Product Description

As a pianist, Rosenthal was unparalleled: his legato touch came from Chopin through his pupil Mikuli; his awareness of composition was developed by Liszt; his Brahms interpretation shaped by the composer himself; and his ingeniously crafted piano-paraphrases memorialized his friendship with Johann Strauss II. Yet Rosenthal's pianistic abilities were married to a rare intellectual erudition—a knowledge of literature, history, philology, science, philosophy, and society that few pianists have ever matched, let alone surpassed.

In these striking pieces, we see every facet of Rosenthal: memoirist, social critic, pedagogue, and virtuoso. He could write with gravity and pathos, yet his famous and sometimes devastating wit is legendary. This volume combines Rosenthal's writings with critical assessments of the pianist by such contemporaries as Eduard Hanslick, Edward Prime-Stevenson, and Hugo Wolf. It is rounded out with an illuminating preface by Charles Rosen, perhaps Rosenthal's most renowned pupil; a discography and concertography; and a CD featuring never-before-released Rosenthal recordings.

Product Details

• Amazon Sales Rank: #520835 in Books
• Published on: 2005-11-20
• Number of items: 1
• Binding: Hardcover
• 184 pages

About the Author
Allan Evans is the founder, owner, and producer of Arbiter Recording Company. He lives in New York City.

Mark Mitchell is the author of Virtuosi and Vladimir de Pachmann both published by Indiana University Press. He divides his time between Gainesville, Florida and Vienna, Austria.

Customer Reviews

A Great Collection of Writings and Recordings (on CD with book)
The recent winner of an international piano competition is featured on several Youtube videos. The user comments are overwhelmingly spectacular... "better than Horowitz", "perfect", "a dream", "extraordinary", etc, etc. In a way, we can understand these favorable comments, as the laureate has a magnificent technique, and does, for the most part, observe the composer's indications. Given that, it is not easy to ruin a great composition. But is that enough? One measure of the greatness of a musical composition is the opportunities it affords players, its breadth of interpretive possibilities, the invitation to explore.

The pianist in question lacks one quality that used to be, and should still be demanded of a great artist. In a word... "penetration". There is no sense that this pianist's performances reflect the fruits of a searching musical intellect. They are musical, but homogenously so. Yes, he is still young, but as they say, "show me the child and I'll show you the man". Josef Hofmann's early recordings are often criticized for their "coldness", but even in those early recordings we can hear the same qualities that led admirers of his mature recordings to call his style "patrician".

Many pianists of the past, who may be heard in early recordings, show this penetration in the unique personality of their conceptions. These conceptions are made possible by the close connection the artists have enjoyed with the leading exponents of 19th century tradition, and the musical sensibilities and subtle technical resources, involving dynamic range and variety of touch, that have been passed along to them. This is not a question of overused rubato, or a generally outmoded style that has seen its day. It is a question of approach. No pianist typifies this approach more than Moriz Rosenthal, one of the great Liszt pupils, previously having studied with Rafael Joseffy and the Chopin pupil Karol Mikuli (Joseffy and Mikuli are familiar to all pianists as editors of Chopin's works).

Most young pianists are simply not exposed to artists like Rosenthal. We cannot be expected to know the juicy goodness of a great tomato when we have never been to a farmer's market, but have only been shown the supermarket! Mark Mitchell and Allan Evans' "Moriz Rosenthal in Word and Music" will go a long way towards correcting this. It should be required reading for all who love music (pianist, instrumentalist, vocalist or serious listener) and want an intimate and multi-faceted view, foibles and all, of one great artist who could plumb the musical depths.

My enthusiasm for this book is based on one crucial aspect... its reliance on primary sources, and the breadth of the man these sources reveal. The editors include Rosenthal's unpublished autobiographical fragment, various other short writings by Rosenthal, many published for the first time here, and a generous helping of perceptive concert reviews. One negative review resulted in an amusing (and revealing) back and forth between the protesting Rosenthal and a critic for the London Times, who had the last word, in spades. These reviews show that Rosenthal was not for everybody (who is??), but all praised his omega level of virtuosity and pianistic range... and not least, his abundance of interpretive input.

The book offers unparalleled personal reminiscences of such musical greats as Joseffy, Mikuli, Liszt, Busoni, Tausig, Korngold (pere et fils), Mahler, and exceptional memories of meetings with a prickly, if not mean-spirited, Johannes Brahms. Rosenthal even writes of his audience, at age 13, with the highly regarded Chopin pupil Princess Marcelina Czartoryska (then 58 years old. Chopin would have been only 65!), and his disappointment when she left off playing Chopin's e minor Concerto for him just when the knotty passagework was about to begin, with the comment (in Polish), "et cetera"... Rosenthal at his catty best!

But the riches of this book go far beyond Rosenthal's personal memories of his contemporaries. Rosenthal's own deep views of piano music and its interpretation are fascinating and rewarding. We also meet up with numerous examples of the most biting, sarcastic tongue of any musician ever, mainly directed against his colleagues! My personal favorite: While attending an obviously less than riveting concert, Rosenthal could not help but notice the loud snoring of a nearby audience member. He turned to him and said, "For pity's sake, don't snore so loudly or you'll wake up the whole audience!"

The subject matter in the book is far too wide-ranging to summarize here, but it all makes for absorbing reading... and not just for specialists. This book is a page turner, moving through a series of colorful articles by Rosenthal, as well as by writers who, like Rosenthal, wrote with style, to be read with enjoyment. Rosenthal pupil Charles Rosen provided a valuable and informative preface, while the editors wrote the engaging introduction. To top it all off, Mr. Evans has supplied a CD of Rosenthal performances, processed with the same care and attention to clarity he lavishes on his wonderful historical offerings on the Arbiter label. These recordings by Rosenthal underpin and potentiate everything written in the book, and indeed speak a thousand words... what playing! We may not all agree with everything we hear in Rosenthal's performances, but we will definitely all pay attention. Many will have their ears opened, and learn what it means to be truly great.

Apart from the delightful shorter Chopin, Schubert, and Liszt works, and his famously suave and fleet-fingered rendition of his own "Blue Danube" transcription, a standout performance on the CD is one which has been much maligned. This is Rosenthal's recording of Chopin's b minor Sonata, made when the pianist was 77 years old. Critics have made much of the aging pianist's ebbing technical mastery. Such criticism misses the point, and is symptomatic of the superficial perception of art, generally, in our time. In fact, the advanced age of the pianist contributes to the heroic dimensions of the performance... an epic display of the Spirit at once disregarding and conquering the Flesh. Furthermore, this is Moriz Rosenthal performing one of the finest pieces of music in the piano repertoire. It is therefore, prima facie, a precious document of inestimable musical value. And Rosenthal certainly has more control at 77 than Francis Plante at 89 (and Plante's recordings are a delight!).

The Largo is searching and lyrical, reflecting a lifetime of growing intimacy with this music. Rosenthal was never content to play simply "musically". He gives us his vision of the musical landscape set before him, diverse and ever-changing. Rosenthal exhibits a characteristic common to the best "Golden Age" pianists - he never releases his intellectual grip on the musical flow, never hands off his command to a sort of generally musical "cruise control", as engaged by many lesser pianists such as the aforementioned competition winner. Rosenthal penetrates, and comes up with more.

In the Finale - one of Chopin's most torrential and physically demanding movements - we can only listen in astonishment as the old warrior carries us along from start to finish in one grand, unrelenting sweep, putting today's young competition-gypsies to shame. We are aware that Rosenthal is past his physical prime, but, wonderfully, no accommodations are made, no tempi slackened, no clarity sacrificed to advanced age. If ever a performance demonstrated that the irreplaceable essence of a musical performance is Spirit, this is it!

A Rosenthal discography is included in the book, along with photos and concert programs, as well as a list of his performance repertoire.

Mark Mitchell and Allan Evans have, in short, put together a compendium of original sources that give a rare portrait of one of the greatest performers in history. A must have for all music lovers who want to dig deeper.... and wider.

Rosenthal's book is an annotated autobiography.
As co-editor of the book, I am surprised to read a review by Otten in which he wonders who the author might have been. As it is a collection of autobiographical writing, the author is Moriz Rosenthal. Oppen cites an early biography of the pianist: none exists. Alas, this is the down side of the internet: angry amateurs trumpet mis-information and clumsily err in doing so. Mitchell and myself annotated Rosenthal's splendid texts and selected supplementary material.

Rosenthal--A Man Apart
Previously well-reviewed by Rick, the following excerpts should whet one's appetite for a work I could not put down, history alive, sprinkled with anecdotes of the famous and legendary, Rosenthal's thoughts on life,art,pianism,humanity, insights into an age gone but retrievable if its lessons are learned, hearts are so inclined:

Mikuli,Chopin's student,teaches Rosenthal the master's legatissimo playing in which the sound glows and grows even after the key is released,to which Rosenthal soon adds the heroic utterances of Rubinstein, the spiritualism/vision of Liszt.


Joseffy presents Rosenthal's first Vienna recital:

Chopin F-Minor Concerto (Joseffy 2nd piano)
Beethoven 32 Variations in C Minor
Mendelssohn Prelude and Fugue in F Minor
Chopin Op.10,#5
Chopin Waltz E MInor,Op.Post.
Liszt Au bord d'une source
Liszt La Campanella

Rosenthal remembers:

"Tausig died in July of 1871 of typhoid.His female friends sat by his deathbed in Leipzig.Liszt or Wagner might have transfigured his earthly farewell,but neither of the great masters appeared.Tausig's death shattered a pillar of the pianistic world at that time.The greatest technician of his age had departed,but not wihtout inspiring Brahms in his Paganini Variations.These remained: Liszt,the most universal,spiritual,and still the innovative piano poet;Rubinstein,the most tempermentally glowing,melodically richest,the piano hero mightiest with tone; finally Bulow,the quick-witted,but often technically deficient,and more amusing than spiritual piano analyst;and, from the younger generation,Joseffy,of fairy-like elegance,and Grunfeld,who set himself apart as a virtuoso through his rhythm and his magnificant right-hand octaves." All of whom Rosenthal knew well and heard often.And you can hear Rosenthal.

Hanslick on reviewing a Rosenthal Vienna recital in 1884:"Through many years of acquaintance with modern piano virtuosity I have almost forgotten what it is to be astonished,but I found young Rosenthal's achievements indeed astonishing.His technique scorns the most incredible difficulties,his strength and endurance the most inordinate demands."

A 1900 review of his Don Juan Fanatsie in England: " He hurled forth a Dionysian declaration of war...with that technical power in which he is surpassed by no living performer.After many recalls he was constrained to play once more;and by way of the sharpest possible contrast,he gave Chopin's Berceuse,bringing out all the delicate moonshibe filigree of the right-hand part with infinite subtlety."

Rosenthal: "Whoever breathes in the heady,fiery air of Mozart's or Liszt's enthusiasm will see Don Juan as being as inseperable from his unbridled affirmation of life and audacious glorification of death as,say,Napolean is from his battle roar." No wonder these Golden Agers were,sound,different.

James Huneker,1911: "He is both musical and intellectual.He is a doctor of philosophy,a bachelor of arts.He has read everything,is a linguist,has traveled the globe over,and in conversation his unerring memory and brilliant wit set him as a man apart.To top all these gifts,he plays his instrument magnificantly,overwhelmingly.He is the Napoloean,the conqueror among virtuosi." The Golden Age lesson: to be a pianist apart,first be a man apart.

Rosenthal: "No,the grand manner did not "come in" at one special date, and "go out"at another.The grand manner is, very simply--a grand manner.A manner of playing which forms itself upon grand concepts,makes such concepts personal by grand enthusiasms...a matter of personal convictions,personal inspirations,personal thought... (Any age could produce musicians in the grand manner if only) the representatives of that age will take the trouble to cultivate those habits of thought...The more typical representatives of this modern day seem less concerned with a free outpouring of generous enthusiaisms,than with the practical means of achieving some goal.It is not considered "smart" to give unfettered expressions to one's deepest emotions.The modern school of interpretation has left stark,cragged heroism behind..It strikes, at best,into a sweet,well-regulated field-vale-and -woodland order of feelings..."

Rosenthal: "...There is little heroism in this post-war life;people have grown cynical and dulled.They call heroism a gesture and wonder what is the good of it....the tank mechnism that has crept into today's playing.It has come unconsciously,of course,but,nonetheless, there it is."

Time (Jan.4.1943):"Concert artists, like dogs,always grow to resemble their patrons.Most of today's examples (Gieseking,Casadesus,Serkin,Heifetz) resemble bank presidents or New Deal intellectuals.Most of yesterday's ( Paderewski, dePachmann) resembled haughty princes of noble blood. One lordly,athletic survivor of the time when artists wore royal purple is the orange-whiskered Rosenthal."

Rosenthal: "There is no such thing as a new school of piano playing.The mere fact that one has not studied with Liszt, that one has not heard the Chopin school,and that one has never been priviledged to hear Rubinstein is a colossal drawback and can never constitute in its helpless negativity any claim to distinction or greatness.Having missed the great triumvirate,the pianists of the younger generation are bound to learn from those of us who had the great privilege to study directly or indirectly with these musical and pianistic giants.If they choose to turn away from us they will not harm us, but themselves."

Edward Stevenson,1927: " ...the one man alive who seems to find nothing so hard to play that he cannot make us think it trivial of his effort...But there is no trckery in Rosenthal.Within the hour or so of his pianism,we believe the impossible because of what we ourselves have seen and heard..Rosenthal is today,as ever he was, a superior intellect in his art;often a delightful poet,even a simple pianist.He is a great music-interpreter as well as great executant...in technique, he can occaisionally (at 65) be even closely approached;but he is still unequalled,supreme ,unique,as a sort of changeless phenomenon of virtuosity..."

Rosenthal on Schumann's Carnaval: "It seems amazing that this most popular piece, played by thousands of amatuers and performed publically by hundreds of pianists,should remain for almost all of them a riddle,a literary enigma.The names of Eusebius,Florestan,Chiarina,Estrella,are for them empty sounds.But Schumann is never to conquer by fleet fingers or loose wrist alone.For him your worship and love and the flights of your soul! (If you have them.) In his highest moments Schumann is as deep,as solitary,as ecstatic,as exalted and exalting as Beethoven in his last works..."

Stories of going with Leschetizky, Liszt,Bosendorfer,Bulow to hear Rubinstein play. Long walks with Busoni. Playing Op.111 for,coffees with, Mahler. Meals,drink,some bawdiness with Brahms. Per Joseph Hoffman, Rubinstein said he never knew what technique was until he heard Rosenthal. Brahms permission to play not all, but a selection of, the Paganini Variations in recital (Books I and II have enormous finales so should not play both, per Rosenthal).

The Times,London,1936, after seven recitals in 3 weeks surveying piano music: " To this wide field of the last century's music Mr.Rosenthal's life as been devoted and he has made it his own.The 20th century has developed other types owning different ideals.He can afford to leave them to other interpreters."

You cannot afford to be without this book, and its accompanying cd with his incomparable Schubert, and Blue Danube parphrase, or without the Pearl cd, Rosenthal-Vol.II,also produced by Mr.Evans.

Rosenthal: " Liszt was not a man like others.One always felt that his suggestions came from mystical thought. He saw further than we did, and when he spoke,his thoughts were so well-considered that he gave the impression of seeing with the eye of a creator..."

Rosenthal: " It is not enough to be a true servant of the arts;its masters are what we long for and need."

Amen. But in an age of forced, numbing,egalitarianism, where electronic communication is preferred over conversation and contemplation, where one's success is measured in competiton against others rather than in heroic,lonely pursuit of personal vision, is master an endangered species, rare as the man apart,rare as a creator?