Van Cliburn, American Classical Pianist
Tuesday, February 27, 2018 by Mary O'Connor | pianists
Van Cliburn was just a pianist much the way Neil Armstrong was merely an astronaut. Simply put, the tall Texan's musical talent and successes were out of this world.
Cliburn, who died
at age 78 at his Fort Worth home due to complications from bone cancer, was 23 when he strode into Moscow for the inaugural International Tchaikovsky Competition, created to showcase Soviet cultural superiority.
Playing with unerring precision and sublime emotion, he took the top prize and was given a ticker-tape parade in Manhattan, the first and last time a pianist won such an honor.
"Imagine galvanizing the attention of the entire world in the pre-Internet, pre-global TV year of 1958," says Howard Reich, who got to know the Texas-based pianist while researching his 1993 biography, Van Cliburn. "As a Texan, he was so emblematic of the United States. But the Russians fell in love with his romanticism."
In many ways, however, that seminal performance both made his name and sealed his fate.
The pieces that won him the competition — Tchaikovsky's Piano Concerto No. 1 and Rachmaninoff's Piano Concerto No. 3 — sold countless records (his Tchaikovsky No. 1 was the first classical record to sell more than a million copies) and became required concert staples.
"Playing on that treadmill for the next 20 years led him to burn out, and by 1978 he looked terrible and bowed out of public life," says Reich. "He was a gentle soul, and that harsh public spotlight had a negative effect on him."
It would be nine years before Cliburn performed again, at the White House for Ronald Reagan and Soviet premier Mikhail Gorbachev. Although he made occasional appearances in the following decades, he spent most of his time overseeing his foundation and a quadrennial competition that bears his name.
"I can't think of anyone who has done more to help promote the instrument and young performers than Van," says Cliburn's friend Yoheved Kaplinsky, chairman of the piano department at New York's Juilliard School of Music, which Cliburn attended. "He was an icon in Fort Worth, and a person of great humility."
Born Harvey Lavan Cliburn Jr. in Shreveport, La., Cliburn started piano lessons at age 3 and immediately showed prowess under the watchful eye of his mother, who had trained on the instrument under a teacher who had studied with Franz Liszt.
After moving to Texas, Cliburn played with Houston's symphony at age 12, and at 17 entered Juilliard. At 20, he performed with the New York Philharmonic at Carnegie Hall, setting the stage for his triumphant coup in Russia.
No one can imagine a ticker-tape parade for a pianist in this era, but in Cliburn's
he was as much an inevitable cultural icon as he was a reluctant political figure. In the late '50s, the Cold War was raging, the Beatles were still practicing and classical music still held sway.
But what truly made Cliburn unique was the humble ease with which he went about seducing the alleged enemy.
"Van marched in full of the musical values of the Old World, full of tremendous sincerity and with a remarkable ability to connect with audiences," says Kaplinsky. "He may have transcended the boundaries of the art world and breached into the political world, but foremost Van was a consummate artist."
That artistry is on display in various YouTube clips of Cliburn reprising his competition-winning form in Moscow in 1962. The pianist's eyes are often closed as massive hands fly across the length of the keyboard. Utterly lost in the music, Cliburn seems almost oblivious to his audience.
"He had more of everything," says Reich. "More height, more smiles, more sweep on the piano."
In his later years, Cliburn collected the usual array of awards accorded cultural heroes. A Kennedy Center Honors tribute in 2001, a Presidential Medal of Freedom in 2003, and in 2004 Russia's equivalent, the Russian Order of Friendship. In 2004, there was a predictable Grammy Lifetime Achievement Award, and in 1994 a less-expected guest appearance as himself in the TV cartoon Iron Man.
On the personal front, Cliburn was a devout Baptist but also quietly gay; in the late '90s, his longtime partner, Thomas Zaremba, unsuccessfully sued the pianist over compensation claims.
Ultimately, Cliburn will be remembered not just as a performer of startling skill, but also as a global cultural sensation in the age of shortwave radio.
"He did something that no one could have ever imagined back then," says Reich. "He was ubiquitous."
Adapted from USA Today
Happy Birthday, Carl Czerny!
Wednesday, February 21, 2018 by Mary O'Connor | birthday
1791 ~ Carl Czerny, Austrian pianist
composer whose vast musical production amounted to over a thousand works.
His books of studies for the piano are still widely used in piano teaching.
More information on Czerny
Czerny is in the center top of this image. He influenced many!
At the age of fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Muzio Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility.
His 'star' pupils included Theodor Döhler, Stephen Heller, Sigismond Thalberg, Leopoldine Blahetka and Ninette de Belleville.In 1819, the father of Franz Liszt brought his son to Czerny.
Liszt became Czerny's most famous pupil. He trained the child with the works of Beethoven, Clementi, Ignaz Moscheles and Johann Sebastian Bach. The Liszt family lived in the same street in Vienna as Czerny, who was so impressed by the boy that he taught him free of charge. Liszt was later to repay this confidence by introducing the music of Czerny at many of his Paris recitals.
Shortly before Liszt's Vienna concert of 13 April 1823 (his final concert of that season), Czerny arranged, with some difficulty (as Beethoven increasingly disliked child prodigies) the introduction of Liszt to Beethoven. Beethoven was sufficiently impressed with the young Liszt to give him a kiss on the forehead. Liszt remained close to Czerny, and in 1852 his Études d'exécution
published with a dedication to Czerny.
Monday, February 19, 2018 by Mary O'Connor | quotes
“The future of our nation depends on providing our children with a complete education that includes music.”
– Gerald Ford
“The future belongs to young people with an education and the imagination to create.”
“The Arts and Sciences, essential to the prosperity of the State and to the ornament of human life, have a primary claim to the encouragement of every lover of his country and mankind.”
“I must study politics and war, that my sons may study mathematics and philosophy…in order to give their children the right to study painting, poetry, music
–John Q. Adams
“Aeschylus and Plato are remembered today long after the triumphs of Imperial Athens are gone. Dante outlived the ambitions of thirteenth century Florence. Goethe stands serenely above the politics of Germany, and I am certain that after the dust of centuries has passed over cities, we too will be remembered not for victories or defeats in battle or in politics, but for our contribution to the human spirit.”
–John F. Kennedy
“Music education opens doors that help children pass from school into the world around them – a world of work, culture, intellectual activity, and human involvement. The future of our nation depends on providing our children with a complete education that includes music.”
– Gerald Ford
“Music is about communication, creativity, and cooperation, and by studying music in schools, students have the opportunity to build on these skills, enrich their lives, and experience the world from a new perspective.”
– Bill Clinton
“Education is not the means of showing people how to get what they want. Education is an exercise by means of which enough men, it is hoped, will learn to want what is worth having.”
– Ronald Reagan
Music “brings us together, helping us reﬂect upon who we are, where we have come from, and what lies ahead.” The Arts and Music transcend “languages, cultures, and borders.” … “exchange ideas and styles and share in the artistic vibrancy born from diverse experiences and traditions.
– President Obama in a 2010 message to the World Choir Games in Shaoxing, China
Millions of Americans earn a living in the arts and humanities, and the
-proﬁt and for-proﬁt arts industries are important parts of both our cultural heritage and our economy…. We must recognize the contributions of the arts and humanities not only by supporting the artists of
but also by giving opportunities to the creative thinkers of tomorrow. Educators across our country are opening young -minds, fostering innovation, and developing imaginations through arts education.
– White House Proclamation, National Arts and Humanities Month 2014
“In a lot of the poorest countries we’re trying to help, the level of violence is a continuous undercurrent…There’s an enormous amount of evidence that giving people an opportunity for creative expression improves their ability to learn in school and increases their ability and desire to navigate life in a positive rather than a negative way.” Music “taught me discipline and teamwork on the one hand and the importance of creativity.”
The THEA Foundation in Arkansas has proved the merits of including art instruction in the schools.
“Every place they’ve done this program, you see a reduction in the dropout rate and an increase in the academic performance of the young people. Having strong arts instruction supports learning in a very substantial way.”
-Bill Clinton in an interview with Patrick Cole at the 2011 Clinton Global Initiative
Adapted from http://www.nafme.org/the-most-musical-united-states-presidents/