved to Vienna. He started to play the piano when he was four. When he was nine he started to take piano lessons with the famous teacher Theodore Leschetizsky.[2] He studied with Leschetizsky for seven years, until 1897. He also studied music theory and composition with Eusebius Mandyczewski. He gave his first concert in Vienna in 1897. After that he played more concerts in Budapest and Prague and Brno.[3]

Schnabel moved to Berlin in 1898. He started to be famous from concerts with the Berlin Philharmonic Orchestra and from playing chamber music. He liked playing chamber music and he played it for all his life. Some of the famous musicians he played chamber music with were Carl Flesch, Joseph Szigeti and Bronislaw Huberman (violin), Paul Hindemith (viola), and Pablo Casals, Gregor Piatigorsky and Pierre Fournier (cello). He also played piano for the contralto singer Therese Behr (1876-1959). In 1905 he married her. They had two sons. Karl Ulrich Schnabel (1909-2001) was a pianist and Stefan Schnabel (1912-99) was an actor.

In 1933 Adolf Hitler became the leader of Germany, and Schnabel, who was Jewish, moved to England. He moved to the United States in 1939. After the end of World War II he went back to Europe. He gave concerts there and in the United States for the rest of his life. He died in Axenstein, Switzerland, in 1951.

References

  1. Schnabel, Artur (1961, republished 1988). My Life And Music. New York & London: Dover/Smythe
  2. Saerchinger, Cesar (1957). Arthur Schnabel: A Biography. New York: Dodd, Mead & Co.
  3. Artur Schnabel: Musiker 1882-1951, Archives of the Akademie der Künste, Berlin. Berlin: Wolke-Verlag.








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