Talk:Artur Schnabel
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Nice article, Camebert. Just stumbled across it. Schnabel is another musician I admire. And another musician admired by many of his contemporaries... ;-)
-- Viajero 19:12 28 Jul 2003 (UTC)
- I'm certainly not going to argue about that one :-) Thanks--Camembert
- Very gratifying to read the words of other Schabel enthusiasts! I totally agree with you. Schnabel is still for many people (certainly for me) the last word in musical profundity. My old professor, Ilse Graham (a German Jewish refugee from Nazi Germany), told me in the mid-1970s how her brother, Kurt Appelbaum, had studied the piano under Schnabel back in Berlin in the early 1930s. Ilse knew Schnabel well and told me that "one always had the feeling that he was on the side of Life" and that the most remarkable thing about his playing (in her view) was "the remarkable balance between intellect and intuition" which characterised it. I would agree with that! She also mentioned how he was an extremely witty man, and was equally "the neatest man I ever met" in terms of his dress sense. She also told me how powerfully he played Beethoven's Emperor Concerto (she heard him give a performance of this at the Royal Albert Hall, I think). But I always feel that Schnabel was at heart a mystic: music for him was his way of accessing a deep spiritual realm, a realm created from a mysterious and divinely vibrating intangible substance, called sound, and he was able to attune himself to those higher spiritual dimensions. His own compositions also always contain, in their slow movements, a sense of mystery, the sense of entering a strange new world. Anyway, I once asked Ilse whether Schnabel was a religious man, and she replied: "music was his religion". She further said that he "always gave the impression that he had a special line 'up there'" (meaning to the Divine). Does anyone else feel that this is so true? I still have not heard a better performance - more profound and utterly spiritual - than his two recorded performances of Beethoven's last piano sonata (Opus 111). Also, his four recordings of Beethoven's Fourth Piano Concerto are so filled with rippling vitality, power and are utterly entrancing. As you can see, I am intoxicated with Schnabel's life-filled and deeply penetrating playing. Personally, I think he stands alone - perhaps matched by Cortot in a different repertoire, or Fischer. I hope these reminiscences of my old professor (long dead) might be of interest to followers of the great Artur Schnabel! - Tony (Dr. Tony Page) TonyMPNS
[edit] looking for music
Hello! I too enjoyed this article very much. A friend of mine is looking for the score of Schnabel's "Notturno für Singstimme und Klavier, nach einem Text von Richard Dehmel." I've had no luck finding it in on World Cat (which probably means that no North American library has it). Does anyone have any ideas about how to obtain it? —The preceding unsigned comment was added by Skrebs (talk • contribs) 17:30, 18 January 2007 (UTC).
