Jascha Spivakovsky
A major contributor to this article appears to have a close connection with its subject. (January 2016) |
Jascha Spivakovsky | |
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Died | March 23, 1970 Melbourne, Australia | (aged 73)
Genres | Classical |
Occupation(s) | Virtuoso, child prodigy |
Instrument(s) | Piano |
Jascha Spivakovsky (18 August 1896 – 23 March 1970) was a Russian Empire-born Australian piano
Musical biography
Early life
Jascha Spivakovsky was born in a small village near
Instead he started giving concerts in
Spivakovsky gave concerts to support the now penniless family and save money for them to move to a safer country. In 1906 he played again for
He was awarded pupillage at the
Mayer-Mahr now determined that Spivakovsky was now ready to debut as a professional and selected
In 1913 he made his London debut at
In late 1918 he commenced an epic series of concerts with the
1920s
In 1920 Spivakovsky returned to Britain and was hailed as "one of the greatest pianists in the world"[45] and "the pianistic genius of the hour."[46] One prominent London critic declared: "Of all the pianists I have heard in recent years, no one seems to have more temperamental affinity with the very greatest than Jascha Spivakovsky. There is in his art something personal and exclusive, rare and imaginative, that cannot be defined in English, liberal as it is in words of fine meaning. I can only sit back after hearing him and badly express my appreciation by calling him a genius."[47] He also became famous for his "thrilling personality:"[48] his season at Royal Albert Hall was "the sensation of London" with reports of "wild enthusiasm" from the audience and a crowd of 3000 clamouring outside his sold-out final concert.[49] From The Lady: "Brailowsky, Gabrilowitsch, Fanny Davies, Moiseiwitsch and Spivakovsky all gave recitals last week. Spivakovsky's recital I enjoyed more than any. Since Carreño I have heard no one play with such overwhelming passion."[50] And The Dover Express: "… played not only with supreme mastery of the instrument and brilliant technique, but with that rarer quality to be described only as soul ... much as I want to hear Cortot, I want to hear Spivakovsky again still more."[51]
The British critics recognised him in particular as an exceptional exponent of
In 1922 he made his first tour of Australia and sparked scenes as wild as those seen in London: entire audiences rushed the stage, stormed backstage, chased him through the stage door and surrounded his motor car.[56] From The Daily Telegraph: "One of the foremost pianists of the age."[57] The Daily Mail: "It is no exaggeration to apply the appellation great to Jascha Spivakovsky ... His technique is superb, but one becomes oblivious to the purely mechanical perfection of his art in the delightful nuances of tone and colour of his playing, and the naturalness of expression in his interpretation." And Table Talk: "Jascha Spivakovsky, young as he is, ranks above any of the pianists we have heard in recent years and is probably the most satisfying, all-round performer this generation has heard. His interpretations have soul, that greatest asset, and a glorious mellow beauty of song-like tone which is enthralling."[58] He was presented with a laurel wreath by Dame Nellie Melba who declared him "one of the greatest pianists in the world"[59] and he gave the first radio broadcast of a live concert to the Australian public.[60] His tour was much extended until he had given 75 concerts over seven months. At his farewell concert the audience insisted on a record 11 encores.
He then proceeded to
In 1923-24 he appeared again twice at the Proms with
Returning to the Continent he underscored his reputation as a supreme exponent of all styles. From Allgemeine Musikzeitung: "An expansive program placing extraordinary physical and mental demands on the resilience of the pianist, ranging from Bach and Beethoven through Chopin and Liszt to Debussy, Reger and Palmgren … established that this unusually gifted piano virtuoso, whose beginnings already drew all attention to him, is on a continually upwards trajectory with both technical as well as spiritual-musical development."
In 1926 he eloped to
He remained in Vienna and gave a series of hugely successful recitals. From Neues Weiner Journal: "Here is a true pianist who gives himself with ecstatic love to the sound-colour poetry of the piano, who is able to grasp the fine and the finest moods and to present them with exhaustive valour."
He proceeded to tour Italy and Spain and sparked more scenes of wild enthusiasm. For instance in Salerno the entire audience cheered him through the streets from the Opera House to his hotel and would not leave until he gave a final curtain call from the balcony.[83] From Gazetta di Venezia: "His crystal-clear and flowingly beautiful technique, melodiousness of velvet-like touch, and wisdom in the use of the pedals, led to wonderful effects of tone ... the level of enthusiasm of the public was unprecedented."[84] La Sera: "He understands how to carry the public away with him in real enthusiasm. We have had few opportunities to register similar impulsive admiration."[85] And El Castellano: "... the public's enthusiasm actually took them to the very doors of the Coliseum as a sincere tribute of farewell to the artist who had been able so well to win them over and overcome them ... already at the age of seven years he was a prodigy who caused a real sensation, and at the age of fourteen years, the press declared him 'The new Anton Rubinstein' and 'a pianist who always connects with the public.' I do not need to add any qualification more or other phrase to these lines which I am quoting. They afford a concise but a very true reflection of the merit of the artist to whom we were lucky enough to listen."[86]
In 1928 he performed with Furtwangler and Strauss at the Schubert Centennial celebrations in Vienna.[87] In the audience was George Kehler, who many years later wrote in his tome The Piano in Concert: "Characterised by the attributes of the Russian School – a remarkably rich and full tone quality (which cannot be adequately described) together with a very strong, consistent rhythmic impulse and an almost incredible legato. The legato enabled him to highlight the melodic line without pedalling, giving great unity to the overall concept without losing the fine detail. The sparing use of sustaining pedal gave great clarity of texture, which critics referred to as crystal piano-playing, an effective blending of the best of the old and new schools. Other critics who witnessed Spivakovsky's performances thought him to be an extraordinary artist, a musician of the masterly order, of great physical and intellectual power, an unsurpassable performer."[88]
In 1929 Spivakovsky boarded a steamer bound for Australia and (perhaps due to his performances at the Schubert Centennial) Australian newspapers heralded that he was now "recognised in Europe as the finest living interpreter of Brahms."[89] His Australian tour was massively successful and cemented his reputation as a master exponent of all the great composers. From The Sydney Mail: "No pianist who has ever appeared in Sydney before has played so many pieces without a single repetition ... Viewed from every aspect, Spivakovsky is one of the greatest and most versatile pianists who have visited Australia."[90] The Register: "With a technique which makes difficulties negligible, the Russian pianist has intuition and dramatic feeling, and command of varied tones. He seems to call up the spirit of each composer in turn."[91] And The Sunday Times: "One of the foremost figures in the world of music."[92]
1930s
In 1930 the
Upon their return to Berlin, Spivakovsky learned that his leading reputation for interpreting
Sought by the leading Australian music institutions, the trio became faculty at the University of Melbourne and thereby avoided having to return to Germany at the end of their tour. However, for the next five years they were at constant threat of the notorious Dictation Test used by Australian immigration officers to arbitrarily deport Jewish people and others they deemed racially undesirable. To tour outside Australia would risk being disallowed return and they were increasingly blocked from the international stage by anti-Jewish movements, forced to cancel their 1934 tour of Italy. They were also receiving more and more pleas for help from people desperate to escape Germany, written in euphemisms in order to evade the Nazi censors. Spivakovsky put his touring career on hold and worked tirelessly to convince Great Depression-ravaged employers in Australia and elsewhere to sponsor visas for these people.[101] Although he had made test pressings of solo performances for Parlophone before leaving Europe, he had not yet released solo performances to the public and hence he vanished from international musical circles.
Back in Germany
Postwar
After the war Spivakovsky returned to his musical career with great seriousness of purpose and astounded even the toughest critics.
Spivakovsky's touring then followed the winter concert season around the world non-stop for the next 14 years, broadening his reach to the United States, Great Britain, Europe, Canada, Australasia, Israel, India, Singapore and parts of Africa. In the United States he was hailed as a remarkable tonalist
By the time he retired from touring for health reasons in 1960, Spivakovsky had performed with nearly every great conductor of his era including
He died at his Melbourne home on 23 March 1970. Leonard Bernstein and others came to Edzell House to pay their respects after Spivakovsky died.
Rediscovery
Despite offers to make commercial recordings on
Mark Ainley of The Piano Files echoed: "... while always playing idiomatically for each composer, there are qualities in Spivakovsky’s pianism that are consistently noticeable: an incredibly refined sonority ... phrasing that is masterfully shaped by fusing dynamics, tonal colour, and timing; a rubato that breathes and defies bar lines but serves the architectural structure of the music without the rhythmic pulse ever being lost; voicing that is consistent to the highest degree (the only pianist I’ve heard able to voice with such exquisite and consistent clarity is Lipatti); unbelievably subtle mastery of the pedal; and incredible digital dexterity ... He is, quite simply, one of the greatest pianists I have ever heard."[121] Colin Clarke wrote in Fanfare: "... awe-inspiring ... simply stunning ... real magic and golden tone ... fingers of steel"[122] and Gary Lemco declared in Audiophile Audition: "Whether Aeolian harp or thundering Horseman of the Apocalypse, the music finds Spivakovsky in splendid control of his arsenal of keyboard effects, a master of his palette."[123] James Irsay dedicated programs on New York radio station WBAI to the release of each volume and declared: "A thinking pianist who sounds utterly spontaneous ... if that’s not the definition of real mastery, I don’t know what is!"[124]
The fifth volume of live performances is scheduled for release this year and will include two of Spivakovsky's favourite concerti. A dedicated artist website www.jascha.com was established to coincide with the release of the first volume. This won a W3 Award for design excellence from the Academy of Interactive and Visual Arts in 2015.
References
- ^ Professor George Kehler, The Piano in Concert, Scarecrow Press, 1982
- ^ "The stage", The Queenslander, 27 May 1922, p 9
- ^ Die Leipziger Zeitung, Oct 1910
- The Standard, 1913
- Sydney Morning Herald, 1 March 1922, p 9
- ^ e.g. The Daily Telegraph, 1920
- ^ The Advertiser, 1929
- Nieuwe Rotterdamsche Courant, 1930; Berliner Lokal-Anzeiger, 1932
- ^ Michael and Eden Spivakovsky, unpublished biography of Jascha Spivakovsky
- Alfred Ingemar Berndt, Gebt mir vier Jahre Zeit! Dokumente zum ersten Vierjahresplan des Führers. Zentralverlag der Nationalsozialistische Deutsche Arbeiterpartei, 1938
- ^ Catherine J. Stevens, "Spivakovsky, Jascha (1896–1970)", Australian Dictionary of Biography, National Centre of Biography, Australian National University, 2002
- Sydney Morning Herald, 1947
- ^ Jascha Spivakovsky's recordings released 45 years after death" by Matthew Westwood, The Australian, 5 September 2015
- ^ e.g. Damian Thompson http://www.spectator.co.uk/2015/08/jascha-spivakovsky-the-great-lost-pianist-we-can-finally-hear/; Mark Ainley, "The Greatest Pianist You've Never Heard Of", The Piano Files, 16 October 2015; James Irsay, personal correspondence with the Spivakovsky family in relation to WBAI Radio's Jascha Spivakovsky Christmas Day Special Program, 25 December 2015
- ^ "Jascha Spivakovsky. Talented Russian pianist," The Register, 22 April 1922
- ^ "Russian Pianist: Spivakovsky's Career," Sunday Times, 12 May 1929
- ^ Concert program from performance by Jascha Spivakovsky in Union Hall, Odessa on 16 February 1910
- ^ Concert program from performance by Jascha Spivakovsky in Union Hall, Odessa on 16 February 1910
- ^ "Jascha Spivakovsky, the pianist. An interview," The Mercury, 17 May 1922, p 9
- ^ "Jascha Spivakovsky, the pianist. An interview," The Mercury, 17 May 1922, p 9
- ^ Concert program from performance by Jascha Spivakovsky in Union Hall, Odessa on 16 February 1910
- ^ A. A. Tsenovsky, Odessa News Section, 10 February 1907
- ^ Dr. F. Prelinger, Schlesische Zeitung, 17 December 1916
- ^ Dr. Leopold Schmidt, Berliner Tageblatt, 1915
- ^ First supplement to Technique of Pianoforte Playing, N.Simrock G.m.b.H., Berlin, May 1918
- ^ Written endorsements from Director and Professors at Klindworth-Scharwenka Conservatory, 12 January 1910
- ^ Engraving on Blüthner grand piano he was awarded on 20 June 1910
- ^ Michael and Eden Spivakovsky, unpublished biography of Jascha Spivakovsky
- ^ El Castellano, 1927
- ^ Leipziger Zeitung
- ^ Berliner Lokal-Anzeiger
- ^ Hamburger Correspondent
- ^ Breslauer Morgen-Zeitung
- ^ Personal recollection of Jascha Spivakovsky of a meeting at Carnegie Hall on 24 January 1948, as noted by his son for biographical purposes
- ^ Neue Zeitschrift für Musik, 1914
- The Standard, 1913
- ^ The Horowhenua Daily Chronicle, 22 December 1913
- ^ "Jascha Spivakovsky. Talented Russian pianist," The Register, 22 April 1922
- ^ "Jascha Spivakovsky, the Pianist. An interview," The Mercury, 17 May 1922, p 9
- Sydney Morning Herald, 1 March 1922
- ^ "Musical Notes: Jascha Spivakovsky," The Mail, 15 April 1922, p 9
- ^ Berliner Tageblatt
- ^ "Spivakovsky: Russian Pianist Arrives, Sydney Morning Herald, 1 Mar 1922"
- Australian Women's Weekly, 1934
- ^ The Daily Telegraph, 1920
- ^ The Westminster Gazette, 1920
- ^ Reprinted by The Press (New Zealand) in 1922 prior to first New Zealand tour
- ^ The Daily Telegraph, 1921
- ^ The Mercury, 1922
- ^ The Lady, 1921
- ^ The Dover Express, 1921
- ^ The Evening Standard
- Daily Telegraph
- ^ Musical News
- ^ BBC Proms Performance Archive, http://www.bbc.co.uk/programmes/articles/3SsklRvCSPvfHr13wgz6HCJ/proms-performance-archive
- ^ "Music of the week," The Sydney Mail, 22 March 1922, p 13
- ^ The Daily Telegraph, 1922
- ^ Table Talk, 1922
- ^ The Press, 28 July 1922
- ^ The Argus, 1922
- ^ The Dominion, 1922
- ^ Timaru Herald, 1922
- ^ The Otago Daily Times, 1922
- ^ The Dominion, 1922
- ^ New Zealand Times, 1922
- ^ The Evening Post, 1922
- ^ The Sun (New Zealand), 1922
- ^ Proms Performance Archive
- ^ Western Daily Press, 1923
- ^ Allgemeine Musikzeitung, 1925
- ^ Tägliche Rundschau7 Apr 1927,
- ^ Berliner Borsen-Courier
- ^ Berliner Vossische Zeitung, 1927
- ^ Aftenposten, 1926
- ^ Michael and Eden Spivakovsky, Unpublished biography of Jascha Spivakovsky
- ^ Neues Wiener Journal, 1927
- ^ Michael and Eden Spivakovsky, unpublished biography of Jascha Spivakovsky
- ^ Neues Weiner Journal, 1927
- ^ Wiener Allgemeine Zeitung, 1927
- ^ Nueue Freie Presse, 1927
- ^ Munchener Zeitung, 5 December 1927
- ^ Magdeburger Generalanzeiger, 31 January 1928
- ^ People magazine (Australian edition), Vol. 1 No. 20, 6 December 1950, p 15
- ^ Gazetta di Venezia, 12 February 1927
- ^ La Sera
- ^ El Castellano, 3 October 1927
- ^ "Music and musicians," The Mercury, 17 February 1936, p 3
- ^ Professor George Kehler, The Piano in Concert, Scarecrow Press, 1982
- ^ e.g. The Register, 1929
- ^ The Sydney Mail, 1929
- ^ The Register, 1929
- ^ The Sunday Times, 1929
- Algemeen Handelsblad, 1930
- ^ Berliner Lokal-Anzeiger, 1932
- Nieuwe Rotterdamsche Courant, 1930
- ^ La Voce del Mattino, 1932
- ^ The Recorder, 1934
- ^ The Northern Star, 1934
- ^ The Evening Star, 1936
- ^ e.g. Sydney Morning Herald, 1933; The Argus, 1933
- ^ Albrecht Dümling, Die verschwundenen Musiker. Jüdische Flüchtlinge in Australien. Cologne-Weimar-Vienna, 2011
- Ignaz Friedmann, Leopold Godowsky, Moritz Moszkowski, Carl Friedberg, Bruno Eisner, Georg Bertram, Leonid Kreutzer, Joseph Schwarz, Rudolf Serkin, Paul Aron, Wanda Landowska, Alice Ehlers and Anna Linde-Pincus
- ^ Catherine J. Stevens, Spivakovsky, Jascha (1896–1970), Australian Dictionary of Biography, National Centre of Biography, Australian National University, 2002
- ^ Personal letter, 1945. Held in the Spivakovsky Music Collection
- ^ Personal telegram, 1945. Held in the Spivakovsky Music Collection
- ^ Sir Neville Cardus, Sydney Morning Herald, 1947
- ^ Sir Neville Cardus, Sydney Morning Herald, 1947
- ^ Sir Neville Cardus, Sydney Morning Herald, 1947
- ^ The Herald, 1947
- The Brooklyn Eagle, 1948
- ^ Michael and Eden Spivakovsky, unpublished biography of Jascha Spivakovsky
- ^ Program from Melbourne Symphony Orchestra 1948 Celebrity Concert Season, Eight Subscription Concert conducted by Paul Kletzki, 9–13 Oct 1948
- ^ Private letter, 1944. Held in the Spivakovsky Music Collection
- ^ San Francisco News, 1952
- ^ "Coronation Pianist for A.B.C. Concerts," The Mercury, 24 April 1953, p 9
- ^ The West Australian, 1953
- ^ Off-air recording of performance with Sir Eugene Goossens and the Sydney Symphony Orchestra on 15 May 1951
- ^ Michael and Eden Spivakovsky, unpublished biography of Jascha Spivakovsky
- ^ Damian Thompson, review of Jascha Spivakovsky: Bach to Bloch, Volume I, published on www.pristineclassical.com June 2015
- ^ Damian Thompson, review of Jascha Spivakovsky: Bach to Bloch, Volume II, published on www.pristineclassical.com October 2015
- ^ Mark Ainley, "The Greatest Pianist You've Never Heard Of", The Piano Files, 16 October 2015
- ^ Colin Clarke, Fanfare, Nov/Dec 2015
- ^ Gary Lemco, Audiophile Audition, 6 July 2015
- ^ James Irsay, personal correspondence with the Spivakovsky family in relation to WBAI Radio's Jascha Spivakovsky Christmas Day Special Program, 25 December 2015
External links
- www.jascha.com
- "Jascha Spivakovsky: The great lost pianist we can finally hear" by Damian Thompson, The Spectator, 22 August 2015
- "Jascha Spivakovsky's recordings released 45 years after death" by Matthew Westwood, The Australian, 5 September 2015
- The Greatest Pianist You've Never Heard Of by Mark Ainley, The Piano Files, 16 October 2015
- Jascha Spivakovsky: Bach to Bloch – Volume I at Pristine Classical
- Jascha Spivakovsky: Bach to Bloch – Volume II at Pristine Classical
- Sound files of recently discovered recordings