It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
Egon Petri: the musician as virtuoso
was right!Support The
A. s is the case with so many of yesterday’s great performing musicians, the survival of the playing of the once vastly admired Dutch pianist Egon Petri (1881-1962) has been assured by the reissue of some of his many recordings and by their easy availability, in the past on LP and now on CD. In the 1970s, there was an EMI release in Japan of several of Petri’s many 78-RPM pre-World War II commercial recordings, most of them originally issued on the English Columbia label and then released in due course on American Columbia. In the early 1950s, Petri recorded the Beethoven “Hammerklavier” Sonata for American Columbia; later in the 1950s, he also made several LP ...
This article is available to subscribers and for individual purchase
This article originally appeared in The New Criterion, Volume 10 April 1992, on page 45
Copyright © 2015 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Egon-Petri--the-musician-as-virtuoso-4543
E-mail to friend
On the Chamber Music Society of Lincoln Center at 25.
On three CDs of contemporary music from New World Records & a reissue of performances by tenor Jan Kiepura.
On the American Symphony Orchestra's "Music U," the Australian Chamber Orchestra in Zankel Hall, the New York Philharmonic's Senza sangue, and more.
On the Adès Totentanz, the St. Louis Symphony at Carnegie Hall, John Adams's Scheherazade.2 & more.
On James MacMillan's Piano Concerto No. 3; Jamie Barton and Bradley Moore at Zenkel Hall; Behzod Abduraimov at Weill Recital Hall & more.
The Walter Duranty Prize for Journalistic Mendacity
Introduction to The Kennedy Phenomenon
The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"