Course Syllabus
Studying with Schnabel: Leon Fleisher in Conversation
In this intimate and insightful conversation, the late Leon Fleisher talks to tonebase Head of Piano Ben Laude about his teacher Arthur Schnabel – one of the most influential pianists of the 20th century. Laude plays a handful of excerpts from Schnabel's recordings, which prompts Fleisher to reflect on his time with Schnabel, beginning at age 9, spanning the globe, and lasting a full decade. The conversation then turns to Schnabel's aesthetics and teaching style, and the incredible impression he left on Fleisher. Schnabel passed the torch of musical truth-seeking to all of his students, who in turn passed it on to theirs.
Leon Fleisher "Reminiscences" Interview Part 1
One of the luminaries of American pianism, Leon Fleisher sits down with tonebase Head of Piano Benjamin Laude for a wide-ranging discussion on his remarkable career. Fleisher reminisces on topics ranging from living through the golden age of pianism and playing for Horowitz, to his legendary collaborations with Otto Klemperer and George Szell. Along the way, Laude plays Fleisher excerpts of his own iconic recordings made with Szell in the 1950s and early '60s, including Rachmaninoff's Rhapsody on a Theme of Paganini and Beethoven's Second and Fourth Piano Concertos.
Leon Fleisher "Reminiscences" Interview Part 2
One of the luminaries of American pianism, Leon Fleisher continues his wide-ranging discussion with tonebase Head of Piano Benjamin Laude. Fleisher reminisces on his first encounter with his "lifelong companion," the Brahms D Minor Concerto, and tells the story of making his celebrated 1958 recording with George Szell and the Cleveland Orchestra. Laude then plays much of the exposition of the work for Fleisher, who is visibly moved by the power and command of Szell's orchestra, and listens attentively to his now 60-year-old interpretation.
The recording sparks a conversation about the challenge of balancing structure and detail in interpretation, and discovering the humanity in a work by coming in contact with the "infinite variety" of expressions. Fleisher then talks about his famous bout with focal dystonia and shares his thoughts on what makes a good technique.
The interview closes on a personal note, as Laude asks Fleisher about the improbable number of harpists in his family and how love and music have intersected in his marriage. His final words are a summation of his life's work.
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