Liszt Transcendental Etude Feux Follets Friedheim Rec 1912.wmv

ARTHUR FRIEDHEIM (1859-1932) was mocked by Busoni because of his platform mannerisms, particularly during Concertos-'He examines his nails" . . . (etc.) he
does seem in fact to have copied Liszt's mannerisms, but behind all this was a musician. Friedheim was born in St. Petersburg and began serious study at eight; played the Field A major Concerto in public at nine and then studied with Anton Rubinstein. After university he became a theatre conductor before seeking lessons with Liszt (Friedheims first audition for Liszt did not go well Liszt found the young 18 year olds playing to be chaotic. It was after this event that Friedheim secured ,for the time being, a position as a theater orchestra conductor Rubinstein was not pleased when Friedheim decided to study with Liszt. .When asked what had become of Friedheim, Rubinstein growled, Hes gone to Weimer—and the devil.. Beck 2) Liszt was initially unenthusiastic but eventually took to Friedheim, and finished up making him his personal secretary. In due course Friedheim came to be recognized as one of the leading exponents of Lists music, and his recital programmes seem only to have contained works of a substantial nature. Like Lamond he does not appear to have been too secure technically but was certainly a sensitive musician of some stature; perhaps he was liable to the same type of lapses as his teacher Anton Rubinstein and, of course, he may also have been nervous of recording. In his recitals he performed such works as Balakirev's Islamey, Liszt's Don Juan Fantasy and the Beethoven Hammerklavier. He was also in demand as a conductor but preferred to keep to the piano. Friedheim edited the Chopin Etudes for Schirmer and he has interesting comments to make on the fingering of the Mikuli edition (also published by Schirmer) which was not always Chopin's but often what Mikuli thought Chopin would have used. Friedheim laughed at the contortions of mind and fingering this engendered. It can thus be seen that Friedheim was a practical musician with his feet on the ground. His playing had a fine overall grasp of structure, and he, in fact, sounds curiously modern for his time, even if occasionally careful and a little ponderous. Those who deprecate his slips and other lapses should perhaps be glad that Anton Rubinstein never recorded. Friedheim died in New York.
Alan Vicat

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