excerpt from 'Thirty Years of Musical Life in London, 1870-1900' pp. 417 (160 words)
excerpt from 'Thirty Years of Musical Life in London, 1870-1900' pp. 417 (160 words)
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Eugen d'Albert was regarded in the light of a “prodigal”. A native of Glasgow and educated at The National Training School for Music in London, he might with all fairness have been termed a British product. He preferred, however, to call himself a German, and had not stood upon an English concert platform since boyhood till he appeared at Queen's Hall under Felix Mottl (April 28, 1896), and gave a magnificent performance of Beethoven's E flat or “Emperor" concerto. He had a cold reception, but after he had played it became evident that the old grievances had been forgotten in the presence of a legitimate virtuoso, of a true artist possessing the fire of unmistakable genius. Personally I admire his playing immensely; and as an interpreter of Beethoven, it is upon the shoulders of d'Albert that the mantle of Rubinstein, to my thinking, has fallen. His place as a composer will have to be decided by a future generation.
Eugen d'Albert was regarded in the light of a “prodigal”. A native of Glasgow and educated at The National Training School for Music in London, he might with all fairness have been termed a British product. He preferred, however, to call himself a German, and had not stood upon an English concert platform since boyhood till he appeared at Queen's Hall under Felix Mottl (April 28, 1896), and gave a magnificent performance of Beethoven's E flat or “Emperor" concerto. He had a cold reception, but after he had played it became evident that the old grievances had been forgotten in the presence of a legitimate virtuoso, of a true artist possessing the fire of unmistakable genius. Personally I admire his playing immensely; and as an interpreter of Beethoven, it is upon the shoulders of d'Albert that the mantle of Rubinstein, to my thinking, has fallen. His place as a composer will have to be decided by a future generation. |
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