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- เผยแพร่เมื่อ 8 ส.ค. 2009
- Recorded in 1961.
Samuel Feinberg (Piano, Composer, Arranger)
Born: May 26, 1890 - Odessa, Russia
Died: October 22, 1962 - Moscow, Russia
The eminent Russian pianist, pedagogue and composer, Samuel [Samuil] Feinberg, was born in Odessa and raised in Moscow. From an early age he exhibited an extraordinary talent on the piano. He enrolled in the Moscow Conservatory and studied piano with Alexander Goldenweiser. During his student years he took instruction in composition privately with Nikolai Zhilyayev.
After his 1911 graduation from the Conservatory, Samuel Feinberg launched a career as a piano soloist while writing music on the side. Before he was sent off to war, Feinberg met Scriabin, who praised his pianism. His active participation in the Russian military ended abruptly when he became gravely ill and had to spend the remainder of the war recuperating in Moscow.
In 1922, Samuel Feinberg joined the faculty at the Moscow Conservatory, holding this post until his death. After this appointment, he revived his career as a pianist, gave piano recitals in Russia in programmes emphasising new Russian music, and toured Europe in the late 1920's. He performed all Beethoven's piano sonatas and the complete set of Bach's Well-Tempered Clavier, as well as Chopin and Schumann. His interpretations of the keyboard works of Bach, Beethoven, Chopin, Scriabin, and others were startlingly original - he typically offered quite a different approach to each composer's music.
When his composition teacher, Zhilyayev, who had also become his music editor, was arrested during Stalin's reign of terror, Samuel Feinberg had to rein in the progressive music style he had evolved in works like the Sixth (1923) and Seventh (1924-1925) piano sonatas and the First Piano Concerto (1931-1932). After 1936, his music became more conservative, though it retained a subtlety of expression and often divulged a penchant for imaginative contrapuntal techniques. He felt it wise not to seek publication of some of his more progressive works, like the Seventh Sonata, which would not appear in print until the 1970's.
In 1951 Samuel Feinberg's health declined from as the result of a heart ailment, but he remained active as a pianist and composer for his remaining days. He died in Moscow, largely an obscure figure in a global sense, however his reputation within Russia placed him among the piano giants of his age - Sofronitsky, Goldenweiser, Ginzburg, and Neuhaus.
Samuel Feinberg was better known in his day as a pianist than a composer, but it is as a composer that he is known to posterity. He produced a substantial output of piano, vocal, and chamber works, but was generally reluctant to promote his compositions in the many concerts he gave. His early music is conservative in outlook, but he later became experimental in the use of serial techniques, only to return to a more traditional though individual style later on. His piano music was influenced mainly by Chopin and Scriabin in its fluidity and enhanced tonality. He also transcribed some of Bach's organ works to piano - เพลง
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There isn't any Bach that Feinberg can't turn into a elusive form of perfection. Like a Chess Grandmaster whose strategy defies analysis, but who always manages to prevail.
Замечательный
комментарий!
Спасибо!
Well, I'm a professional and informed about much to do with stylistic practice and all the extraordinary insights it has brought to the table in terms of imaginative and appropriately researched investigations into baroque keyboard performance.
That said, I don't think it matters much when a serious perfomer - from any period - has something genuine and sincere to contribute, especially when they have great talent.
This performance - in my view at least - is so deeply felt, so dynamic in concept, true to the spirit of this wonderful work and so obviously from an intelligence of the highest order; that it doesn't matter at all (to me!) that it may depart somewhat from what we have since gathered from historically informed investigation. After all, where would we be if we didn't have this? In fact, I think it's one of the many remarkable featues of this musician's playing here is that it eschews all of the extreme Romantic manners of contemporary playing and is essentially very much in the line of some other exceptional artists - Edwin Fischer being one of them.
Feinberg was a great musician, and when I think about what he must have gone though in his life, thus still to be playing at such an incandescent level at the age of 71 (and a year before his death) I bow in respect and admiration.
PS. What a great work this is!
Totally agree with you regarding your parallel with Edwin Fischer. They managed to give you "pure" Bach, the essence, the internal soul of the composer. And Fischer and Feinberg are very different in their renditions. That is what I most love about these great performances.
Bach’s genius is not constrained by academic theories. Just as Bach wrote some pieces without the limitations of a particular instrument so too his music is illuminated by a range of interpretations. I personally find Feinberg to be among the very best. Others have mentioned different artists and theirs also shed different light on this amazing piece. Thank you for making it available on TH-cam.
Бах вечен.)) Исполнение идеальное.
I have listened to this man many times the last few weeks and what a great Bach interpreter he is. I am a huge Gould fan, but Feinberg is such an exquisite pianist too. I love his Bach, just as I love Edwin Fischer's and Lipatti's Bach now. How wonderful to find such great pianists here on TH-cam .
And how wonderful to find such delicate persons like you on TH-cam .....
You've named all the great Bach players but omitted Tatiana Nikolayevna. Immortal too, namely for her Goldberg variations.
Gould has to take the "silver medal" after Feinberg and Dinu Lipatti.
Lipatti, with his overwhelming generosity and humanity, and Feinberg, Moses having the wind of God on his side .... Gold Medalists ...
Just a childish joke of myself here, but so sincere
@@Fritz_Maisenbacher thank you for your comment mr. Maisenbacher
4:14 .... a true wonder : nine times the same little phrase with its little variations, nine different heart flowers under Feinberg's fingers, and then , softly culminating in a tender ecstasy , some seconds of absolute purity... . Thank you , thank you forever , Mr. Feinberg .
völlig zustimmen!
One of the best I've heard, possibly THE BEST!
It's amazing how a dour present can turn one's attention to the past. Good comes out of evil all the time. This is great playing.
One of the few who brought no pathos and still was perfectly able to acknowledge that some parts of this piece are very delicate and intimate. The "extrovert" parts performed also excellent - lively, perky, guggling. Stresses, frazing - all perfectly appropriate. No doubt this is deeply understood Bach.
Thank you for posting! Incredible technique. Transcendent.
Благодарю!
5:11 . . .;;.. ooohh the fantastic ralentando ....! !!
!!!!!!!
It sounds beautiful, pity, and fantastic; it seems that he plays with tears... quite impressive.
Now that's stunning counterpoint! Wonderful performance, which shows deep intellectual insights in both structure and expression of the piece. And yet, it's fresh and sounds spontaneous. Excellent music making!.
a very lucid and personal performance
Just sublime!
Superb.
Абсолютно органное звучание: регистровка, артикуляция, владение временем. Так играть могут только абсолютные гении....
Keeps that theme in the foreground. Very clear but melodically opulent and shaded as well when required.
Quite clearly the romantic pianist playing Baroque. Rubato and legato are a bit unexpected in Bach, but suits this piece perfectly. Feinberg made this music even more thought provoking. I was easily carried away! Thank you very much for posting this!
+LearnItAll
What do you know about the way Bach himself was playing this piece ?????
Just imagine , just for one moment , you have a machine to go into the past , and you hear Bach playing exactly like
this ....
Hah!!! WHAT A SURPRISE .... !!
Nothing. Nobody does. All I was saying, that, taking into account the traditional way of playing Bach (precise and consistent rhythm, clearly articulated notes), I didn't _expect_ to hear his music played in such way. Nothing more, nothing less. And didn't I say in my previous comment that I liked this interpretation regardless?
I hope you didn't mean to sound so confronting. There's no need. We are all here to enjoy the great music played by great artist.
+LearnItAll
The problem is not a possible "confrontation" between us . This would be of no value , and uninteresting for others .
The point is : I must confess that (regardless to your person) I am pissed off that somebody always comes with this eternal observation : "Feinberg is not playing in the 'traditional' mood of neo-baroque classical non-romantic way , blah blah blah ... " SO WHAT ????
FUCK !
Listen to this heavenly music please ! And abandon your pseudo-musicology-science at the cloackroom .
In a friendly way ,
Fritz .
Fritz Maisenbacher I can see your point, Fritz, and emotionally understand where you are coming from, as I get caught in emotions sometimes, too. The only problem is, as far as I was concerned, your stern and ironic remark came from nowhere, and was unprovoked. I re-read my original comment, and couldn't see how it possibly could make someone so annoyed. Furthermore, it was simply a comment under a youtube video. If you can't stand others expressing their thoughts on the internet in the comment section, simply don't read comments, and your perceived problem will be solved! If you like to only hear thoughts which don't upset you, join a forum of like-minded people -- there's definitely one for everybody on the Internet.
To sum up -- I simply expressed my immediate thoughts, something which surprised me upon listening through the piece, and I left a comment, in case someone could find it related to their thoughts. And then, I was basically told to shut up (first by implying with sarcasm that I had no imagination, and then, in direct text). It's amazing, how the experience of listening to the ingenious music, played by an ingenious performer, can be ruined by passers by. I don't thank you, Fritz.
I think I will download the piece for off-line use, so I never have to visit this page again.
In a friendly way,
Vitaliy
+LearnItAll
I am very sorry that I "ruined" your listening performance , and more perhaps , which is rather painful for me , your emotion .
I didn't mean my comment attacking you personnally (as I said in an unskillful way) but I was only reacting on the injustice that people like Feinberg are always placed under doubt and criticism (as the poor man would have committed some sins or crime , and his auditors had to obtain some pardon for listening to him...) , when people like Gould are the great holy priesters praised by everyone .
I think you know what could mean the word 'resistance' in that context ....
And your person played in my reaction a role of 0,1% ...... more not .
I apologize once more , and I hope that you will enjoy another time this fantastic piece on YT .
Ah Samuel Feinberg amazing transcendent pianist!! Of course he is considered one of the Bach specialist the other one would be Wanda Landowska!
Pretty irritating to read again and again about romantic pianist playing Bach.
In fact I´ve never found a better Bach interpreter than Feinberg. He found music in Bach sheets, plays it in natural and perfect tempi and of course softly or rubato in right places and with beautiful polyphony. His playing for me is most baroque between all Bach interpreters. Not to mention his phenomenal transcriptions.
I don´t believe Bach feels his own music in Gould playing style - dry and monotonous. Stupid dogmatism we learned for long years. What about Feinberg´s rubato in Bach music? I feel baroque and especially Bach music needs rubato - his organ music is proof - majestic and monumental. Feinberg feels it and plays it.
Very well said. Thank you.
@@Fritz_Maisenbacher Did you know that Horowitz’s ONLY non Busoni BACH recording was this Piece !………It’s on TH-cam as well. Your comments are Spot On.....Enjoy The Horowitz Interpretation !
@@alanbash2921
Thank you. I shall do this.
Utterly dramatic . Definitive , because played with a non-existential and non-existing ego . Music made out with vacuum . Something before the chaos . Only light in the hands . Or revelation after death . Actually , nobody is playing . This music even doesn't exist . Only a resonance of some absence .Too high to be reached . Listen to it hundred times , doesn't change anything . Feinberg only . I don't know "why" .
Sounds horowitzian with the whispered pianissimos
too much rubato but still great.
"too much" rubato ?
Were you there when Johann Sebastian played at his own home ?
blah
There is more Romantic than this (some of it is nicely straight), but there's really no call to push-pull the fugue like this.