Efrem Kurtz

Efrem Kurtz (Russian: Ефрем Курц; November 7, 1900, Saint Petersburg, Russia – June 27, 1995, London) was a Russian conductor. He studied at the Saint Petersburg conservatory with Alexander Glazunov and Nikolai Tcherepnin, among others. He later studied in Riga, Berlin and in Leipzig, in the last city as a pupil of Arthur Nikisch.

Kurtz made his conducting debut when he substituted for an ill Nikisch to accompany the dancer Isadora Duncan on tour. This led to a number of concerts with the Berlin Philharmonic. From 1924 to 1933 he conducted the Stuttgart Philharmonic, and in 1928, Kurtz was enagaged by Anna Pavlova to accompany her dancing, which he did until her death in 1931. From 1932 to 1942 he was conductor of the Ballet Russe de Monte Carlo, touring with them extensively. His work in Monte Carlo included conducting the premiere of Gaîté Parisienne.^[1]

Kurtz later moved to the United States, and became a citizen of that country in 1944. He was music director of the Kansas City Philharmonic from 1943 to 1948.^[2] He held the same post with the Houston Symphony from 1948 to 1954. He also conducted a number of film scores, including Jacques Ibert's score for Orson Welles' Macbeth.

From 1955 to 1957, Kurtz was music director of the Royal Liverpool Philharmonic jointly with John Pritchard. Thereafter he took a number of guest conducting posts, including engagements with orchestras in Leningrad and Moscow in the Soviet Union where he returned for the first time in 1966.

Kurtz was married three times.^[3] He was married to the American flautist Elaine Shaffer until her death in 1973.^[4] After her death, Kurtz married Mary Lynch, who survived him.^[5]

Recordings

His recorded repertoire included works by among others Dmitri Shostakovich (early recordings, though not premieres, of several of the symphonies and the Age of Gold ballet suite), Ernest Bloch (one of whose last works, Two Last Poems (Maybe...) was dedicated to Elaine Shaffer), Heitor Villa-Lobos (his Uirapuru). Many of these recordings made in the 1940s and 1950s with the Philharmonia in London. He recorded primarily for Columbia Records and EMI.

References