A biography from wikipedia Ilona Eibenschütz (8 May 1872 in Budapest, Hungary - 21 May 1967 in London, England) was a Hungarian pianist She received her first instruction in music from her cousin Albert Eibenschütz. Franz Liszt is said to have played at a concert with her when she was five years old. She later studied with Carl Marek, and from 1878 to 1885 at the Leipzig Conservatory under Hans Schmitt, and then, from 1885 to 1890, with Clara Schumann in Frankfurt. There she met Johannes Brahms in 1886, and she was close to him until his death in 1897. She heard him play his own music on various occasions, and in 1926, she wrote (as Mrs. Carl Derenburg) for The Musical Times, "[Brahms] played as if he were improvising, with heart and soul, sometimes humming to himself, forgetting everything around him. His playing was altogether grand and noble, like his compositions." In the summer of 1893, Brahms privately premiered his piano pieces, op. 118 and op. 119, to Eibenschütz. She later wrote, "It was of course the most wonderful thing for me to hear these pieces as nobody yet knew anything about them. I was the first to whom he played them." Her teacher Clara Schumann was Brahms's closest personal and musical friend, but expressed reservations privately to Brahms about Eibenschütz's playing, writing to Brahms on 1 February 1894 that "she goes too quickly over everything." (The translation is by Jerrold Northrup Moore in his booklet notes to the Pearl CD, "Pupils of Clara Schumann" - Pearl CDS 99049 - which includes recordings of Eibenschütz.) Starting in 1884, at the age of 12, she annually made a concert tour through Germany, Austria, France, Russia, Denmark, Norway, and Sweden, playing before the Queen of Denmark at Copenhagen, before the Czar and Czarina of Russia at the Gatschina Palace, and before the Emperor of Austria at Vienna, by whom she was granted an imperial stipend for five years. Her debut with the Berlin Philharmonic was on 7 November 1890.
So glad to find this and the final piece she played on your separate posting. Brahms and his era comes alive through her reminiscences, and I am more than grateful that she shared them on the radio program, and that you shared them through your posting. Thanks so much!
What a wonderful bit of history! Oh to be in her shoes. I found myself wishing that she had a moment with Brahms when she then carried his child and then had given birth to another little Brahms!
zigeunerlieder Amazing! I read about it. According to Monteux, Brahms said something very important: "It takes the French to play my music properly. The Germans all play it much too heavily."
I'd only ever heard a very scratchy 1903 performance by Eibenschütz of the second of Brahms' Waltzes op. 39, that too at a very fast tempo (which I love!), so it's great to hear this. Thanks for posting. On her tempo for the Ballade (what a pity there's only the beginning!): I think this illustrates the extent to which the meaning of Andante has changed over the centuries; literally, of course, it means "going", whereas today it often seems to be taken to mean "stopping"! Katchen, I think, finds the ideal tempo for this piece, as he often did in Brahms (most other things he played too fast).
more interesting than everything she says are the moments where she touches the piano. listen to the way the music speaks... it is frustrating we have so many bland and stiff performances by Pollini, Perahia and Schiff and only five short Brahms recordings of this phenomenal musician.
From the very first notes, you immediately find yourself in the presence of a very major pianist. Under her fingers, the music becomes alive and carries a message pianists today fail to convey.
It's uncanny hearing this broadcast again after over sixty years. I hope the BBC didn't wipe it and that it's safe now. Also that some pianists take it seriously. Original players trump original instruments, surely. I have to say she sounds a better pianist now than she did then - but that was my fault. I don't think it's the only broadcast she did - wasn't there one with a snatch of the Brahms E flat scherzo? And in this one, did she in fact play the E minor intermezzo from Op 119?
Not sure about the « too »..... it is definitely faster than what we usually hear. But what she does makes complete sense!! The top line is so well driven.....
This is a very magical moment in time, to listen to the voice of one who personally knew Clara Schumann and Johannes Brahms.
That was extraordinary. What a privilege to hear her recollection!
This is phenomenal
A biography from wikipedia
Ilona Eibenschütz (8 May 1872 in Budapest, Hungary - 21 May 1967 in London, England) was a Hungarian pianist
She received her first instruction in music from her cousin Albert Eibenschütz. Franz Liszt is said to have played at a concert with her when she was five years old. She later studied with Carl Marek, and from 1878 to 1885 at the Leipzig Conservatory under Hans Schmitt, and then, from 1885 to 1890, with Clara Schumann in Frankfurt. There she met Johannes Brahms in 1886, and she was close to him until his death in 1897. She heard him play his own music on various occasions, and in 1926, she wrote (as Mrs. Carl Derenburg) for The Musical Times, "[Brahms] played as if he were improvising, with heart and soul, sometimes humming to himself, forgetting everything around him. His playing was altogether grand and noble, like his compositions."
In the summer of 1893, Brahms privately premiered his piano pieces, op. 118 and op. 119, to Eibenschütz. She later wrote, "It was of course the most wonderful thing for me to hear these pieces as nobody yet knew anything about them. I was the first to whom he played them."
Her teacher Clara Schumann was Brahms's closest personal and musical friend, but expressed reservations privately to Brahms about Eibenschütz's playing, writing to Brahms on 1 February 1894 that "she goes too quickly over everything." (The translation is by Jerrold Northrup Moore in his booklet notes to the Pearl CD, "Pupils of Clara Schumann" - Pearl CDS 99049 - which includes recordings of Eibenschütz.)
Starting in 1884, at the age of 12, she annually made a concert tour through Germany, Austria, France, Russia, Denmark, Norway, and Sweden, playing before the Queen of Denmark at Copenhagen, before the Czar and Czarina of Russia at the Gatschina Palace, and before the Emperor of Austria at Vienna, by whom she was granted an imperial stipend for five years. Her debut with the Berlin Philharmonic was on 7 November 1890.
04:41 What a great great honour to say: Brahms was my friend! 💖💖
So glad to find this and the final piece she played on your separate posting. Brahms and his era comes alive through her reminiscences, and I am more than grateful that she shared them on the radio program, and that you shared them through your posting. Thanks so much!
WOW!! Thanks so much for posting this amazing interview. Incredible to have a recording from this period
What a wonderful bit of history! Oh to be in her shoes. I found myself wishing that she had a moment with Brahms when she then carried his child and then had given birth to another little Brahms!
Quite remarkable, to have this material available for all to share. Thank you Coenraad.
Thank you for this recording. In my youth I talked to Pierre Monteux who personally knew Johannes Brahms.
zigeunerlieder Amazing! I read about it. According to Monteux, Brahms said something very important: "It takes the French to play my music properly. The Germans all play it much too heavily."
Pierre Monteux (if I am not mistaken) conducted the premiere of ballet Russe’s Stravinsky ‘s Rite of Spring in Paris most noted for a riot.
Thank you for posting this Vladimir! Her playing is magical!
“I believe from that moment Brahms was my friend.” I’d give anything to be able to say that!
I'd only ever heard a very scratchy 1903 performance by Eibenschütz of the second of Brahms' Waltzes op. 39, that too at a very fast tempo (which I love!), so it's great to hear this. Thanks for posting. On her tempo for the Ballade (what a pity there's only the beginning!): I think this illustrates the extent to which the meaning of Andante has changed over the centuries; literally, of course, it means "going", whereas today it often seems to be taken to mean "stopping"! Katchen, I think, finds the ideal tempo for this piece, as he often did in Brahms (most other things he played too fast).
I would disagree as I think he's got the best recorded versions of Sonata No.1 & No.2.
Wow! Beautiful! Thank you for posting!
You can hear a snippet of Brahms playing his first Hungarian Dance here on youtube, and it does indeed sound like he is improvising!
Privilégio ouvir esse voz, de quem esteve com Clara e Brahms.
Love this.
I never liked history in school, but this is per golden.
What a treat! Thank you!
Unbelievable playing!
Legendary
Thanks so much for posting this .
Very eye-opening.
Wonderful!
this is great. thank you.
Quite amazing.
wow
more interesting than everything she says are the moments where she touches the piano. listen to the way the music speaks... it is frustrating we have so many bland and stiff performances by Pollini, Perahia and Schiff and only five short Brahms recordings of this phenomenal musician.
304712 L agree L. fully agree...
From the very first notes, you immediately find yourself in the presence of a very major pianist. Under her fingers, the music becomes alive and carries a message pianists today fail to convey.
🙏🙏🙏🙏🙏🙏
Die Welt von gestern
It's uncanny hearing this broadcast again after over sixty years. I hope the BBC didn't wipe it and that it's safe now. Also that some pianists take it seriously. Original players trump original instruments, surely. I have to say she sounds a better pianist now than she did then - but that was my fault. I don't think it's the only broadcast she did - wasn't there one with a snatch of the Brahms E flat scherzo? And in this one, did she in fact play the E minor intermezzo from Op 119?
You have a very good memory! I uploaded that Intermezzo in a separate file:
th-cam.com/video/XV6ji84-8IA/w-d-xo.html
have a english text?
Excellent interview. So much better than Smyth's recollections with her lesbian/feminist slant on Brahms. (rolls eyes)
Ah-hhhhhhhhhhhhhhh......
That Ballad....way too fast...
Not sure about the « too »..... it is definitely faster than what we usually hear. But what she does makes complete sense!! The top line is so well driven.....