Géza Anda

Since his death in 1976 at age 55, Géza Anda’s considerable reputation has faded somewhat from view. However in his heyday he was broadly seen as a transcendent pianist, possessed of an all natural technique that provided his performances a romantic quality, even though he was scaling the Himalayan levels of his personal Brahms B level major concerto. It had been with that function that he produced his debut in 1939 in Budapest under Willem Mengelberg. Anda was created in 1921 in Budapest; after learning with Imre Stefaniai and Imre Keeri-Szanto, he became a piano pupil of Ernst von Dohnányi in the Royal Music Academy. A stipend allowed him to go to Berlin, where he performed Franck’s Symphonic Variants under Furtwängler. Anda continued to be in Berlin through the first many years of Globe War II, however in 1942 he fled to Switzerland, where he experienced the fantastic pianist and instructor Edwin Fischer. Fischer was a proponent of carrying out the Mozart piano concertos while performing from your key pad, and Anda would later on adopt this practice, adding bench-led shows of all concertos (actually the early types) to his repertoire. Anda was one of the primary to explore the complete selection of Mozart’s concertos at the same time when only the best hits were noticed in concert halls; his exceptional 1960s recordings of the entire cycle using the Camerata Academica from the Salzburg Mozarteum stay a milestone in the annals of documented music. Anda’s design was noteworthy because of its transparency of consistency and its performing characteristics, which led Furtwängler to dub him a “troubadour” from the piano. His perfect technique allowed him to get his shows with considerable personality: his readings of Schumann, for example, had been breathtakingly multidimensional, filled with asides and extremely suitable introspective commentary conveyed from within Schumann’s records. He was specifically affected by his creative partnership with the fantastic Romanian pianist Clara Haskil, with whom he performed two-piano repertoire from 1953 to 1958. Her moral dedication to conveying music’s substance deepened Anda’s personal musical understanding; his subsequent shows reflected a fresh harnessing of Anda’s solid musical personality towards the service from the music’s indicating. Although his repertoire was wide and ranged across primary Classical-Romantic territory, chances are that Anda is going to be many kept in mind for his interpretations from the music of his countryman Béla Bartók, whose three piano concertos he documented in 1959 and 1960. These shows are masterpieces of specialized ease and creative mastery, and stay available in industrial release. Several months prior to the end of his too-brief existence, Anda went in to the studio room and left your final testament of waltzes by Chopin, interpreted within an astonishing otherworldly way. Anda enables the rhythmic impulse of Chopin’s triple-time to hover nearly motionlessly, as though contemplated from a faraway and ethereal elevation.