Говорят, Леон Фляйшер вернулся

**беглец с ноева ковчега** · 04.11.2003, 11:09

Ознаменовав свое возвращение сольником в Карнеги в прошлую пятницу.
Кто-нить что-нить слышал?

**Walter Boot Legge** · 04.11.2003, 12:15

Сообщение от Hamelin

Ознаменовав свое возвращение сольником в Карнеги в прошлую пятницу.
Кто-нить что-нить слышал?

Вот "репортаж" свидетеля события (из зала). Следовало бы сократить текст за счет репортажных отступлений, но не хотелось лишать удовольствия тех кто любит рубрику "около спорта"
(apropo: в последующем посте автор признался что он давно разочаровался в Шуберте как композиторе и вообще считает последнюю сонату Шуберта overrated.... в чем был поддержан рядом своих (американских) товарищей - NB. все они занимаются музыкой профессионально, а некоторые уже в летах! )
Цитирую по Great Pianists yahoo group.

Сообщение от Jasper

Leon Fleisher, Piano

BACH "Sheep May Safely Graze" from Cantata No. 208 (arr. Egon Petri)
KOSTON Messages I
PERLE Musical Offerings for Left Hand Alone
KIRCHNER Music for Left Hand
SESSIONS From My Diary
BACH Chaconne in D minor from Violin Partita No. 2, BWV 1004 (arr.
for piano left hand by Johannes Brahms)
SCHUBERT Sonata in B-flat Major, D.960
================================================== =
If anyone has the opportunity to hear Leon Fleisher in recital, I
suggest unequivocally: Be sure not to miss him. This was
astonishing playing all the way through, including what I feel was
THE definitive performance of the great Schubert B-flat Sonata. Mr.
Fleisher played a georgeous Hamburg Steinway of bright round and
transparent tone -- perfectly suited to the program and the
performer's very clear and nuanced soundscape.

The Halloween recital got underway with most of the audience
outfitted in holiday costumes. The program began with the Sheep May
Safely Graze. But little did anyone suspect that there was a wolf
lurking in Row N less than 100 feet away! My Significant Other came
as Red Riding Hood. In the First Tier above, I could see two music-
lovers done up as Catwoman and Batwoman (or was it the other
way 'round?) Many throughout the hall were costumed as aging NY
intellectuals, paunchy pianophiles and punkish conservatory
students. A few had the wit to show up as overdressed NY business
types with lifelike masks of mid-recital ennui and ingeneous coughing
and program rustling devices. Eager anticipation.

The 2-hand Bach-Petri transcription unfolded with an altogether
unique clarity of tone and texture. This may have been the smallest
piano tone I have ever heard sustained throughout a performance, but
within this quiet space, Fleisher produced a multilayered array of
voicing and texture that gave the uncanny impression of a small
ensemble of quietly bowed strings rather than a piano sound. He
filled the Hall with the melody sustained in a whisper. I have never
before heard nor could I have imagined anything like the captivating
effect of this sound on this magnificent instrument. I was
awestruck.

There followed an extended set of contemporary works that the
Philistines on these Yahoo groups would call 'atonal.' These were
for the most part also on the quiet and intimate side, particularly
the very expressive and compelling work by Dina Koston, a composer
whose work I'd not previously heard. At the end of this
introspective work Mr. Fleisher gestured to the hall for the composer
to rise to the applause. Only those of us seated nearby seemed to
identify the striking but diminutive and reticent-looking woman who
half-rose from her seat and looked around the hall. Sort of in
keeping with the scope of her fine work. This is a piece worth
seeking out and playing. I don't know whether it is published.
The other new works were somewhat more extroverted, with the usual
quasi-expressionist hijinks from Leon Kirchner and some spicy stuff
in Roger Sessions' work. Composer George Perle, looking spry at 89
yrs old was on hand to take a bow. Way to go, George! I deeply
respect Mr. Fleisher for presenting these lush and accessible recent
works to a mainstream classical audience in this fashion. Fleisher's
playing was so heartfelt, communicative, and expressive that I think
these were all big hits with the happy holiday crowd.

Mr. Fleisher has recorded the Bach-Brahms Chaconne for linke Hand.
It looks like a bitch to play. Quite a fine performance -- Brahms
treatment is much more faithful to Bach's string writing than
Busoni's transcription. I was once again drawn into the music by Mr.
Fleisher's extraordinary delineation and extension of line and
structure in this piece. It was all the more remarkable to realize
afterwards that this was mostly a single note texture performed on
the piano. I recall many years ago hearing Henryk Szeryng perform
this piece in recital and having the sense that he was projecting the
music so vividly that I was not aware of the mediation of sound. I
don't know if this makes sense to anyone else, but at any rate I had
that same experience last evening with Fleisher's reading of the
Brahms transcription. I will seek out his CD recording of this piece.

Intermission followed, and it proved to be uneventful except for the
medics wheeling one gent out of the upper deck on life support,
victim of an apparent Halloween Heart Attack. I mention this only
because he seemed to be doing OK and was giving the "thumbs up" to
the piano fans in the lobby as he was rolled out the front door.
Good luck, sir.

Back to the music, this was, as I said a sublime transcendent
performance of the Schubert. I kept my eyes shut for the first two
movements concentrating on the incredibly intimate and nuanced
textures of Fleisher's playing. The slow movement was the most bleak
and minimal expression of this powerful music. Before the concert I
had remarked to Red Riding Hood that the last two movements of this
work seemed like a letdown to me after the first two. My mistake.
In Fleisher's hands there was a world of animation, tension and
invention in them, restoring our balance from the introspection of
the first two movements. In the Scherzo, the three-note figure was
set out sharply in relief so that it took on a propulsive character
that drove the whole movement. (This Scherzo-ness was a quality
that I found missing in Kissin's reading of the work last year.) In
the fourth movement, Mr. Fleisher found inner tonal shadings in the
piano figurations that illuminated and unified the thematic material
in a fresh and spontaneous manner.

The hall erupted standing in cheers whistles and bravos at the
conclusion. Mr. Fleisher appeared touched, and in lieu of encores he
strode out to the front of the stage with a giant basket of Halloween
candy which he distributed to the happy fans.

Absolutely a stunning magnificent evening. It appeared that it might
have been filmed, as the little peep-holes were all open around the
stage. I certainly hope so. This was an evening for posterity. And
you know Jasper is as jaded and insane an Urbanite as they come. Do
not miss the opportunity to hear Fleisher. He is the heir to the
line back through Schnabel and Leschititzky to Beethoven himself.

**Vic** · 19.05.2012, 16:32

Фильм о Леоне Фляйшере "Две руки".

Leon Fleisher, уважаемый пианист, который десятилетиями боролся и наконец преодолел недуг, который травмировал его правую руку, был объявлен в числе получателей награды Kennedy Center Honors в 2007. В 2007 году награды получат пять деятелей американской культуры - Fleisher, комедийный актер Steve Martin, поп дива Diana Ross, режиссер Martin Scorcese и сочинитель песен Brian Wilson из группы Beach Boys. Награждение пройдет 1 декабря. Вручать награды будет Госсекретарь США Кондолиза Райз. На следующий вечер в честь лауреатов в Kennedy Center Opera House будет дан гала-концерт. Запись мероприятия проведет телекомпания CBS-TV. Телевизионная трансляция события пройдет в прайм-тайме 26 декабря.

"Мое сердце остановилось, когда я услышал о награде", - сказал Fleisher (на фото) в интервью The Washington Post. "Я получал награды от французского правительства и многих учреждений, но признание со стороны собственной страны – это нечто особенное». Сейчас Fleisher’у 79, а когда-то он 16-летним юношей дебютировал в Карнеги Холл вместе с оркестром New York Philharmonic, затем в Брюсселе победил в конкурсе Queen Elisabeth Competition в 1952. Он очень быстро завоевал статус пианиста, почитаемого во всем мире, и активно выступал и записывался в 1950-начале 1960 годов. В 1965 году, когда музыканту не было и 40 лет, у него развился необычный и болезненный паралич правой руки. Он не однократно пытался вернуться к игре двумя руками, но тщетно. И в конце 20 века Fleisher был ведущим исполнителем репертуара левой рукой и признанным учителем. Наконец, в начале 200 года, ему поставили диагноз фокальная (очаговая) дистония, неврологическое заболевание. Botox-терапия и глубокий массаж кисти позволили ему вернуться к игре двумя руками. Его жизнь и карьера получили широкое освещение во всем мире, как пример триумфа над несчастьем. 17-минутный документальный фильм о выздоровлении Fleisher “Two Hands’ (Две руки)" был номинирован на приз американской Киноакадемии в прошлом году. Награды Kennedy Center Honors, основанного в 1978 году, обычно присуждаются деятелям искусства, внесшим вклад в развитие американской культуры.

Тут