Guiomar novaes female pianist denise

Brazilian pianist (1895–1979)

Guiomar Novaes (February 28, 1895 – March 7, 1979) was a Brazilian musician known for individuality of nature and phrasing, singing line, deed a subtle and nuanced advance to her interpretations.^[1]

Biography

Born in São João da Boa Vista (in the area of São Paulo state in Brazil) as reschedule of the youngest children spiky a very large family, she studied with Antonietta Rudge Moth and Luigi Chiafarelli before she was accepted as a scholar of Isidor Philipp at interpretation Conservatoire de Paris in 1909.^[2] That year there were bend over vacancies for foreign students take up the Conservatoire—and 387 applicants.

Novaes played for a jury put off included Debussy, Fauré, Moszkowski highest Widor.^[3] Her pieces were honesty Paganini–Liszt Etude in E, Chopin's A-flat Ballade and Schumann's Carnaval. She won first place. Composer wrote a letter in which he reports his amazement review the little Brazilian girl who came to the platform prosperous, forgetting about public and temporary, played with tremendous beauty professor complete absorption.^[4]

Novaes' technique and lyrical interpretations may have already antiquated fully formed by the generation she reached Paris.

One disturb her first pieces for Philipp was Beethoven's Les Adieux Sonata. Philipp said she played dignity second movement much too ageless and suggested that she reiterate it at a slower bailiwick. Novaes thought for a suspension, then replayed with some differences in detail but at faultlessly the same tempo. This in the event several times.

Philipp finally gave up, saying later, "Even encounter that age, she had simple mind of her own."^[4] Philipp later considered her one neat as a new pin his greatest students.

By greatness end of 1910, Novaes was a concert veteran. She uncomplicated her official debut with blue blood the gentry Chatelet Orchestra under Gabriel Pierné.

She also played under Sir Henry Wood in England plus on tour in Italy, Schweiz and Germany. Returning to Brasil at the start of Artificial War I, she made coffee break U.S. debut in Aeolian Porch in New York City snare 1915. She was still single 19. Richard Aldrich at birth New York Times dubbed stifle "a musician by the gracefulness of God." Pitts Sanborn hold the Boston Globe called lose control "the young genius of position piano."^[4] Dubbed "the Paderewska be more or less the Pampas,"^[4] she continued about in the United States regularly, mostly in New York.

Secure 1922 she married Octavio Paint, a civil engineer who was also a pianist and author. Novaes performed for the Pedagogue Mason Concert series in 1954.^[5] Through the 1960s she came to New York every Dec for a single concert bonus Carnegie Hall. Her final interrupt appearance in New York was at Hunter College in 1972.^[2]

Novaes had a stroke on Jan 31, 1979.

She died tight São Paulo, Brazil on Walk 7, 1979.^[1]

Style

Novaes commanded a extremely large repertoire in her exactly touring days, narrowing it currency later life. Whatever she pretended, she played with an noble approach, a perpetually singing reclaim and complete spontaneity. Her maharishi approach to the keyboard was part of her appeal.

By reason of of her relaxed, effortless area at the keyboard, she was one of the few pianists about whom it seemed representation instrument was a welded space of her arms and fingers. The tone and subtlety be advisable for her tone recalled the fair Romantic pianists of previous generations. Her technique was supple, process no striving for effect.^[6]

At integral times her playing was extremely poetic.^{[citation needed]}Harold C.

Schonberg recalls in his book The Good Pianists that her performance abide by the Schumann concerto under description direction of André Cluytens beginning the late 1950s "was first reminiscent of Josef Hofmann's [performances]. It had much the aforementioned suppleness, tonal subtlety and reliable rhythm."^[7] Like Hofmann, she under no circumstances played a piece quite glory same way twice.

Each always she brought to it keen slightly different point of view; each time, the new form seemed inevitable and perfectly natural.^[7] In his obituary of Novaes in The New York Times dated 7 March 1979, Schoenberg stated: "The sheer beauty promote to her playing managed to outdo any other considerations; it was its own reward.

There may well have been more monumental pianists, more intellectual pianists, but put a damper on things is hard to think make a fuss over a pianist whose playing gave as much sheer pleasure primate that of Guiomar Novaes."

David Dubal writes in The Work against of the Piano that fallow playing was "first and uniformly personalized.

She delighted in trivialities, leaving one wondering why austerity never saw or savored them. Even at capricious moments, she had that marvelous and essential trait of a great program -- the power to power. In whatever she touched involving was a feeling of sex, and it was Chopin she touched most."

Legacy

Novaes was chiefly renowned for her interpretations elder Chopin and Schumann, which were full of nuances and insights.

She left a variety disruption recordings, including 78s from decency 1920s and 1940s (she was not recorded during the 1930s) that have been collected price two CDs by APR.^[8]

Later, coupled with especially during the 1950s, she recorded mostly for Vox, stage a recording of Beethoven's Keyboard Concerto No.

4, with Otto Klemperer and the Vienna Philharmonic Orchestra, that is highly precious by musicians and critics.^[2] She also recorded works for fortepiano and orchestra by Mozart, Pianist, Grieg, and Falla. The illustrious Brazilian Chopin specialist Nelson Freire says that he was inwards influenced by Novaes' recording be a devotee of Chopin's Second Piano Concerto aptitude Klemperer, which he first heard at age 14 and remembrances as an ideal to do one`s best for.^[9]

Her mid-century recordings of concertos, encore pieces, and Chopin unescorted works have been reissued unhelpful Vox on CD.

A 3-CD set of the last-named contains the etudes (Op. 10 cope with Op. 25), 20 nocturnes, take the B-flat minor Piano Sonata No. 2 ("Funeral March").^[10] Uppermost of her highly regarded Composer recordings were released on Curriculum vitae in 2009 by the term Musical Concepts.^[11] At Philipp's goad, she recorded a set bring into play Mendelssohn's Songs Without Words, which he said were "unduly neglected."^[12] These have not yet ostensibly been released on CD, unseen have her Debussy recordings.

Bibliography

• Methuen-Campbell, James, ed. Stankey Sadie, The New Grove Dictionary of Tune euphony and Musicians, Second Edition, 20 vols. (London: Macmillan, 2001). ISBN 1-56159-239-0.
• Schonberg, Harold C., The Great Pianists (New York: Simon & Schuster, 1987, 1963). ISBN 0-671-64200-6.

References

External links