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Egon Petri

Despite his German birth and long residence, Petri originated from Dutch stock. His dad was violinist Henri Wilhelm Petri, who trained his boy the device that teenage Egon performed in the Dresden Courtroom Orchestra (1899 – 1901) and in papa’s string quartet. At age group seven, nevertheless, he started piano lessons, notably with Teresa Carreño (Louis Moreau Gottschalk’s Venezuelan-born protégé). On achieving 20, urged by his father’s friend Ferruccio Busoni, Petri determined the piano was his life time device. He became Busoni’s pupil and finally his amanuensis. At Dresden, Weimar, and lastly Berlin (where Petri also researched beliefs) he discovered from Busoni not merely the artwork of pianism, but an gratitude of Bach and Liszt specifically, the twin anchors in his transatlantic repertoire. In 1915, Busoni retired to Switzerland throughout WWI, and asked his preferred pupil to aid him in editing Bach’s key pad works. By this time around, Petri got debuted in Holland, Germany, and Britain (and was teacher of music in the Manchester Royal University of Music for six years, 1905 – 1911). In 1920, Busoni shifted back again to Berlin, where in fact the Weimar Republic appointed him teacher of structure in the Academy of Arts. When Petri emerged as well, Arnold Schoenberg involved him on the Hochschule für Musik (1921 – 1926), where his scholarship or grant learners included Victor Borge from Denmark. Canadian pianist Gunnar Johansson was another. For quite some time Petri also trained master classes on the Basle Conservatory. In 1921, he became a member of Busoni within a concert of two-piano music at London, and in 1923 became the initial foreign-born solo musician to execute in the Soviet Union, therefore effectively that he performed 31 concerts in 40 times. Petri used the reason for his mentor’s music, like the Brobdingnagian Piano Concerto with chorus and orchestra. At exactly the same time he proselytized with respect to Liszt (currently out of favour intellectually; his importance and impact weren’t reevaluated until after WWII), and Bach obviously, in Busoni’s editions and transcriptions. In 1927, Petri transferred to Zakopane, Poland, where he resided until 1939. His U.S. debut emerged when he currently was 51 — in NYC on January 11, 1932 — accompanied by touring. His documenting career didn’t start until 1929, nor with an orchestra before prewar London Philharmonic, executed by Walter Goehr (in the Tchaikovsky First Concerto) and Leslie Heward (Liszt’s Second as well as the Illusion on Beethoven’s Ruins of Athens). Stateside, Petri documented Rhapsodie espagnole with Mitropoulos as well as the Minneapolis Symphony, but in any other case, only single repertory or chamber music (Brahms’ D minimal Sonata in 1937 with Szigeti can be legendary). Thankfully, an all-Busoni plan in 1941 by Mitropoulos as well as the NYP was broadcast with Petri playing the Indian Illusion. When WWII threatened, Petri shifted to the U.S. where he became pianist-in-residence at Cornell College or university (1940 – 1946), and at Mills University in Oakland, CA, until his loss of life. Darius Milhaud have been teaching structure there since 1941; John Cage was responsible for piano associated. Petri’s significant American pupils included Earl Crazy, that has spoken of his teacher’s “calm shade that was under no circumstances compelled…his playing had an extended line rather than stopping to suffer more than a phrase.” In 1957, Petri revisited European countries for the very first time since WWII; locating himself neglected he returned towards the U.S. completely.

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