Antonio Janigro – Musiker mit Leib und Seele
Leben und Werk eines großen Dirigenten und Cellisten
In seiner Hommage an Antonio Janigro (1918-1989) verbindet Ulrich Bracher
die wahrheitsbewusste Erforschung des Lebens dieses großen Musikers mit einer einfühlsamen Würdigung seines fortwirkenden künstlerischen Schaffens.
Den aus Mailand stammenden und während der Ära Mussolini nach Zagreb emigrierten italienischen Künstler führten Dirigentenaufgaben und zahlreiche Lehraufträge unter anderem nach Deutschland, Österreich, Jugoslawien und zurück nach Italien. Konsequent setzt der musikinteressierte und dem Maestro persönlich verbundene Autor die verschiedenen Stationen im privaten wie beruflichen Werdegang des Meisterdirigenten und Cellisten in Bezug zu den zeitgeschichtlichen Ereignissen.
Mstislav Rostropovich – Cellist, Teacher, Legend
Published to coincide with Rostropovich’s 80th birthday celebrations
Mstislav Rostropovich, internationally recognised as one of the world’s finest cellists and musicians, has always maintained that teaching is an important responsibility for great artists. Before his emigration in 1974 from Russia to the West, Rostropovich taught several generations of the brightest Russian talents – as Professor of the Moscow Conservatoire – over a continuous period of two decades. His students included such artists as Jacqueline du Pre, Nataliyia Gutman, Karine Georgian, Ivan Monighetti and many others.
Rostropovich’s teaching represented not only his individual approach to cello repertoire and instrumental technique, but also comprised a philosophy of life. As soon as he returned from his frequent concert tours, he would launch himself with whirlwind energy into his teaching activities.
His lessons, which were conducted as open masterclasses , were awaited eagerly as an event of huge importance. Class 19 of the Moscow Conservatoire, where they were held, was usually packed with students (violinists , conductors and pianists as well as cellists). Often other professors dropped in, as did visiting musicians. The lessons were performances in themselves: Rostropovich – usually seated at the piano – cajoled and inspired his students to give the best of themselves. His comments went far beyond correcting the students in making them understand the essence of the work they were playing. Often this was done through striking imagery, and as such the lessons were addressed to the wider audience present in the classroom as well as to the individual student.
Drawing from her own vivid reminiscences and those of ex-students, documents from the Moscow Conservatoire and extensive interviews with Rostropovich himself , Elizabeth Wilson’s book sets out to define his teaching, and to recapture the atmosphere of the conservatoire and Moscow’s musical life.
London music critic Morreau has produced a fine account of the life and legacy of cellist Emanuel Feuermann. Born in 1902 into a poor Jewish family in Austria, Feuermann was thought by many to be a better cellist than Pablo Casals, but his life was cut short at the age of 39 during a somewhat mysterious botched operation. As a youth, Feuermann struggled to find a place in his father’s heart and in the world of the Reifenbergs of Cologne, upper-class Jews who had been baptized and whose youngest daughter Feuermann eventually married. Morreau is especially good at describing Feuermann’s cultural milieu and the uncertainties and complexities inherent in climbing the social ladder. In fact, because the cellist married outside of his caste,
his parents and his wife’s parents never met, and the book’s one drawback is that Morreau does not examine as completely as one would like the extent to which her subject consciously put aside
his birth family. The book includes a chapter on Feuermann’s writing, teaching, and performing, as well as two chapters on his recorded legacy. Three appendixes (listing Feuermann’s fees, instruments and strings, and known recordings) round out the text.
Seymour Itzkoff’s Emanuel Feuermann, Virtuoso: A Biography (1979) contains many interesting sidelights, but Morreau’s account is fully attributed and will be the standard biography.