Life footprint
Rudolf serkin 1903 was born in eger, Bohemia, and 199 1 died in guildford, Vermont. In his early years in Vienna, he studied piano with Richard Robert and composition with Max and Schoenberg. At the age of twelve, he made his first public performance with the Vienna Symphony Orchestra under the direction of Nie Desbard. The violinist Busch took great care of Selking after he discovered him in 1920. They played chamber music for several years, mainly from Berlin and darmstadt to Switzerland. Selking played Beethoven's Piano Concerto No.4 and Mozart's Piano Concerto No.27 under the command of toscanini on 1936, which was his first stage in new york. The following year, he performed at Carnegie Hall, and was naturalized as an American citizen on 1939. Selking once taught at the Curtis Institute of Music in Philadelphia, and in 195 1 was the music director of Marpolo Music Festival and Conservatory of Music. In addition, Selking keeps about 100 performances every year, covering Europe, North America, South America, Israel, Oceania and Asia. Selking is one of the greatest contemporary interpreters of Mozart, Beethoven, Brahms and Schubert. He recorded many concertos and chamber music records. His most perfect repertoire is Beethoven's last three piano sonatas; And he also chose these three works as the tracks of his last concert (new york1April, 987).
Deeply influenced by scholarly family.
Selking's parents are Russian, and his father used to be a bass, but later he changed his profession for family reasons. Selking showed his musical talent at an early age. At the age of six, he could play Schubert's impromptu, and then he went to Vienna to learn piano from Richard Robert. His classmates include Searle, Furman and Rudolf Ping. /Kloc-At the age of 0/2, Selking made her debut with the accompaniment of the Vienna Symphony Orchestra. The repertoire is Mendelssohn's Piano Concerto No.1, and Selking learned harmony, counterpoint and composition through the introduction of architect Adolf Luce. For Selkin, studying with the major music thinker of this century for three years has brought him great help. As he himself said, "playing Mozart's piano sonata for Schoenberg is an irreplaceable experience: he knows this better than anyone else!" " Nevertheless, Selking is unwilling to be an advocate of atonal music. In his later years, he only occasionally played Bartok and prokofiev. Obviously, Selking clearly believed from an early age that his vocation was to be the spokesman of the traditional European mainstream music tradition.
Help each other.
After the First World War, Selking had the opportunity to go to Paris to learn from Philip, and to be accompanied by atman, the wife of Marius, when performing a dance, but Selking missed the train to Paris. As the saying goes, a blessing in disguise is a blessing in disguise. Later, Selking met the violinist Busch. After listening to Selking's performance, Bush asked him if he was interested in going to Berlin with him. He can introduce Selking to learn piano from busoni. Selkin readily agreed that giving solved Selking's material difficulties with extraordinary generosity. Busch not only bought Selking a train ticket to Berlin, but also took him to his home. In fact, we can say that almsgiving adopted Selking, and Selking later married almsgiving's daughter Irina, officially becoming almsgiving's "half son".
Selking did find busoni, but busoni thought that Selking had passed the age of formal apprenticeship and his style had matured. And he thinks Selking's performance is too clean, and the pedals are used too little. Without a formal teacher, Selkin started his playing career on the one hand, and participated in the chamber music performances of Busch and others on the other. As a result, Busch and his friends became the main influencers of Selking's art. They alternately performed various combinations and played the best works of chamber music, and they were all skilled enough to recite music. When the performance style is extended to concerto, they communicate with each other and discuss how to extend the aesthetic view of playing chamber music to the performance of large-scale works. Selking and Busch studied together, and finally they really got complementary results.
Don't have style.
In the 1920s and 1930s, there were many piano master in the music industry, but their tastes in music changed rapidly. Elegant traditional Viennese inheritors, such as Sauer and Dalbert, and even the disciples of Liszt and Lechetsky, who were still alive at that time, soon fell behind under the challenge of rising stars constantly improving their technical level. One of the main driving forces behind this new trend is Horowitz. Selking once listened to Chopin's No.1 ballad played by Holovitz in the home of Francesco von Mendelssohn, an art patron, and deeply felt that "musicality" and "connotation" were not enough in the future music field, and skill was an important factor. So although Selking has his own mature music style, he still vowed to work hard and practice hard. This meeting with Holovitz has brought some positive influences to Selking. Gencel King has a higher understanding standard of piano hard skills, but this has not brought him the habit of using Cai Huaan to show off his skills.
Selking's diligent consideration of technology makes his playing style and repertoire show some special and interesting tendencies. For example, when playing Chopin, Sergei would rather play a whole set of etudes. He loved Riggs works all his life, especially his concerto and two variations by Bach and Teleman. Liszt's brilliant and flashy moderns and Courage Tarantella became his skillful and dazzling works. Selking explained that the purpose of this work is to "shock the audience". Although Selking is quite outstanding in modern techniques, he occasionally turns his back on his new era music training in the later period and adopts the treatment that his left hand is slightly ahead of his right hand, which is a bit like the trend of Lechetsky School in the previous dynasty, and he is no longer a 100% "modern" piano master.
pinnacle
The sonata "Enthusiasm" has always been the masterpiece of Selking's music, and it is also his first recorded work, which shows that poetry is more than sparks, and the exquisite second movement shows its perceptual-centered deductive concept. Selking's mature violent style does not appear here, but it is a precious historical record of the pianist's growth and rise. The last movement "Allegro, but Not Fast", like the last movement of Mozart's Piano Concerto No.14, shows clear and precise fingering technique and is regarded as the pinnacle of Selking's technique.
According to Selking's own account, the last person who had the most profound influence on him was toscanini. After listening to Brahms' Second Symphony conducted by toscanini, Denzel King exclaimed, "It's like an incredible apocalypse! He used passion to form an extremely complicated structure. " The dominant position of "structure first" in music has since become the highest guiding principle of Selking. 1936, under the command of toscanini, Selking made his new york premiere, playing Beethoven's Piano Concerto No.4 and Mozart's Piano Concerto No.27. Although Selking recorded and released Beethoven's Piano Concerto No.4 several years later to commemorate this historical event, it is a pity that another Mozart's Zhu Yu work did not have the opportunity to be co-recorded with toscanini. Other famous performances include collaboration with old classmate Searle, several sensational piano concertos with Amandi, and stage performance with violinist Xu Ned. Selking's farewell record is Mozart's piano concertos with abbado and the London Symphony Orchestra. Of course, the skills in my later years are no longer as sensitive as when I was young, but this recording is still famous for its rich details. The treatment, weight, oblique sound and decorative sound of each phrase come from the long-term performance experience of the master, which is a must.
The aftertaste is melodious
Selking 199 1 died of cancer on May 8, but his influence will last for a long time by personally guiding and nurturing his students or through his excellent recordings. Especially at the Marpolo Music Festival hosted by him, the students were all infected by his artist spirit, just as he was edified and enlightened at his home in Bushe. Selking's strong propaganda intention and sense of mission play a key role in the formation of his artistic personality. Just like the last concert, Selking's great mind gave the audience a macro and lofty vision, and he could see through Beethoven's art in the air.