Description

RICHARD SINGER (BUDAPEST, HUNGARY, 1879 – NEW YORK, USA, 1961)

 

 

 

 

Richard Singer was a distinguished classical pianist, composer, and pedagogue who spanned the late 19th and mid-20th centuries. As a prominent pupil of the legendary piano teacher Theodor Leschetizky, Singer served as an important bridge to the grand 19th-century romantic pianistic tradition, gaining international acclaim for his robust interpretations of Franz Liszt, Frédéric Chopin, and modern music.

Early Life and Elite European Training

Richard Singer was born in Budapest, Hungary, in 1879. His formidable musical talents led him to some of the most prestigious institutions and instructors in Europe. He began his formal academic training at the renowned Leipzig Conservatory.

To perfect his artistry, Singer pursued advanced studies under two of the most influential minds in piano history:

Ferruccio Busoni in Berlin, under whose influence Singer deeply refined his structural approach to complex works.

Theodor Leschetizky in Vienna. Leschetizky (a pupil of Carl Czerny, who himself was a student of Ludwig van Beethoven) taught Singer the famous “Leschetizky Method.” This philosophy prioritized deep, singing tone production, flexible phrasing, and intense emotional expression over cold, mechanical virtuosity.

European Success and Elite Collaborations

Before embarking on full-time international concert tours, Singer dedicated time to pedagogy, teaching at the Hamburg Konservatorium.

Simultaneously, he built a stellar reputation across the continent, concertizing extensively throughout Germany. He appeared as a featured soloist with all the leading European orchestras, performing under the batons of the era’s most legendary conductors and composers, including Richard Strauss, Felix Weingartner, Hermann Abendroth, Wilhelm Panzner, Sir Henry Wood, and Josef Stransky.

American Debut and Major Achievements

In the early 1920s, Singer moved across the Atlantic, returning to the United States. He made his official American recital debut in New York City on May 4, 1924. The performance was a sensational triumph, earning him instant and unequivocal artistic success among American critics.

One of the defining milestones of his career was a monumental test of endurance and memory: Singer accomplished the remarkable pianistic feat of playing four full evenings of concertos under the batons of Sam Franko, Bernhard Stavenhagen, and Richard Strauss.

While he was a dedicated champion of modern music, his primary performance specialties remained the technically demanding, emotionally heavy romantic masterpieces of Franz Liszt and Frédéric Chopin. Critics often praised his Chopin performances—particularly the Andante spianato et grande polonaise brillante—labeling him a “romantic of a fine order” capable of delivering beautifully proportioned, ductile, and deeply moving interpretations.

Composer and Recording Pioneer

Beyond his performance career, Singer was an active composer. He frequently programmed his own atmospheric pieces during recitals, such as Sombre Prelude, Moonlight at Capri, and Eccentric Tarantella.

Because his prime occurred on the cusp of the high-fidelity recording era, Singer utilized cutting-edge technologies to preserve his playing:

Welte-Mignon Reproducing Piano: In the 1920s, Singer recorded a series of perforated music rolls for the Welte company. Unlike standard player pianos, this system utilized electricity and ink to meticulously capture the exact velocity of his keystrokes, dynamics, and pedaling nuances. These rolls have since been digitized, leaving a legacy of brilliant performances of Johannes Brahms’ Hungarian Dances (No. 7 and No. 8), Ottorino Respighi’s Ancient Airs and Dances, and Claude Debussy’s Prelude to the Afternoon of a Faun.

Disc Recordings: Around 1923–1924, he cut numerous physical audio recordings for Red T-100 and the “Lisensee” label.

Ensemble Work: Later in his recording career, he became well known for his collaborative piano duos, performing and recording extensively alongside pianists named Davis, Narinska, and Robertson.

Later Life and Legacy

After a long, dual-continental career as a performer, recording artist, and educator, Richard Singer passed away in New York in 1961. Today, he is remembered by classical music historians as a vital link to the golden age of romantic piano playing.

 

TRACKLIST

 

 

VOX 6119 1672-B Christian Sinding – Rustle of Spring (Frühlingsrauschen), Op. 32, No. 2

VOX 6119 1673-B Edvard Grieg – Butterfly (Schmetterling), Op. 43, No. 1

VOX 6120 1674-B Erwin Schulhoff – Arabesque No. 2

VOX 6120 1675-B Paul Hindemith – Ragtime, from Suite

VOX 06121 1260-A Franz Liszt – Liebesträume No. 3 in A-flat major

VOX 06121 1261-A Richard Strauss – Intermezzo, Op. 9, No. 3

VOX 06122 Richard Singer – Tarantella

VOX 06122 Franz Liszt – Grand Galop Chromatique

DELUXE B7878 Rudolf Friml – La Cachucha – Op. 72, No. 4 (Spanish Dance)

WELTE-MIGNON 3884 Johannes Brahms – Hungarian Dance in F No 3

WELTE-MIGNON 3885 Johannes Brahms – Hungarian Dance No 7

WELTE-MIGNON 3888 Claude Debussy – Préludes, Bk. 2, Nos. 10: Canope; 12: Fireworks

WELTE-MIGNON 3901 Ottorino Respighi – Ancient Airs and Dances Suite No. 3, – Nos. 2 & 4