Ignaz Friedman: Romantic Master Pianist Review

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Ignaz Friedman: Romantic Master Pianist ReviewIf ever the written word alone can enable us to "hear" the piano playing of a great master, Allan Evans' biography of Ignaz Friedman is such a book.
Mr.Evans' achievement not only gives intimate insights into Friedman, his family, and his art, but also gives insights, not always flattering, into major artists of his time such as his teacher,Leschetizky, and Huberman, Rubinstein,Rosenthal,Hofmann,Mascagni, Sirota ,and others.Evans also provides a mini-biography of Friedman's extraordinary pupil Tiegerman, " the lost legend of Cairo."
Numerous concert reviews , and comments from some of Friedman's students , provide wonderful descriptions of his piano playing. Suggestions from his teachings should inform current artists.The detail of Friedman's preparation is astonishing.
Mr. Evans has also given us a front -row seat upon an Age not likely to return, and its transition to modernity.Thus, not only is this book a must for pianophiles, but also for historians,sociologists, and artists of all persuasions. Friedman's extensive World travel was a marvel itself, but also a testament to some of the economic difficulties and racial biases he encountered between the Wars. Discussions of the "old" and "new" Poland help clarify the cultural setting in which Friedman's art first grew.
I am inspired to add more Friedman to my collection.Hopefully Mr.Evans' label Arbiter Records will be able to publish improved versions.
I also reflect upon how poorly most of the recent Cliburn Competition performances compare. Hardly a new observation: " Friedman's most infamous charlantanisms have more in common with art and poetry than those young bravura players who, with their factory-made techniques, earn millions of dollars in America." Aladar Toth's ( husband of pianist Annie Fischer) review in Budapest's "Pesti Naplo", March23,1939 (copyright 2009,Allan Evans). Perhaps competitions will now add reading Mr.Evans' book to their required "works".
Fortunately for us, Evans has captured much about the man, his manner, his colleagues, his teaching,and his times, which would otherwise have vanished. The life of Friedman demonstrates values our current artistic and civil society would do well to emulate, Evans' achievement all that more relevant.
In Sydney, June 25,1927, Friedman's programme was in this order (copyright 2009 by Allan Evans,with permission):
BeethovenSonata,Op.111
Scarlatti-Tausig Capriccio
Schumann"Papillons"; Symphonic Etudes
Chopin Waltz
Chopin Nocturne Op.62,#2; Impromptu Op.29;Scherzo Op.20
Gartner-FriedmanViennese Dance # 4
SzymanowskiPrelude
SukMinuet
Henselt-Godowsky Etude "If I Were a Bird"
Strauss-Godowsky"Fledermaus" Paraphrase
Encores Liszt: Liebestraume # 3 ; God Save the Queen
From 1946-47 student Patricia Rovik, in a 1988 interview (copyright 2009 by Allan Evans):
" He was a grand person.There was something of a mastery about him at the piano, a quietness; he was never grandiose and I always felt that he was communing with music, that he was a special gift to us from the God of Music himself. When he played the Revolutionary Etude one felt it it was an avalanche and any movable object would be removed from its path.He could be quite grand in the sonatas,too.I didn't hear him banging, in what was thought to be the tradition of the nineteenth century.There was a certain philosophical restfulness about him. He would make wonderful statements,especially with Chopin. I was just so in awe of the man and I still am to an extent after forty years. It was almost quite a breathless experience."
After completing this book, you also will be in awe of Friedman and Mr.Evans' achievement here. Highly reccomended not only as a detailed yet very readable, very humane biography ; and not only as a commentary on the art of pianism that can stand with efforts by Harold Schonberg, Arthur Schnabel , Joseph Horowitz, Charles Rosen ; but also more broadly as a re-creation of a lost Age.
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