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By Stephen Lehmann;Marion Faber

This publication is the 1st biography of 20th-century pianist Rudolf Serkin, delivering a story of Serkin's lifestyles with emphasis on his ecu roots and the impression of his circulate to the United States. in keeping with his own papers and correspondence, in addition to vast interviews with pals, family members, and co-workers, the authors specialise in 3 key features of Serkin's paintings, relatively because it opened up in the US: his paintings and profession as a pianist, his actions as a pedagogue, together with his lengthy organization with the Curtis Institute in Philadelphia, and his key function in institutionalizing a redefinition of musical values in the USA via his paintings as creative director of the Marlboro track institution and pageant in Vermont. A candid and colourful combination of narrative and interviews, it bargains a probing check out the lifestyles and personality of this very inner most guy and robust musical character.

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Rudolf Serkin: A Life

This booklet is the 1st biography of 20th-century pianist Rudolf Serkin, supplying a story of Serkin's lifestyles with emphasis on his eu roots and the effect of his circulate to the USA. according to his own papers and correspondence, in addition to vast interviews with neighbors, relatives, and associates, the authors specialize in 3 key points of Serkin's paintings, relatively because it opened up in the United States: his paintings and profession as a pianist, his actions as a pedagogue, together with his lengthy organization with the Curtis Institute in Philadelphia, and his key function in institutionalizing a redefinition of musical values in the USA via his paintings as inventive director of the Marlboro song college and competition in Vermont.

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110 About Schoenberg’s piano pieces, Serkin said — the persistent use of metaphors of war and revolution speaks to the time —“I had to tell him I didn’t like them . . ”111 Serkin’s need to break away must have been festering for some time before it broke into the open. As early as February 1920, nine months before the rupture with Schoenberg, he wrote Maltschi from Harthof, a Schwarzwald-run country boarding school outside Vienna: “I am so glad to be at Harthof, and not to have to associate with all these small people in Vienna.

I believe, then, that one shouldn’t be afraid of leaving something to which one is usually bound by habit or other minor things. The meticulous attention required to tease out deep truths and the fidelity to what has been discovered and recovered with such effort—Serkin is, of course, reflecting on his own immediate past here — these would remain unspoken watchwords for the rest of his life. In the same letter Serkin expresses shame and regret at having acted badly toward his father and with indifference to his mother while he was still living 43 the venerable firm of busch & serkin with them in Vienna.

Nothing modern! — this less than a year after he had been performing in Schoenberg’s Society! Writing Maltschi in September 1921 on the occasion of her seventeenth birthday, Serkin offered a credo on courage, conviction, change, and autonomy that reveals a remarkably introspective disposition for an 18-year-old: I believe that with everything that one does, and with everyone with whom one interacts, one has a genuine feeling (for me it’s only a feeling), which, however, is usually suppressed by something else (prejudice, habit).

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