61. Mariedi Anders Artists Management was one of the last students of heinrich neuhaus. music with Natalia Gutman, heinrichSchiff, Christian He also frequently collaborates as pianist for German http://www.andersmanagement.com/soalubimov.htm

Alexei Lubimov Piano "Lubimov's instrument...played once by Mozart himself...comes to life when played with the musicality and sense of fantasy displayed by this remarkable pianist." Hugh Canning The Sunday Times Biography Alexei Lubimov was born in Moscow in 1944, and began his musical training at the Central Music School. Lubimov made his concert debut with an orchestra in Moscow at the age of 12. Beginning in 1963, he attended the Moscow Conservatory where he was one of the last students of Heinrich Neuhaus. He won First Prize at the All-Russian Piano Competition when he was 16 and was also a prize-winner at international competitions in Rio de Janeiro and Montreal. Lubimov made his mark as a champion of contemporary composers in 1968, when he gave the Moscow debuts of works by John Cage and Terry Riley. From then on his career was slowed down by the ideological censorship which prevailed in the former Soviet Union. Between 1968-75, he premiered compositions by Russian composers such as Schnittke, Gubaidulina, and Silvestrov, as well as by Schoenberg, Webern, Ives, and Ligeti. In 1988, he founded the Moscow avant-garde festival "Alternativa". In the 1980's, Lubimov devoted a great deal of his time to authentic instruments and became an outstanding performer and specialist in that field. He formed the Moscow Baroque Quartet and pioneered harpsichord and fortepiano performances in the USSR, and he also founded a baroque ensemble, the Moscow Chamber Academy with Tatiana Grindenko.

62. Lev Vlassenko form and style combined with profundity and sincerity are the principal featuresin the artistic personality of the pianist. heinrich neuhaus Vlassenko is a http://classical.music.ru/e/VlassenkoLev/rev.html

Press Review Yakov Flier: "Vlassenko's genuine temperament and virtuosity are always directed towards the noble aim of penetrating into the core of music. A wonderful sense of form and style combined with profundity and sincerity are the principal features in the artistic personality of the pianist." Heinrich Neuhaus: "Vlassenko is a clever and talented musician which he displayed in his performance of Liszt Sonata that was exceptionally integral. One can seldom hear such an orchestral manner of playing combined with technical perfection." Sviatoslav Richter: Lev Vlassenko is a great artist. The listeners enjoyed his excellent performance of Liszt Sonata in B Minor, a piece that is extremely complicated because of its deep ideas and virtuosity." Emil Gilels: "One of the most thrilling moments of the competition was the Liszt Sonata in B Minor played by the Soviet pianist Lev Vlassenko. In the interpretation of this musical monument the performer displayed strict pianistic conception, wide breath, sincerity, deep penetration into music. The performing standard of the rest of the programme was high as well." Excerpts from the foreign press: Spain "The pianist's art is alive, deep, irresistably communicative. His virtuosity that brought world-wide fame at the competitions to which he is much indebted for his success, is always aimed to the highest ideas of music."

63. New This Month - December, 2001 in the form of three biographical tributes to Grigory Kogan, heinrich neuhaus, andZara links were added for Jane Coop, linking this Canadian pianist to her http://www.pianowomen.com/new1201.html

HOME Search Yesterday's Concert Pianists Chronological Alphabetical Today's Top Concert Pianists Other Contemporary Classical Pianists THE MONTHLY PAGE New This Month Just For Teachers Editorial Musings Letters to the Editor ... E-Mail Editor THE MONTHLY PAGE December, 2001 New This Month Archives New for the page "Yesterday's Concert Pianists" This month is the tenth anniversary of Felicja Blumental's death, and Annette Celine Mizne from the Blumental Festival sent a notice of special activities for this celebration (see December's Letters to the Editor ). She included two links to find out more about these activities: http://www.blumental-festival.org and http://www.classicaldiscoveries.com New for the page "Today's Top Concert Pianists" In November two new artists were added to this page: Tessa Birnie (b. New Zealand, July 19, 1934) is a concert pianist who studied with Karl Schnabel, toured Europe in the 1950's and has been active as a pianist and conducter in Sydney, Australia for many years. She has been included in the Baker's and Grove's music encyclopedias, as well as the 1997/98

64. MARCH 20 CLASSICALmanac 'today In Classical Music' and was a pianist and teacher. His mother was a gifted musician. He gave his firstrecital at the age of 18. He studied with heinrich neuhaus in Moscow. http://www.angelfire.com/ab/day/mar20.html

MARCH 20 CLASSICALmanac .....Want to buy sheet music and songbooks? Try Sheet Music Plus Over almost a half million titles to choose from, and you can order online. Today In Classical Music History is presented by: January February March April ... December Welcome to CLASSICALmanac our classical music daily historical directory OF NOTE: Click to View or Add Text. var enabled = 'no'; MUSIClassical Directories: Click to View or Add Text. MUSICIANS milestones notible deaths this year DISCUSSION LISTS join and post classical music and ARTSnews Opera-Ballet-DVDs Music-Musicals-DVDs MUSIC-BOOKS ... MUSICroom Bringing you the world's best selection of sheet music, books about music, tutor methods, and music accessories. MYpersonals MUSIClassical beginners CD library new BOOKs new CDs ... MUSIClassical list Send a blank email to Join our Discussion Group Our Classical Choices new CDs, DVDs, videos SITEmap to our major pages Listen on-line: Classical KUAT-FM Award winning classical station from The University of Arizona with BBC news. Classical CD Search by keywords: United Kingdom Page Canada Page Page De la France Deutschland Seite var enabled = 'no';

65. Ivajla Kirova Official Homepage The pianist Ivajla Kirova was born in 1975 to an engineering family in Bulgaria/Kardjali. Dora Lasarova (student of the famous heinrich neuhaus). http://www.ivajla.com/en/bio/bio.htm

The pianist Ivajla Kirova was born in 1975 to an engineering family in Bulgaria/ Kardjali. She had her first piano lesson when she was seven years old and she made her first public appearance when she was only nine. Starting in 1988 she received instruction from Prof. Dora Lasarova (student of the famous Heinrich Neuhaus In 1989 she was honoured with the prize for best intepretation of Chopin from the Polish Culture Institute in Bulgaria (Ballade Nr. 3 op. 47). In 1991 she was admitted as a special student to the class of Prof. Dora Lasarova at the State Music Academy "Pancho Vladigerov" in Sofia . Importance artistic stimulation she received from the bulgarian pianist and composer Prof. Jovcho Krushev and from Prof. Germaine Mounier-Paris. In 1993 she was honoured as the "Best piano student in Bulgaria". Numerous solo appearances in the largest cities of Bulgaria, partly with special cycles for the Bulgarian composers Ljubomir Pipkov and Dimitar Nenov, followed. In 1996 she gave her first benefit concert in Sofia ("Bulgaria" Hall). In 1997 she received her diploma with distinction. In the same year she met the internationally celebrated pianist Prof.

66. Star Of Russia : An Interview With Nikolai Lugansky The pianist of tomorrow he is hailed as the continuation of a prestigious line ofpianists preferring interiority to virtuosity heinrich neuhaus, Emil Gilels http://lugansky.homestead.com/files/Star_of_Russia.htm

Star of Russia A meeting with pianist Nikolai Lugansky From Telerama , 31 January 2001 Written by Bernard Merigaud Translated from the original French by Valour and S. Kol. A bright future assured at his young age, Nikolai Lugansky belongs to the prestigious tradition of Neuhaus or Richter, pianists who preferred interiority over virtuosity. The Great Hall of the Moscow Conservatory resembles an old dowager exhausted by former glory and left to herself. Nikolai Lugansky crosses its stage with a lightness that imparts elegance to his stage-fright. "I discovered this fear when I was nine years old, while playing the Schumann Arabesque . Before this age, I was less nervous when I performed." he later admits, with disarming simplicity. As soon as his long hands are poised over the keyboard, they not only take possession of the third concerto of Rachmaninov, but they seem to welcome into their protection a bit of the history of this hall... and the roughness of a chaotic orchestra, painfully typical of the musical Russia of today. "I thought of nothing other than the sonority. I wanted to 'sing' the melody at the piano and find for it an adequate accompaniment...Nothing more !" said Rachmaninov of this concerto. Hence, without effort or ostentation, Nikolai Lugansky rises to the occasion. Alone. Faced with an insecure orchestra, he launches his appeals to the brasses, to the strings, to the woodwinds and amplifies himself at their echo; question and answer are left to faith. The luminous velocity of his phrases makes a mockery of the technical failings raised in the storm. His power, of a density which is never aggressive, elevates the soul to a persistently human level : just above the heart.

67. Musik: Ivo Pogorelich mit Ivo Pogorelich (Musik Deutsch Interpreten Tasten Pogorelich, Ivo...... heinrich neuhausoder Svjatoslaw neuhaus war übrigens nie ein besonderer pianist und nie http://www.musikundtheater.ch/mt/interview/solisten/pogorelich.html

Narziss und Nothelfer – der Pianist Ivo Pogorelich sammelt Geld für Bosnien Schön cool Er kann es sich leisten: verweigerte Herbert von Karajan den Gehorsam, posierte als Dressman im Herrenmode-Magazin «Esquire». Ivo Pogorelich polarisiert, sowie er in Erscheinung tritt: schmerzlich schön, blass oder blasiert – je nachdem. Das Publikum fiebert ihm in hysterischer Trance entgegen, das Feuilleton reagiert mit dreisten Diffamien. Ein Gespräch über den Krieg in Jugoslawien, über Bildung und Interpretation sowie über die Kunst der Selbstdarstellung. Interview: Werner Pfister Der Erfolg fiel Ihnen durch die Hintertür in den Schoss: Zwar liess man Sie 1980 in Warschau beim 10. Internationalen Chopin-Wettbewerb gnadenlos durchfallen, so dass dem Jury-Mitglied Martha Argerich der Kragen platzte: Dieser Pianist sei ein Genie, orakelte sie, und reiste ab. Seither bürgt das Wort «Genie» für Ihre Karriere, für ein glamouröses Marketing samt Image – kein Zweifel: Ivo Pogorelich ging als Sieger hervor, derweil der eigentliche Sieger des Chopin-Wettbewerbs von 1980, der Vietnamese Thai Son Dang, längst in Vergessenheit versunken ist. Wie sehen Sie heute diesen Wettbewerb? I.P.:

68. NVC Arts: Featured Videos: Richter: Biography His father was of German origin, and was a respected pianist and piano to study inMoscow with one of Russia's most foremost piano teachers, heinrich neuhaus. http://www.warnerclassics.com/nvcarts/bestsellers/gtartists/richter2.htm

GREAT ARTISTS OF THE 20TH CENTURY SVIATOSLAV RICHTER Biography Sviatoslav Richter was born in Zhitomir in the Ukraine on 20 March, 1915. His father was of German origin, and was a respected pianist and piano teacher. His Russian mother was an amateur musician who was one of the early admirers of Debussy and Scriabin. He had his first music lessons with his father, becoming a master of the keyboard at the age of 8. The family later moved to Odessa where the young Sviatoslav enrolled at the Odessa Conservatory. As a teenager, he was attracted to a career in conducting. At 15 he became a repetiteur for the Odessa Opera and the Ballet Theater, and at 18, chief assistant conductor. He gave his first piano recital at the age of 19, also in Odessa. At the age of 22 he went to study in Moscow with one of Russia's most foremost piano teachers, Heinrich Neuhaus. He was Neuhaus' star student, who later wrote of him: "I must say in all honesty that there was nothing more I could teach Richter" . Despite that he was expelled three times from the conservatory for refusing to study all the compulsory subjects including "political education". However, each time he was reinstated.

69. Pedro De Alcantara Alexander Technique For Musicians And Alexander Technique Tea that the best position of the hand on the keyboard is one which can be alteredwith the maximum of ease and speed, wrote the pianist heinrich neuhaus. http://pedrodealcantara.com/working_body.html

Click here to read a Word for Windows version of this article The problems of a musician have many causes and many possible solutions. While working conditions, stress, and instrument and furniture design are all significant factors, the most important aspect of the life of all musicians remains not what is done to them, but what they does to themselves. The Alexander Technique offers a diagnosis as well as a remedy based upon this assumption. Frederick Matthias Alexander (1869-1955) saw the individual as a whole, and talked not of "the body," but of "the self"; not of "posture," but of "use." The aim of his technique is not to teach you to do what is right, but to help you stop doing what is wrong. The Alexander Technique consists of a series of practical procedures which increase Artur Rubinstein (1887 - 1982) Alfred Cortot (1877 - 1962) your total awareness and create the conditions for you to use yourself in a way that is natural, economical, elegant, and efficient. The principles and procedures of the Technique apply to all areas of musical activity, from technique, sound production, and interpretation, to daily practice, rehearsal routines, and the mitigating of stage fright and health problems.

70. Our Monthly Newsletter - January Issue Everyone knows that the pianist was also a talented artist. His eye is just as goodas his ear” as Richter’s teacher and friend, heinrich neuhaus, put it. http://www.rcscmalta.org/newsletter/jan2003.html

January 2003 Issue ATTENTION !!!!! IF YOU WANT TO WIN A LOVELY PRIZE AT THE RUSSIAN NEW YEAR RECEPTION, ALL YOU HAVE TO DO IS TO GIVE THE CORRECT ANSWER TO THREE QUESTIONS ABOUT THE HISTORY OF RUSSO-MALTESE RELATIONS. THE QUESTIONNAIRE WILL BE DISTRIBUTED AT THE RECEPTION. December Soirées in Moscow In December, Moscow is a gloomy, cold place with no rosy prospects for the next three or four months except Christmas and the New Year. Even “Snow, frost and a sunshine-lovely morning!” a la Pushkin are extremely rare. And still there are people in Moscow who eagerly anticipate the winter months to attend the Svyatoslav Richter Soirées in December. The idea of playing music in a museum is nothing new. But combining a music festival and an art exhibition can only happen in Moscow, in winter – in the Pushkin Museum of Fine Arts. Uniting music and art was typically Richter’s idea. Everyone knows that the pianist was also a talented artist. People who knew him used to say that he could have become a great painter if he had so chosen. “His eye is just as good as his ear” as Richter’s teacher and friend, Heinrich Neuhaus, put it. No one knows for sure when Richter came up with the idea of organizing an art and music festival: in any case, it was put into practice in December 1981. Since then, every December has seen a long queue by the entrance to the museum, waiting to get its share of music by Richter, Bashmet, Gutman, Kagan, the Borodin Quartet – a programme which would go on throughout the winter.

71. HNH - Naxos Classical of dazzle that ends Scriabin's Fifth, he was the complete pianist in that United States,and reminiscing about his great teacher, heinrich neuhaus, under whose http://www.naxos.com/NewDesign/fopinions.files/bopinions.files/industry28.htm

Musical diaries reveal that Richter was not an enigma By James Roos, Published Sunday, June 24, 2001 in the Miami Herald During the Cold War's uneasy American-Soviet cultural exchanges, there was always the possibility that a Russian pianist rather puzzlingly withheld from export, and known only by a few recordings could turn out to be another big one on the never crowded horizon of major virtuosos. So music buffs were intensely curious about Sviatoslav Richter, when Emil Gilels, a great Russian pianist whose debut in the mid-1950s set off storms of applause, said "Wait until you hear Richter." Richter's American debut took place on Oct. 15, 1960, in Chicago, playing the Brahms B-flat Concerto with the Chicago Symphony Orchestra, when Erich Leinsdorf jumped in at the last minute to conduct for an ailing Fritz Reiner. As I happened to live there then, I joined the throng at Orchestra Hall, where everyone was on tenterhooks to discover what this artist, whom Time magazine had just touted as the "mystery pianist from the East," was all about. It didn't take long to find out. Richter was instantly and forever a great pianist in the highest tradition, exciting, formidable a spectacular technician, of course but also deeply satisfying; a pianist who constantly took you by surprise, though his refusal to conform was not a matter of caprice, but of a brilliant, probing, intuitive mind. He could do anything he wanted, and he wanted to explore music. It was the greatest joy to hear him year after year in a constantly widening repertory.

72. Sviatoslav Richter 1915-1997 The Ukrainianborn pianist of German descent was one of the greatest musicians of 1937at the age of 22 with the eminent pedagogue heinrich neuhaus, who also http://www.culturekiosque.com/klassik/features/rherich.htm

Home Cyberchef Dance Jazz ... send page to a friend Bienvenue! Click here to explore our magazine, or pick a section from the above choices. By Joseph E. Romero ARIS, 14 November 1997 - Pianist Sviatoslav Richter died in Moscow on 1 August after suffering a heart attack at the age of 82. The Ukrainian-born pianist of German descent was one of the greatest musicians of the Soviet era, and for many, one of the 20th century's greatest pianists. Richter came to the attention of western publics in the 1960s, preceded by Emil Gilels's accounts of his contemporary's legendary feats at the keyboard. Although Richter was a late developer (not beginning serious tuition until 1937 at the age of 22 with the eminent pedagogue Heinrich Neuhaus, who also taught Gilels) he still went on to become one of the most unusual artists the classical music world has ever known. In fact, Richter had that rarest of musical gifts: he kept you listening even after he had stopped playing. In Europe, Richter was positively lionized, notably in Germany and France where he had a second home and spent considerable time. Liturgical devotion to the text, an uncanny mixture of artistic genius, and iconoclastic behavior made Richter the leading draw in Paris. After all, the idea that a pianist will pack up his instrument in a van and set off for who knows where, stop because he likes the look of a wheat field in Touraine, then notifying a couple of locals and giving a legendary performance in a barn appeals to the strong individualistic streak in every Frenchman. Of such escapades, the Festival of La Grange de Meslay was born.

73. Blumenfeld: Preludes & Impromptus 1931) was the quintessential Romantic – a gifted pianist, composer and of exceptionalmusicians, including Vladimir Horowitz, heinrich neuhaus, Simon Barere http://www.ivoryclassics.com/felblumphilt.html

Twenty-Four Preludes, Opus 17 (1892) I. C Major (Andante religioso) II. A minor (Allegro agitato) III. G minor (Allegretto) IV. E minor (Andante) V. D Major (Allegretto) VI. B minor (Allegro molto) VII. A Major (Allegro vivo) VIII. F sharp minor (Allegro vivo) IX. E Major (Maestoso) X. C sharp minor (Andante) XI. B Major (Andante con moto) XII. G sharp minor (Presto) XIII. F sharp Major (Andantino) XIV. E flat minor (Andante maestoso e lugubre) XV. D flat Major (Allegro non tanto) XVI. B flat minor (Adagio) XVII. A flat Major ( Allegro) XVIII. F minor (“Memento mori”) (Andante) XIX. E flat Major (Andante) XX. C minor (Allegro furioso) XXI. B flat Major (Andante tranquillo) XXII. G minor (Allegro) XXIII. F Major (Allegro) XXIV. D minor (Presto) Two Impromptus, Opus 13 (1890) I. A flat Major (Allegro) II. G flat Major (Andante, molto espressivo e legato) Impromptu in B Major, Opus 28 (1898) Allegro non tanto Four Preludes, Opus 12 (1890) I. G Major (Allegro) II. E Major (Andantino) III. C sharp Major (Allegretto) IV. D Major (Moderato)

74. Archives Svliatoslav Richter By Alexander Coleman, Vol. 16 really had little serious intention of being a virtuoso pianist, since opera at theMoscow Conservatory under the renowned teacher heinrich neuhaus, who became http://www.newcriterion.com/archive/16/oct97/coleman.htm

by Alexander Coleman T he Russian pianist Sviatoslav Richter died in his dacha Well-Tempered Clavier NKVD R dacha The Art of the Piano opened the program with the very daunting Pictures at an Exhibition , of Modest Mussorgsky, in its original version for piano. After the intermission, he played works of Schubert, Chopin, and Liszt. What makes these performances unusual is the physical condition of the audience: Sofia was plagued by a flu epidemic, and the coughing during the performance of Pictures is well nigh unbearable. As the work progresses, one senses Richter driving himself inward. The more they cough, it would seem, the more demonic and unsettling the performance. This recording, along with his hypnotic Schumann recital on Deutsche Grammophon (above all the Forest Scenes and the Fantasy Pieces Le Monde October, 1998 From The New Criterion Vol. 16, No. 2, Oct. 1997 Back to the top www.newcriterion.com

75. Mr. Mastroyiannis Holds A Prestigious Position Among The Most Distinguished Cont Dino Mastroyiannis, the eminent pianist from Volos, Greece, holds a Julia Ganevi,with Vassily Lobanov (students of heinrich neuhaus), and especially with http://www.dinomastroyiannis.com/alpha.htm

(bottom) Biographic last updated: November 25th, 2002 Main Page Reviews Concerto repertoire Solo and chamber-music repertoire ... View Guestbook Dino Mastroyiannis , the eminent pianist from Volos , Greece, holds a prestigious position among the most distinguished contemporary Greek pianists. Studies He took his first lessons in music in Volos, as a pupil of Ely Adam (who had studied with a student of the legendary Alfred Cortot ). He graduated from the Conservatory of Athens , where he studied with Alice Vatikioti a student of Friedrich Wuehrer ). Dino earned his Soloist Diploma with the highest grade: « Excellent unanimously and the First Prize» . He holds degrees in theory from the Conservatory of Piraeus , and he is also a graduate of the Music Department of the Aristotelian University of Thessaloniki Master-classes He has attended numerous master-classes for Piano and chamber-music in Austria ( International Summer Academy University "Mozarteum" Salzburg ), in Germany ( Hanover Music Academy ), in Switzerland (

76. A Tribute To Sviatoslav Richter Moscow Conservatory as a student of heinrich neuhaus. Besides embarking on a closefriendship with fellow student Emil Gilels, another great pianist, he also http://web.singnet.com.sg/~lionelc/richter_tribute.htm

Earth-shattering Passion on a Richter Scale This month, Lionel Choi pays tribute to Sviatoslav Richter (1915 - 1997) , one of the greatest pianists of the 20th century, who passed away on the 1st August. On August 1st, the music world mourned the loss of Russian pianist Sviatoslav Richter, who died of a heart attack in a Moscow hospital. He was 82. Richter was a great pianist. I don't think we even need to qualify that last statement. In a world that is dominated by countless young virtuosos who make better keyboard acrobats than musicians, the passing of Richter certainly marked the tragic end to an era of piano-playing of such a special stature and personality. He had a huge, formidable technique, and it is amazing how he used it to illuminate the musical aspects of the pieces before him, breathing life and passion into every note. Richter was a storyteller, a magician. He had a bold, vivid musical imagination, one that mirrored his profound and deep love for what he did. He spoke in a unique yet sensible and powerfully poetic language, hardly ever resorting to controversy to gain attention. Indeed, each time you hear a Richter record, you just have to sit up and listen. Given the legendary status that he had long acquired, it therefore comes as a surprise that he actually had a fairly late start to his professional piano career.

77. London Shostakovich Orchestra - Marina Primachenko a quadruple diploma as concert soloist, chamber pianist, teacher and Boris Petruschansky(graduate of Lev Naoumov and heinrich neuhaus), currently Professor of http://www.shostakovich.com/marina.html

London Shostakovich Orchestra -Home -Next concert -Last concert -Marina Primachenko -Publicity -Practice Notes -About us -Contact form ... -Programme Notes Marina Primachenko Marina Primachenko was born in what is now St. Petersburg, Russia. A prodigious child talent, she made her first public appearance at the age of four from which time she studied with Elena Gougel, the noted Russian teacher and pupil of the famous Heinrich Neuhaus. At seven she entered the Special School for Gifted Children (affiliated to the St.Petersburg Conservatoire) and began to appear regularly in local concert venues as a `child prodigy'. She gave her first full concert at the age of thirteen in Moscow. A year later, she won First Prize at the St.Petersburg Young Virtuoso Competition playing Rachmaninov's First Piano Concerto (in its original version), marking her début performance in the city's Philharmonic Hall. On the completion of completing her academic studies, she entered the St. Petersburg (Rimsky-Korsakov) Conservatoire, studying in the class of Galina Fedorova (solo piano) and Felicia Fondaminskaya followed by Elena Shafran (chamber music). She completed her studies in 1981 with a First Prize in piano and a quadruple diploma as concert soloist, chamber pianist, teacher and accompanist. Finally, she obtained her Higher Senior Diploma in Performing and Teaching obtaining an `excellent' credit mention throughout. She then pursued further courses lasting six years based at Moscow (Tchaikovsky) Conservatoire with Lyubov Timofeyeva (pupil of Yakov Zak) and Boris Petruschansky (graduate of Lev Naoumov and Heinrich Neuhaus), currently Professor of the Imola Piano Academy in Italy. Also in Moscow she received coaching from Dmitri Bachkyrov.

78. 2001 Entertainment Series He studied with Lev Naumov (custodian of the heinrich neuhaus methods that are Whilestill in Russia Tselyakov was appointed concert solo pianist with the http://www3.telus.net/SummerlandArts/entertainment.htm

79. Untitled Translate this page Nelson, Leonard, Philosoph. Nelson, Rudolf, pianist, Kabarett- u. Operettenkomponist. Neuerburg,heinrich, Zigarettenfabr. neuhaus, Agnes, geb. Morsbach, kath. http://www.ndb.badw-muenchen.de/ndb19_artikel.htm

NEUE DEUTSCHE BIOGRAPHIE NDB In Band 19 der NDB sind u. a. die folgenden Artikel enthalten: Name Beruf Nauwach, Johann Komponist Naves, Johann v. Reichsvizekanzler Karls V. Naville-Neher, Gustave Ingenieur, Industrieller Nawatzki, Viktor Schiffs- und Maschinenbauingenieur, Werftdirektor Nawiasky, Hans Jurist Nay, Ernst Wilhelm Maler Nay, Joe Schlagzeuger, Jazzkomponist Naz (Naso), Johannes (IV.) Bischof von Chur Neander baltische Familie ev. Theologe Neander, Joachim Dichter geistlicher Lieder Nebbien, Heinrich Landschaftsarchitekt, Agrarreformer Nebe, Arthur Leiter des Reichskriminalpolizeiamtes Nebel, Christoph Weihbischof von Mainz Nebel, Otto Maler, Zeichner, Schriftsteller Nebel, Rudolf Erfinder, Raketenpionier Nebenius, Carl Friedrich badischer Minister Tibetologe Necheles, Heinrich Physiologe Neckel, Gustav Germanist, Nordist Necker (Necheles), Moritz Literaturhistoriker, Journalist Neckermann, Josef Neef, Ernst Neefe, Christian Gottlob Komponist Neeff, Theodor Neergaard, Kurt v. Mediziner Nees v. Esenbeck, Christian Gottfried Naturforscher, Naturphilosoph Nees (von Esenbeck), Friedrich

80. Elisso WIrssaladze The granddaughter of a famous pianist, she studied and graduated from the Anotherglorious musical hero was heinrich neuhaus, a friend of Anastasia Wirssaladze http://www.live-classics.com/wirssaladze.htm

A Piano Legend Many Russian musicians are known for having their special public, and in the case of Elisso Wirssaladze, she attracts an audience familiar with the Conservatory Hall, those entirely cognisant of what is going to happen that particular evening. One first sees her light step along the stage and her charming smile meant to conceal her person at the moment when the music begins. Then one hears everything in her playing: the technique of her fingers is perfect, she works with the color and strength of the sound. The very act of touching keys reveals her stylistic diversity and wide range of ideals and emotions. ...It is vain, however, to analyze this phenomenon in an attempt to discover a clear and vivid source of her art, for in delineating Elisso’s image we will end up with merely an ideal constellation of qualities. That which is vital will elude us. We see an introvert, a deeply interior person, but we hear music open to the whole world, striving for infinity. The first impression is light, pleasant and rapturous, a bit later it is solemn, deeply imprinted, unforgettable. ...Elisso’s exceptional inner ease is admirable. She has had numerous opportunities to perform, but has made no effort to launch a super career. She doesn’t want to plan years ahead, get lists of her future programs from someone other than herself, and make recordings in a studio. She willingly tours former Soviet Union cities and enjoys close contact with the audiences. Besides the Moscow Conservatory, she also teaches in Munich, but she never intends to forsake her alma mater, nor her classes famous for their students.

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