Leonard Shure & Tommasini

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Leonard Shure…

기억에 어렴풋이 남아있는 이름이 라디오를 통해 흘러나와서 길거리에서 정신 없이 듣다가 다시 정신차리고 듣고 싶어서 한밤중에 부시시 눈을 비볐는데 젠장…
게시판에 아무런 질문이 없는 걸 보면 이 지역만 새벽방송이 그렇게 먹통이었던 듯.
이렇게… 살다 보면 한번쯤은 다시 듣게 되려나.
한번쯤 다시 들으면,
Shure 본인이 자기연주에 대해서 어떻게 생각하고 있었는지 들릴 수 있을까.
근데 왜 그 연주를 들었을 때 이것이 궁금했을까…

The New York Times 에 실렸던 글 중에서 발췌하다.
이제까지 읽었던 중, 가장 마음에 들었던 Critic’s Notebook. 자기 이야기여서 그랬나…
이 사람도 한번쯤 이 글을 다시 쓰면, 몇 년 전 Tony 본인이 끄적거리면서도 이유를 알 수 없었던, Boulez’s VPO가 왜 그러했는지 이유를 깨닫게 될까?
명색이 Music Critic 이면서 그것도 모르다니…


Granddaddy of Piano Teachers Steps Out
Published: November 12, 2004

Say the name Carl Czerny to most pianists, and you will probably see their fingers start to twitch from motor memory.

Czerny may not be well known to the concertgoing public, but his name is embedded in the mind of almost everyone who studied the piano with any seriousness. A prized student of Beethoven and arguably the most important teacher of Liszt, Czerny was a formidable piano pedagogue…

… The Beethoven lineage of teaching is still taken seriously by some, including me, since I was part of it. Beethoven taught Czerny, who taught the probing Polish pianist and pedagogue Theodor Leschetizky, who taught the renowned Austrian-born pianist and Beethoven champion Artur Schnabel, who taught the American pianist and pedagogue Leonard Shure, who taught me.

I studied with Shure, who died at 84 in 1995, for four years while completing doctoral studies in Boston. And Shure, a master pianist and a musician of such uncompromising integrity that it actually hindered his solo career, was deeply proud of his place in the Beethoven legacy. He moved to Germany as a youngster, studied with Schnabel and became Schnabel’s only teaching assistant.

… Schnabel’s important edition of the Beethoven sonatas has often been criticized, because the pages are cluttered with added markings for dynamics, articulation and fingerings (though Schnabel’s additions appear in smaller print). But the edition also includes Schnabel’s invaluable guide to the phrase structure.

To listen to Schnabel’s milestone recordings of the Beethoven sonatas from the 1930’s while following his edition is a revelation. Many noted pianists let their intuitive response to a Beethoven work obscure its inherent structure, as in the Russian virtuoso **’s recent performance of the “Waldstein” at Avery Fisher Hall. For all the atmospheric allure and pianistic finery of Mr. **’s playing, he made what Shure – as well as Schnabel, I’d wager, and no doubt Czerny – would have called inexcusable misreadings of phrases…

… Actually, these inheritors of the Beethoven legacy could be very dogmatic. Schnabel was an intimidating master who tolerated no dissent. And you had to leave your ego outside the door when you entered Shure’s studio for a lesson. He was utterly convinced of his own correct readings of scores and knew no way to teach other than through painstaking analysis of the text.

When he was not terrifying, he could be endearingly gruff. All his students learned to do good imitations of Shure’s Socratic methods as he grilled us about details in the score. “Tony, what does the B do?,” he would ask sternly, pointing to a note. Panic-stricken, I’d answer: “It leads to the C?” Huffing with displeasure, Shure would respond: “Not in my score!” Then he would play the passage in question with such authority, majesty, expressive power and refinement that you felt privileged to be in his presence.

By the way, Shure loved Czerny’s piano works, even the technical exercises, which he used to play for us and chuckle over. If truth be told, Czerny’s music has quite a bit of showy passagework, more than he admitted to. How could anyone with such astounding technical prowess not have been tempted to show it off?

… Czerny’s role as Beethoven’s pupil will probably remain his most important legacy. Still, those of us who have experienced the laying-on of hands will be rooting for his comeback as a composer. After all, he was my teacher’s teacher’s teacher’s teacher.

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