By Kevin Bazzana
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Extra resources for Lost Genius: The Curious and Tragic Story of an Extraordinary Musical Prodigy
Olin Downes of the put up tracked Nyiregyházi down for a talk at his inn after the 1st live performance, and although recognized for an aversion to overly subjective or “sentimental” interpretations that strayed from the rating, he was once evidently dazzled via the eighteen-year-old: Mr. Nyiregyházi (pronounced as spelled! ) had not just actual assets to play the concerto, yet he had whatever rarer: as attractive a making a song tone, as noble and poetic an idea of the passages which demanded such remedy as any pianist the author ever heard. . . . His rhythm, even if capricious the rhythmic adjustments may appear, was once by no means at fault. The orchestra rested on it, and [the conductor] Mr. [Pierre] Monteux exulted in it. His figuring out of the constitution of the rhapsodic virtuoso piece used to be so sympathetic and so transparent that it had an extraordinary solidarity of impression. His technic [sic] is not sensible to debate. He has an it appears limitless provide of it. The crowning truth was once an interpretation all poetry, mind's eye, fire-youth. In Boston, as in all places else, the critics have been astonished through Nyiregyházi’s precociousness and virtuosity, yet now there has been no speak of immaturity; certainly, the critic for the Transcript defended Nyiregyházi’s audacity, including, “There is overmuch reticence, warning and repression one of the younger pianists of the day. ” He used to be praised for revealing the the Aristocracy and poetry and depression underneath the glittering floor of the concerto, and his “youth and individuality,” his “large and rhapsodic” method of interpretation, his “bardic sweep and clangor” have been taken care of as infrequent, to be valuable, particularly in Liszt. He made a much-heralded go back to the Boston Symphony on November 27, 1922, back in Liszt’s A-major concerto, this time in Hartford, Connecticut. but, even though Johnston took out full-page advertisements in alternate courses quoting the Boston studies at size, the one recitals he prepared for Nyiregyházi in that urban have been within the position of aiding artist to a different singer in 1922 and 1923. It used to be in Boston, on New Year’s Eve 1922, that Nyiregyházi additionally had the momentous adventure of first listening to the Polish pianist and statesman Ignacy Jan Paderewski, who used to be creating a successful comeback travel of the U.S. after 5 years clear of the live performance corridor. He heard him presently thereafter in big apple, too, and was once beaten by way of Paderewski’s energy (including his ferocious fortissimo), his wealthy, operatic melodic tone, gradual tempos, rhythmic freedom, and unapologetic alterations to the ranking. He cared now not a whit for Paderewski’s mythical deficiencies of approach; he favorite “the Romantic spirit, the abandon, the temperament,” the monumentality and the Aristocracy of his conceptions, the bare emotionalism - the soul. In Liszt’s Hungarian Rhapsody No. 2, he stated, Paderewski “gave me a brand new proposal of the negative ardour, internal fireplace, and abandon of the Gypsy,” including, “I don’t imagine Liszt may possibly play it larger. ”36 In 1923, Nyiregyházi met with much more sensational good fortune in California.