"My early life" by Josef Lhevinne (Part 2) :
Savonoff gave me lessons every day. My technique was all wrong, and with him I started all over again, right from the very beginning. All my ideas were entirely altered. Even his method of the high-raised wrist and the use of the fingers from the knuckles was different from all I had previously been taught. For a long time it was difficult to assimilate these new methods and, above all, to forget all I had, so far, learnt.
In those days the musical god of the school, and, indeed, of musical Russia, was Anton Rubinstein. He was the Director of the St. Petersburg Conservatoire, of which the Moscow school was a branch. I had been studying with Savonoff for some two years when he told me that Rubinstein was coming to see how the work of the school was progressing. He was to listen to a recital at which the best pupils were to perform. Each pupil was given ten minutes. To my astonishment I was to play for no less than an hour ! My group comprised the Beethoven. Eroica Variations, a Liszt Rhapsody, three Chopin Etudes, a Bach Fugue, and an Etude by Liadov.
I was only fourteen and not particularly industrious. I much preferred playing about the streets of Moscow or shooting at a target with a rifle to practising the piano ! My piano playing came with such ease that I felt that I could leave everything to the last moment. And I always did !
The night before Rubinstein was to arrive Savonoff called me to his house. I was to play my programme through to him. Always he had been very strict and severe with me. Often he had scolded me with a very loud voice, using fantastic, even bad language. But when he said nothing at all, that was worse still. And this night as I finished each piece he was terrifyingly laconic. Nothing but just an ominous "Go on !
When at last this ordeal was over, he started to talk to me. Very gently, quietly but pointedly he told me what a fool I had been, and how I had wasted my time and opportunities. I started to cry. Then he said : "Of course, I shall not allow you to play to-morrow. Everyone would wonder what sort of a teacher I was. And in front of Rubinstein, of all people ! You have lost the greatest chance of your life. Now go home. But I shall expect to see you to-morrow. You owe it to the school to hear the others play."
You can imagine the state of my feelings as I walked home. For weeks the sole topic of conversation there had been that I was to play before Rubinstein. My father was a real martinet. I hadn't the courage to tell him what had happened. At least a frightful thrashing. At most . . . I could not imagine what that would be.
When I arrived home I commenced practising with the most intense concentration. My father returned from the theatre. He stood and listened to me. "You will do well to-morrow," he said. That was terrible. Early next morning I was at the piano again. I regained my confidence. That was of little use !
I went to the Conservatoire. It was the first time that I should see Rubinstein. I stood near him—to me a most wonderful inspiration. Even now he remains the ideal which I am always striving to reach. He had the most wonderful personality of any man I have ever met. Savonoff passed, and pretended not to see me. Dejectedly I scanned the programme pinned on to a wall. I read it again to make sure that I had not made a mistake. For my name was there, and opposite all the pieces which had been arranged for me to play ! I rushed off to the Director. I asked him whether it was true that I was to play. " Of course," he replied.
Savonoff knew how to squeeze the best out of me....
~~~
"My early life" by Josef Lhevinne:
PART 1: Josef Lhevinne plays Chopin Prelude op.28 no.16
http://www.youtube.com/watch?v=vMI2UWoZpxw
PART 2: Josef Lhevinne plays Chopin Prelude op.28 no.17
PART 3: Josef Lhevinne plays Beethoven Ecossaisen
http://www.youtube.com/watch?v=E15QYctk-DM
~~~
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Chopin - Prelude Op. 28 No. 17 in A flat major (Cortot)by Pianoplayer0025,813 views
@Joseflhevinne mozart probably was jealous and made an account just to dislike this. Or someone was so taken with the music he missed the like button and hit the dislike one instead.
mangosinmypants59 2 months ago
From the day I first heard this great recording, as a boy of 14, till now, I am convinced that Lhevinne's Chopin was some of the most incredibly beautiful ever recorded, all the more so when you realize that this 1935 recording of the No. 17 prelude was nailed ON THE FIRST TAKE.
Incredible!
librarybob1958 11 months ago 2