Lithuanian-born American pianist Nadia Reisenberg never attained the international status of, say, Vladimir Horowitz or Arthur Rubinstein, but in the New York of her time she was as much an insider as one could speculate, given her high-level activities as educator, accompanist, chamber musician, duo pianist (often with Arthur Balsam), prolific recording artist, and competition judge, not to mention the power of her flamboyant, but dignified, personality. There was a time, however, when Reisenberg appeared as an eagerly ...
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Lithuanian-born American pianist Nadia Reisenberg never attained the international status of, say, Vladimir Horowitz or Arthur Rubinstein, but in the New York of her time she was as much an insider as one could speculate, given her high-level activities as educator, accompanist, chamber musician, duo pianist (often with Arthur Balsam), prolific recording artist, and competition judge, not to mention the power of her flamboyant, but dignified, personality. There was a time, however, when Reisenberg appeared as an eagerly anticipated concert artist on the New York scene, both in concerto appearances with the New York Philharmonic and in solo recitals. Bridge's Nadia Reisenberg: Carnegie Hall Recital 1947 brings into sharp relief the experience of attending one of Reisenberg's ambitious concert recitals. She performs Handel, Mozart, Weber, Chopin, and Tchaikovsky and Scriabin, Stravinsky, Prokofiev, Khachaturian, and Samuel Barber, presumably on the same date, although the notes are unclear on that...
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