- published: 24 May 2014
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Arthur Rubinstein, KBE (January 28, 1887 – December 20, 1982) was a Polish American classical pianist. He received international acclaim for his performances of the music written by a variety of composers and many regard him as the greatest Chopin interpreter of his time. He was described by The New York Times as one of the greatest pianists of the twentieth century. He played in public for eight decades.
Rubinstein was born in Łódź, Congress Poland (part of the Russian Empire for the entire time Rubinstein resided there) on January 28, 1887, to a Jewish family. He was the youngest of seven children of Felicja Blima Fajga (née Heiman) and Izaak Rubinstein. His father owned a small textile factory.
Rubinstein's birth name was to be Leo, but his eight-year-old brother claimed that "His name must be Artur. Since Artur X (a neighbor's son) plays the violin so nicely, the baby may also become a great musician!" And so he was called Artur, although in English-speaking countries, he preferred to be known as Arthur Rubinstein. His United States impresario Sol Hurok, however, insisted he be billed as Artur, and records were released in the West under both versions of his name.
In classical music, a piano quintet is a work of chamber music written for piano and four other instruments. The genre particularly flourished in the nineteenth century.
Until the middle of the nineteenth century, the instrumentation most frequently consisted of piano, violin, viola, cello, and double bass. Following the phenomenal success of Robert Schumann's Piano Quintet in E-flat major, Op. 44 in 1842, which paired the piano with a string quartet (i.e., two violins, viola, and cello), composers began to adopt Schumann's instrumentation. Among the most frequently performed piano quintets, aside from Schumann's, are those by Franz Schubert, Johannes Brahms, Antonín Dvořák and Dmitri Shostakovich.
While the piano trio and piano quartet were firmly established in the eighteenth century by Mozart and others, the piano quintet did not come into its own as a genre until the nineteenth century. Its roots extend into the late Classical period, when piano concertos were sometimes transcribed for piano with string quartet accompaniment. Not before the mid-nineteenth century was music ordinarily composed expressly for this combination of instruments. Although such classical composers as Luigi Boccherini wrote quintets for piano and string quartet, it was more common through the early nineteenth century for the piano to be joined by violin, viola, cello and double bass.
César Franck's Piano Quintet in F minor is a quintet for piano, 2 violins, viola, and cello. The work was composed in 1879 and has been described as one of Franck's chief achievements alongside his other late works such as Symphony in D minor, the Symphonic Variations, the String Quartet, and the Violin Sonata.
The work was premiered with Camille Saint-Saëns playing the piano part, which Franck had written out for him with an appended note: "To my good friend Camille Saint-Saëns". A minor scandal ensued when at the piece's completion, Saint-Saëns walked off stage leaving the score open at the piano, a gesture which was interpreted as mark of disdain.
The work has been described as having a "torrid emotional power", and Édouard Lalo characterized it as an "explosion". Other critics have been less positively impressed: Roger Scruton has written of the quintet's "unctuous narcissism".
There are three movements:
The Quintet in A minor for Piano and String Quartet, Op. 84 is a chamber work by Edward Elgar.
He worked on the Quintet and two other major chamber pieces in the summer of 1918 while staying at Brinkwells near Fittleworth in Sussex. W. H. "Billy" Reed considered that all three were ‘influenced by the quiet and peaceful surroundings during that wonderful summer’.
The Quintet was first performed on 21 May 1919, by the pianist William Murdoch, the violinists Albert Sammons and W. H. Reed, the violist Raymond Jeremy and the cellist Felix Salmond. These players included some of the composer's musical confidantes – Reed worked with him on the Violin Concerto and the Third Symphony, and Salmond worked on the Cello Concerto with him. Albert Sammons later made the first complete recording of the Violin Concerto.
The work is dedicated to Ernest Newman, music critic of The Manchester Guardian.
There are three movements:
In performance, the first movement takes about 14 minutes, the adagio a little under 12, and the last movement a little over 10, making this the longest of Elgar’s chamber works.
Provided to YouTube by RCA Red Seal Piano Quintet No. 2 in A Major, Op. 81: 1. Allegro ma non tanto · Arthur Rubinstein · Guarneri Quartet · Antonín Dvorák Rubinstein Collection, Vol. 67: Brahms: Piano Quintet, Op. 34; Dvorák: Piano Quintet, Op. 81 ℗ 1972 Sony Music Entertainment Released on: 1999-10-12 Violin: Arnold Steinhardt Violin: John Dalley Viola: Michael Tree Cello: David Soyer Producer: Max Wilcox Reissue Producer: Nathaniel S. Johnson Engineer: Thomas MacCluskey Re- Mixer: James Nichols Auto-generated by YouTube.
Antonín Dvořák (*1841 ~1904) Chamber Music - Piano Quintet No.2 in A, Op. 81, B. 155 (October 1887) 00:00, I. Allegro ma non tanto 10:50, II. Dumka: Andate con moto 25:21, III. Scherzo (Furiant): Molto vivace 29:50, IV. Finalle: Allegro Performers: Guarneri String Quartet Piano: Artur Rubinstein Cello: David Soyer Viola: Michael Tree Violin: Arnold Steinhardt, John Dalley Recorded in April 1971 -
Provided to YouTube by NAXOS of America Piano Quintet in A Major, Op. 81, B. 155: I. Allegro ma non tanto · Artur Schnabel Schumann: Piano Quintet in Eb, Op. 44 - Dvorak: Piano Quintet in A, Op. 81 ℗ 2012 Music and Arts Programs of America Released on: 2012-07-03 Artist: Artur Schnabel Ensemble: Pro Arte Quartet Composer: Antonin Dvorak Auto-generated by YouTube.
Provided to YouTube by RCA Red Seal Piano Quintet No. 2 in A Major, Op. 81: 4. Finale. Allegro · Arthur Rubinstein · Guarneri Quartet · Antonín Dvorák Rubinstein Collection, Vol. 67: Brahms: Piano Quintet, Op. 34; Dvorák: Piano Quintet, Op. 81 ℗ 1972 Sony Music Entertainment Released on: 1999-10-12 Violin: Arnold Steinhardt Violin: John Dalley Viola: Michael Tree Cello: David Soyer Producer: Max Wilcox Reissue Producer: Nathaniel S. Johnson Engineer: Thomas MacCluskey Re- Mixer: James Nichols Auto-generated by YouTube.
Provided to YouTube by RCA Red Seal Piano Quintet No. 2 in A Major, Op. 81: 2. Dumka. Andante con moto · Arthur Rubinstein · Guarneri Quartet · Antonín Dvorák Rubinstein Collection, Vol. 67: Brahms: Piano Quintet, Op. 34; Dvorák: Piano Quintet, Op. 81 ℗ 1972 Sony Music Entertainment Released on: 1999-10-12 Violin: Arnold Steinhardt Violin: John Dalley Viola: Michael Tree Cello: David Soyer Producer: Max Wilcox Reissue Producer: Nathaniel S. Johnson Engineer: Thomas MacCluskey Re- Mixer: James Nichols Auto-generated by YouTube.
Provided to YouTube by Warner Music Group - X5 Music Group Piano Quintet No. 2, Op. 81: I. Allegro ma non tanto · Ami Flammer, Gérard Caussé, Robert Cohen, Roberte Mamou & Silvia Marcovici The 99 Most Essential Dvorák Masterpieces ℗ 2010 Warner Music Group - X5 Music Group Released on: 2010-09-20 Soloist: Ami Flammer Soloist: Gérard Caussé Soloist: Robert Cohen Soloist: Roberte Mamou Soloist: Silvia Marcovici Composer: Antonín Dvořák Auto-generated by YouTube.
Dvorak Piano Quintet No. 2 in A major, Op. 81, B. 155 Tobias Feldmann, So Jin Kim, violins Muriel Razavi, viola Uladzimir Sinkevich, cello Jinsang Lee, piano 2019 Yeosu International Music Festival & Ensemble Yeosu YEUL MARU
Pianist Rosina Lhevinne joins the Juilliard Quartet (Robert Mann, Robert Koff, Raphael Hillyer, and Arthur Winograd) in this performance of Dvořák's Quintet for Piano and Strings, op. 81. This was part of a benefit concert in 1955. I. Allegro, ma non tanto 0:00 II. Dumka: Andante con moto 10:38 III. Scherzo (Furiant): molto vivace 21:50 IV. Finale: Allegro 25:46 Link to my Rosina Lhevinne playlist: https://www.youtube.com/playlist?list=PLVaesGflLES_l11njb11FfpiXOETsP576
Jascha Heifetz (/ˈhaɪfɪts/; February 2 [O.S. January 20] 1901 – December 10, 1987) was a Russian-American violinist. Born in Vilnius, he moved while still a teenager to the United States, where his Carnegie Hall debut was rapturously received. He was a virtuoso since childhood. Fritz Kreisler, another leading violinist of the twentieth century, said after hearing Heifetz's debut, "We might as well take our fiddles and break them across our knees." He had a long and successful performing career; however, after an injury to his right (bowing) arm, he switched his focus to teaching. Late in life, Heifetz became a dedicated teacher and a champion of socio-political causes. He publicly advocated to establish 9-1-1 as an emergency phone number, and crusaded for clean air. He and his students at...
Arthur Rubinstein, KBE (January 28, 1887 – December 20, 1982) was a Polish American classical pianist. He received international acclaim for his performances of the music written by a variety of composers and many regard him as the greatest Chopin interpreter of his time. He was described by The New York Times as one of the greatest pianists of the twentieth century. He played in public for eight decades.
Rubinstein was born in Łódź, Congress Poland (part of the Russian Empire for the entire time Rubinstein resided there) on January 28, 1887, to a Jewish family. He was the youngest of seven children of Felicja Blima Fajga (née Heiman) and Izaak Rubinstein. His father owned a small textile factory.
Rubinstein's birth name was to be Leo, but his eight-year-old brother claimed that "His name must be Artur. Since Artur X (a neighbor's son) plays the violin so nicely, the baby may also become a great musician!" And so he was called Artur, although in English-speaking countries, he preferred to be known as Arthur Rubinstein. His United States impresario Sol Hurok, however, insisted he be billed as Artur, and records were released in the West under both versions of his name.
Oh oh my goodness
I didn't know I was here
Do you know my name? (Can't go wrong when you try)
Alwayz got to try
No matter how long that shit take
Yeah, yeah
Whatever stops you from dreamin'
Whatever trys to stop you from livin'
Flip it
Welcome home
Cuz right now what I got to do is
I gotta amp myslelf up as well as you
So yea, so what it took me like
Maybe 2 years and shit
But I fell in prepared
You know what I'm sayin
And I'm feelin' a little more ready for the world
And less loss
As I once was
So come on
What chu waitin' on?
Feel me, feel me, feel me
What, uh, yeah
What, uh, yeah