🔊 Download high-fidelity classical music: classicalmusicreference.com/ Wolfgang Amadeus Mozart (1756-1791) - Piano Concertos 11,12,13,14,17,18,19. *Click to activate the English subtitles for the presentation* (00:00-06:45) A very big « THANKS » to Sony Music who authorized us to release this recording. Piano Concerto #11 in F major, K.413_ I.Allegro (00:00) II.Larghetto (09:24) III.Tempo di menuetto (17:14) Piano Concerto #12 in A major, K.414 I.Allegro (23:04) II.Andante (32:41) II.Rondo. Allegretto (41:06) Piano Concerto #13 in C major, K.415 I.Allegro (47:39) II.Andante (58:15) III.Rondeau_Allegro-Adagio-Allegro (1:05:43) Piano Concerto #14 in E flat major, K.449 I.Allegro vivace (1:14:04) II.Andantino (1:23:08) III.Allegro ma non troppo (1:29:10) Piano Concerto #17 in G major, K.453 I.Allegro (1:35:41) II.Andante (1:47:16) III.Allegretto - Finale_ Presto (1:56:19) Piano Concerto #18 in B flat major, K.456 I.Allegro vivace (2:04:33) II.Andante un poco sostenuto (2:16:26) III.Allegro vivace (2:26:43) Piano Concerto #19 in F major, K.459 I.Allegro (2:34:12) II.Allegretto (2:46:43) III.Allegro assai (2:55:02) Piano : Lili Kraus Vienna Festival Orchestra Direction : Stephen Simon Recorded in 1965-66 New Mastering 2017 by AB for CMRR 🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2 La véritable conception du concerto, l’essence du genre consiste dans la lutte qui se livre entre l'orchestre, d'une part, et l'instrument ou le groupe d'instruments solos de l'autre. Cette lutte est entrecoupée de trêves pendant lesquelles orchestre et soliste collaborent amicalement, et elle se termine par une réconciliation ; elle n'en est pas moins une lutte véritable. Tantôt, les armes sont communes aux deux adversaires : ce sont les thèmes principaux qui reviennent dans les soli et dans les tuttis ; tantôt, chacun a les siennes : ce sont d'autres thèmes réservés au soliste, et d'autres, enfin, qui n'appartiennent qu'à l'orchestre. Les péripéties de la lutte sont diverses : elle peut rester indécise et solo et orchestre se renvoient alors les thèmes de l'un à l'autre ; le tutti peut remporter une victoire momentanée et claironner bruyamment son triomphe ; ou bien, le soliste, à coups d'accords, de gammes et d'arpèges, peut voir ses efforts couronnés de victoire, et, dans un trille étincelant, narguer l'orchestre vaincu. Mais, quelle que soit l'issue momentanée, nous savons qu'en fin de compte ni l'un ni l'autre ne triomphera et que la dernière cadence scellera paix et alliance entre les ennemis réconciliés. Pour que ce résultat paraisse vraisemblable, il faut que la lutte ait lieu à forces égales. L'orchestre utilise sa polyphonie, sa masse, son coloris ; le soliste, sa virtuosité. Les doubles et triples croches sont la seule arme dont il dispose pour combattre le poids et les couleurs de l'orchestre. Enlevez-lui ce moyen de défense ; son instrument n'est plus qu'un entre cinquante ; l'orchestre l'écrase et l'absorbe. La virtuosité n'est pas un simple déploiement d'habileté technique elle est une source de beauté et le moyen même d'existence pour l'instrument-solo. On ne défend pas à l'orchestre de tirer parti de sa couleur et de son poids ; qu'on n'interdise pas au soliste sa virtuosité. Le fait que certains compositeurs de concertos ont abusé de cette arme ne change rien à l'affaire ; le solo doit être virtuose ou périr. Le danger pour le soliste d'être absorbé par l'orchestre est réel et c'est souvent pour y faire face que tant de concertos médiocres tombent dans l'excès opposé et se réduisent à des successions de traits précédés, entrecoupés et suivis de quelques modestes interventions de la part du tutti. Ce péril menace surtout les concertos pour instruments à cordes et à vent ; ceux pour le piano le craignent beaucoup moins, car la sonorité de l'instrument se détache clairement sur le fond orchestral. Pour cette raison, le concerto avec piano est peut-être l'idéal du genre ; la lutte entre un seul violon et toute l'armée des cordes, des bois et des cuivres paraît toujours inégale ; avec le piano, nous sommes sûrs que l'orchestre trouvera à qui parler. Le piano, par la différence complète de sa couleur tonale, aussi bien que par l'indépendance de sa personnalité, est dans une position différente (de celle du violon) et généralement prend le parti de combattre l'orchestre ; l'orchestre peut être disposé à admirer, à adorer, même ; mais l'instrument solo est une chose à part, un être d'une race différente. Le violon, au contraire, est un héros national ; l'orchestre sait qu'il est sorti de ses rangs. Le violon doit lutter davantage pour garder sa personnalité là où les deux forces sont en opposition ; mais une fois que l'instrument solo a gagné, il ne conquiert pas seulement, il convainc et inspire même ceux qui étaient jadis en rébellion contre lui. Envisagé comme une lutte entre deux forces, l'une simple, l'autre complexe, le concerto cesse donc d'être un genre inférieur et mérite d'être étudié autant que la sonate, le quatuor ou la symphonie. Or, de tous les concertos, ceux de Mozart forment le groupe le plus important. C'est une raison pour laquelle ils ont droit à une étude spéciale. Il en existe une autre. Il n'y a pas, dans toute l'œuvre de leur compositeur, de genre où il se soit exprimé d'une manière aussi complète. Ses concertos pour piano, échelonnés à travers ses années depuis sa dix-huitième jusqu'à sa trente-sixième, nous le présentent à tous les âges ; ils constituent le témoignage le plus varié et le plus étendu de sa vie artistique. Nous y retrouvons ses joies et ses tristesses, ses espérances et ses déceptions ; nous pénétrons par eux dans ce sanctuaire intérieur, où l'homme harassé et surmené retrouvait la vie fraîche et rayonnante qui ne cessa jamais de renaître au fond de son coeur. Non pas qu'on prétende que ses concertos les plus beaux soient supérieurs aux meilleures de ses autres œuvres ; les quatre grandes symphonies, certains de ses quatuors et quintettes et nombre d'autres compositions ne le cèdent en rien à ses plus beaux concertos. Dans presque tous les genres si divers où il a prodigué ses richesses, on trouve une ou deux œuvres qui comptent parmi ses plus belles, mais aucun de ces genres n’offre une succession de chefs-d'œuvre aussi abondante que celle des concertos pour piano. Il a composé une cinquantaine de symphonies, mais, de celles-ci, quelque trente-huit furent écrites avant le voyage qu'il fit à Paris à vingt et un ans, et des dix autres, seules les quatre dernières peuvent être appelées grandes. Il a composé une trentaine de quatuors, mais seuls les douze derniers datent de l'époque de sa maturité ; les autres sont antérieurs à l'âge de 23 ans. Les huit quintettes non plus ne forment pas un groupe homogène ; le premier est contemporain des premiers quatuors ; celui avec cor et celui pour piano et instruments à vent sont de sa vingt-huitième et sa vingt-neuvième années ; il composa les deux suivants à trente et un ans, celui avec clarinette à trente-trois ans, et les deux autres tout à la fin de sa vie. Il en est de même des autres genres, excepté les opéras, qui s'espacent assez également à travers sa maturité et forment le seul groupe qui puisse disputer tant soit peu aux concertos le privilège de refléter d'une manière complète la physionomie de leur créateur. Imaginons-nous que de toute sa musique instrumentale un seul groupe eût survécu et nous reconnaîtrons que celui qui nous transmettrait l'image la plus entière du maître, celui dont la survivance rendrait, si possible, la perte des autres moins regrettable, ce serait bien le groupe des concertos pour piano. Les concertos de Mozart, cependant, étaient loin d'être des incontournables des salles de concert au début du XXe siècle. Pourtant, le vent a commencé à tourner. Une nouvelle génération d'éminents claviéristes classiques, parmi lesquels Wanda Landowska, Walter Gieseking, Edwin Fischer et Arthur Schnabel, a contribué à faire avancer la cause, tout comme Lili Kraus. Lili Kraus a comparé son affinité avec Mozart à une mission : « Quand j'ai commencé à explorer Mozart, j'ai découvert la beauté infinie de cette musique, et d'une certaine manière il m'est donné de donner vie à cette beauté. Je trouve qu'il est de mon devoir, de mon privilège, et si vous voulez, de ma croix, de consacrer ma vie à cette musique. » Certains pianistes et compositeurs deviennent inextricablement liés aux yeux du public. Mentionnons Glenn Gould, par exemple, et les Variations Goldberg de Bach viennent à l'esprit. Artur Schnabel et Beethoven étaient pratiquement synonymes, tout comme Walter Gieseking et Debussy, Arthur Rubinstein et Chopin, Alicia de Larrocha et les impressionnistes espagnols. Lorsqu'il s'agissait de la musique pour piano de Mozart, plusieurs générations d'auditeurs et de collectionneurs considéraient les interprétations de Lili Kraus comme le dernier mot.. Mozart - Piano Concertos 9 Jeunehomme,15,16,1,2,3,4,5,6,8 (Century's recording : Lili Kraus/Simon) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FHwmL8Md22w.html&index=3 Mozart - Piano Sonatas Nos.1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17 NEW MASTERING 2021 (Century's record.: Lili Kraus) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-K2doJV0FR8Q.html Wolfgang Amadeus Mozart PLAYLIST (reference recordings) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EVPkfHD6b7E.html
Mozart is not only the greatest musician to ever live, he`s actually the greatest artist, that ever lived. He even has the word " Art " in his name...........
Es verdad, una prolijidad que va más allá de lo posible...y sólo en 35 años!!! Escribía las composiciones de su mente prodigiosa directamente al pentagrama. Y por si fuera poco desde los 5 años!!!!
Towards the end of his long life, Rossini said: "Mozart was the idol of my youth, the terror of maturity, and the comfort of my old age." A beautiful thought.
Wow.....thirty five years young.,.you were a rock star in your day.. but your legacy forever reminds us of your genius we can never be.... sow I bow...and give thanks..
In my opinion Lili Kraus has recorded here the finest version of Mozarts stunning piano concertos bar none. Her understanding of the music and the finesse which she was able to apply to these performances is absolutely enchanting. God bless Lili Kraus.
How did i manage to go for 45 years in life and not listen to Lili Krauss playing the Mozart piano concertos? It's a match made in heaven. Thank you so much for posting the complete set. What a plethora of treasures!
@@andrewgreen5892 No, not really ... I spent most of htese years listening to Mozart Piano concertos played by Schiff, Staier, Casadesus, Serkin, Fischer, Bilson, Perahia, Badura-Skoda, Argerich, Brendel, Levin, Bishop-Kovacevich, Haskil, Brautigam, Goode, Haebler, Immerseel, Joao-Pires, Uchida, Buchbinder, Fischer, etc etc BUT not Lili Krauss till very recently.
It is not crazy to think about it ... God chose Mozart to leave us majestic and ingenious, incomparable and unique works, but he took it to continue composing in heaven
@@SMORAME any god can be beaten by powerful imagination, emotion , sensation and limitation, you should really think about that, you'll definitely find a fact that god doesn't exist then. The universe is just absorption in different ways, everything is broken from the origin and will eventually expand into darkness only for some to become brightness and the left overs of both to cause another big bang jeez la weez, the universe is so fucking unaware, yet so aware at the same time .
What beauty, what joy Europe has given to the world. Her classical composers are unsurpassed. Many originating from that Small area centred on the Austrian Empire, Prussia, Germany, Poland & Russia. Timeless music that takes you close to your God and your soul. Thank God for this music for we will never see the likes of this perfection again.
Tatiana Anderson can't think of a better place to listen the were the early concertos were composed. Enjoy them all you can here her play concertos 20 they 27 also with lili
Possibly the most beautiful recordings of these concertos I have ever heard. The piano concertos of Mozart are my very favourites of his works, and where I think his soul and art are most represented.
Love, truth, ...heavenly beauty. We have to be so thankful to hear this - one wonders what the world would be like without Mozart. It's hard to imagine. As a 16 year old, I would go to the Donnell Library in NY to listen to classical music in the spring of 1957. The music librarian selected music for me and she operated the 33rpm turntable. I asked her for Mozart and she brought me the 19th concerto played by Lili Kraus. I came back again and again and asked for that recording. I'm profoundly thankful she shared that with me. And thank you, and Sony, for putting this here.
The depth and width of Mozart‘s diversity are immeasurable, and indescribable Mozart,s works are the moisture of the hearts of urbanites who are tired of the hustle and bustle of the city like Tokyo , Paris , New York , etc. as Megalopolis . From Tokyo in the dizzying megalopolis ablaze with neon
To his father, Mozart described these three concertos as "a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid."Agreed
My dad idolized Mozart and has passed that on to me. I'm listening to this, in Fresno, CA, where it's 103 degrees outside. I'm preparing dinner for my family and the music is sublime.
I love that classic sound, Mozart and Haydn and as well: Heavy Metal :-). What I find really amazing is the fact, that music brings together poeple from all nations all over the world, and they love all the same thing. What a chance for mankind this could be.. loving all the same thing that touches our souls deeply, and we forget to betray and kill each other...hope for the next 200 years to come.. Greetings from southern Germany to all of you listeners.. and thanks to RU-vid that makes this possible. One of the largest advantages of the Internet.. Bye :-D
@@hannahlouisefitzpatrick6742 Greetings back, Hannah ! Funny thing: from all places in the world, somebody from VANCOUVER ansers. I have relatives there and plan to visit Vancouver this year. Hope you have it ok in this unlucky time! Stay healthy!!
Thank you so much for this. I have loved all of Mozart for many years, but, there is nothing so masterful, so uplifting and so spiritual as his piano concertos. It soothes my soul and reminds me that there is great power in the positive.
The Lili Kraus and Stephen Simon complete Mozart Concertos were recommended to me when I read an article about where to find the best recordings of all these concertos. Wow! I hit the jackpot. The pianist and conductor understand Mozart more deeply than anyone else I have ever listened to in these concertos! Mozart can be so deep, bring out emotions in such a subtle way that you don't even know those emotions were even in you. There is also great humor and playfulness, simplicity and elegance, nuance... on and on. I think Lili Kraus understood Mozart better than almost any other pianist. She was so attuned to the composer, there is such color in every note and Lili searches the depths of touch and tone. Just as Mozart's concertos go where no composer can go, Lili Kraus and Stephen Simon go where no pianist and orchestra usually travel. What words can one use to describe these concertos? Sublime, gorgeous? Yes! I really adore the way Lili Kraus and Stephen Simon play the second slow movement of the 17th concerto. Almost immediately I feel both the beauty and the depth of despair. Wow!
With the exception of Haydn Symphonies Schubert Lieder and String Quintets Bach just about everything Beethoven String Quartets and Piano Sonatas Mousorgski Boris Godounov Albinoni Oboe Violin Concerti C.P.E. Bach Cello Concerti I agree and also his operas
Just loving these concertos for the umpteenth time, probably because apart fron just loving Mozart I am a New Zealander living in our lovely little boutique capital city Wellington and Lili Krause was given sanctuary and nursed back to health in our country immediately after her release from a Japanese concentration camp, she remained a New Zealand citizen for the rest of her life.
I have at last arrived at an age where I can appreciate this beauty. I transcended this mortal plane for a moment and arrived back much elevated. thank the life of Amadeus, such an immortal and brief life of genius!
Mozarts Konzerte sind so schön und flattern, dass melodische Fragmente und Melodien voller Melismen sind und im Wesentlichen Dekorationen wie Blumen an lebenden Pflanzen sind. In gewissem Sinne gibt Mozart dem Zuhörer Blumensträuße ... und die Seele freut sich darüber !!! Tepper Michael.
Mozart’s music evokes long forgotten memories --tugging also at the heartstrings. Each and every note transforms into more than sound … a vivid spectrum of colors sparking the imagination to no end. Delightfully giving way to the unimaginable splendor of my life’s experiences and future aspirations. A glorious and gentle stirring of the SOUL! Thank you SONY Music for authorization to release this very fine recording. Thank you for uploading!
I had the great privilege to see and hear Madame Kraus in recital in Danbury, CT while I was a freshman in college. She was truly the grand dame of the piano, regal without being stuffy, a great lady!
(Wikipedia) Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family. She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition. Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945. After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986. Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
Presque sautillants, ces concertos nous offrent le peps dont nous avons besoin pour accueillir une nouvelle journée d'activité !!! Le jeu de Mozart est toujours aussi léger et confère une réelle beauté à l'ensemble de ses prestations. Nous ne pouvons que déguster sa musique !!!
Michael T Have you decided to master the Japanese yet ？ Please learn Japanese . Please come to fascinating and mysterious and comfortable Japan if it is convenient. We wait for you who have a remarkable capacity for learning languages❗
Jesus lоves yоu, and is here fоr yоu. “Now, therefore,” says the LORD, “turn to Me with all your heart, with fasting, with weeping, and with mourning.” Joel 2:12
What a gift! Thank you! I though I knew these concertos well (I long enjoyed Barenboim's issuance of them all, and have listened to numerous other interpretations of individual concerts), but this beats them all! Never in my life have a heard Mozart being played so mozartsk, so refined, with such humor or such longing, whatever is required! This is much more than "playing the music" - this is making Mozart come alive! Fantastic.
I like your comment, Mogens. I'm not sure where to put Lili in the pantheon of Mozart interpreters, but she has a super soft ,natural and compelling touch that brings out warmth in these recordings
You are listening to the greatest composer who ever lived (or will EVER live) played by the finest pianist ever Daniel Barenboim. In the seventies, I was lucky enough to belong to the English Chamber Orchestra Daniel often played and conducted at the Queen Elizabeth/Festival halls in London. I never knew how lucky I was. We saw all the other greats with him like Perlman the list goes on forever. Even Stern. Many many others. What great days, we did not realise then how privileged we were.
Մոցարտի երաժշտությունն է մարդկային նվաճումների այն բարձունքը, որն ամենամոտն է բարձրյալին: Музыка Моцарта и есть та вершина достижений человечества, которая ближе всего всевышнего.
totally - I cannot go a day without ravishing the sounds of my favorite piece: Flute and Harp concerto for orchestra ...to me: it is Mozart's creme de la creme on steroids plus and then some .... he composed this piece for 2 instruments he was not familiar with, nor played, his genius in this particular piece is UNDENIABLE, ALIVE and FOREVER PRESENT ..... listen to it sometime :)
Tenho 76 anos e há 50 me deleito com as interpretações perfeitas de Mozart que Lili Kraus nos brinda. Hoje no fim de tarde , confinado devido a epidemia de coranavirus, essa musica me dá alento.
After years of listening to these concertos, why is it only now that i have come across the best version? Maybe one needed the other ones to appreciate the magnificence of Lili Kraus's clarity and charm
Fifty five years ago ( i was 16) a friend from school gave me an LP of Mozart's 20th and 24 th Concertos played by Dennis Mathews and i was immediately enthralled by the sounds i was hearing. These recordings by Lili Kraus are wonderful and the recording quality is so good too. Thank you.
After the Bach Cantatas, I can think of no greater musical achievement in the history of mankind than the complete piano concertos of Mozart. They are sublime.
Escuchar a Mozart siempre es un deleite, pero admirar sus conciertos para piano es un sublime sueño de agotar las ilusiones para admirar la perfeccion, gracias por subir este compendio que nos lleva a conocer la grandeza de la musica clasica.
C'est merveilleux d'avoir de si belles musiques a écouter dés son réveil sur RU-vid Merci a Mozart pour ces belles compositions Douces , melodieuses, et a tout ceux qui les jouent.....
Lilli Kraus -- The kind of piano playing that creates lifelong highest esteem for both the music and the performer, and a source for listeners to celebrate forever. Thank you for making this collection available.
(Wikipedia) Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family. She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition. Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945. After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986. Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
I have just come as a refugee from the arid, narrow minded vulgar squalid world which Donald Trump tries to make of the USA because of his massive inferiority complex and all that acquiesce or subscribe to his brutal egotistical lower-middle class hell. The man and his followers have no taste his entire world is squalid, immoral and vulgar. This music is balm from a bruising world of democrassy and these performances soar and transcend. Thank who so ever is responsible for Art and Music, Literature.
Lili Kraus does indeed fulfill her brief "to give life to that beauty" (Mozart's piano concerti). The inspiration is fresh and vital with no hint of egotism, pure and sublime, and perfectly matched by the orchestra. There is no point in comparing this with Perahia's admirable recordings. Each is a joy unto itself'.
Ecouté avec un profond respect et ravissement la musique de ce grand compositeur que fut Mozart, génie sans pareil. Cette musique coule et nous transporte vers des sommets inégalés grâce à l'évolution complexe du génie humain.
My piano teacher used to say that when one practiced, you weren't simply practicing, but working on your soul. Mozart certainly helps mend wounds and keep my soul alive.
When listening to Mozart, I always remember the 1985 film titled: Amadeus Wolfgang Mozart, and all these are associated with the cinema in Munich, where I saw that beautiful film. Unforgettable memory
Mozart's concerts are so beautiful and fluttering that melodic fragments and melodies are full of melisms and are in essence such decorations as flowers on living plants. In a certain sense, Mozart gives the listener bouquets of flowers ... and the soul rejoices at it !!! Tepper Michael.
When listening to Mozart, I always remember the 1985 film titled: Amadeus Wolfgang Mozart, and all these are associated with the cinema in Munich, where I saw that beautiful film. Unforgettable memory
(Wikipedia) Lili Kraus was born in Budapest in 1903. Her father was from Czech Lands, and her mother from an assimilated Jewish Hungarian family. She enrolled at the Franz Liszt Academy of Music, and at the age of 17 entered the Budapest Conservatory where she studied with Zoltán Kodály, and Béla Bartók. In the 1930s, she continued her studies with Severin Eisenberger, Eduard Steuermann in Vienna and Artur Schnabel in Berlin, who focused her interest in the classical tradition. Lili Kraus soon became known as a specialist in Mozart and Beethoven. Her early chamber music performances and recording with violinist Szymon Goldberg helped gain the critical acclaim that launched her international career. In the 1930s, she toured Europe, Japan, Australia and South Africa. In 1940, Kraus embarked on a tour of Asia where, while in Java, she and her family were captured and interned in a concentration camp by the Japanese from June 1943 until August 1945. After the war, she settled in New Zealand where she spent many happy years playing, performing, and teaching. She became a NZ citizen and resumed her career, teaching and touring extensively. In the early 1950s she performed the entire Beethoven sonata cycle with violinist Henri Temianka. From 1967 to 1983, she taught as artist-in-residence at Texas Christian University in Fort Worth. After that she made her home in Asheville, North Carolina, where she died in 1986. Kraus' husband was Otto Mandl (b. 1889 d. 1956), a wealthy Jewish (later converted to Catholicism) mining engineer and philosopher. They were married on October 31, 1930 and Mandl sold his business in order to devote himself to the furtherance of Kraus' career.[1]. The couple had two children, Ruth and Michael.
Solo lamento que un genio de esta magnitud haya muerto a los treinta y cinco años. cuanto perdimos de su extraordinaria música, cuantos conciertos, sinfonía, operas, .... más habríamos tenido para deleitarnos días enteros. Gracias W. A. Mozart
Mejor alegrate de que la maravilla del azar nos regalase una increible combinacion de talento natural y su sublimacion a traves del trabajo constante. Que solo podia fluir por la motivacion personal y la influencia de su familia.Un regalo que naciera
