Description

EDMUND KURTZ (ST. PETERSBURG, DECEMBER 29, 1908 – LONDON, AUGUST 19, 2004)

 

 

 

 

He began early his musical education with piano lessons without much progress. At the age of eight he heard in a concert Tchaikovsky’s Rococo Variations in A major op. 33 for violoncello and orchestra, whereupon he decided to become a cellist. After the October Revolution , the Kurtz family emigrated to Germany. In 1922, thirteen-year-old Edmund Kurtz was accepted by Julius Klengel for cello studies in Leipzig. Kurtz debuted successfully in Rome in 1924 and then performed in Berlin. To complete his training, he studied for some time with Leó Weiner in Budapest , and on the advice of Pablo Casals he also took lessons with Diran Alexanian in Paris. He became a soloist of the Bremen Opera in 1926. In the 1927-1930 seasons he gave together with the ballerina Anna Pavlova guest performances, especially with the dying swan of Camille Saint- Saëns. From 1932 to 1936 he was the first cellist of the Deutsche Oper in Prague under George Szell. He went to USA and from 1936 to 1944 he was the soloist of the Chicago Symphony Orchestra. At the same time he gave guest performances with Jascha Spiwakowski and Tossi Spiwakowski (Spiwakowski trio). After that he concentrated on soloist performances. In 1945 Kurtz recorded Dvořák’s Cello Concerto with the NBC Symphony Orchestra under Arturo Toscanini . In 1946 he was the soloist at the premiere of the 2nd Cello Concerto by Darius Milhaud with the New York Philharmonic under Artur Rodziński. In 1948 he played Khachaturian’s  cello concerto with the Boston Symphony Orchestra under Sergei Kussevizki. During his late years, Kurtz dealt with Johann Sebastian Bach. From 1978 to 1983 he worked on a critical edition of the six suites for violoncello solo based on the signature of Anna Magdalena Bach. Edmund Kurtz’s siblings were also excellent musicians. Efrem Kurtz (1900-1995) was a conductor, Arved Abram Kurtz (1899-1995) was rector of the New York College of Music and Mary Kurtz Rosenwald (1906 to 1985) was the first violinist of the Ballet Russe de Monte Carlo.

 

 

TRACKLIST

 

 

1. Sonata No. 1 in G Major, BWV 1027 (Bach) Adagio with Frank Pelleg (Harpsichord)
2. Sonata No. 1 in G Major, BWV 1027 (Bach)  Allegro ma non tanto with Frank Pelleg (Harpsichord)
3. Sonata No. 1 in G Major, BWV 1027 (Bach)  Andante with Frank Pelleg (Harpsichord)
4. Sonata No. 1 in G Major, BWV 1027 (Bach)  Allegro Moderato with Frank Pelleg (Harpsichord)
5. Sonata No. 2 in D Major, BWV 1028 (Bach)  Adagio with Frank Pelleg (Harpsichord)
6. Sonata No. 2 in D Major, BWV 1028 (Bach)  Allegro with Frank Pelleg (Harpsichord)
7. Sonata No. 2 in D Major, BWV 1028 (Concluded) (Bach)  Andante with Frank Pelleg (Harpsichord)
8. Sonata No. 2 in D Major, BWV 1028 (Concluded) (Bach)  Allegro with Frank Pelleg (Harpsichord)
9. Sonata No. 3 in G Minor, BWV 1029 (Bach)  Vivace with Frank Pelleg (Harpsichord)
10. Sonata No. 3 in G Minor, BWV 1029 (Bach)  Adagio with Frank Pelleg (Harpsichord)
11. Sonata No. 3 in G Minor, BWV 1029 (Bach)  Allegro with Frank Pelleg (Harpsichord)
12. Cello Sonata In G Minor, Op. 19 – 1. Lento, Allegro Moderato (Rachmaninov) with William Kapell (piano)
13. Cello Sonata In G Minor, Op. 19 – 2. Allegro Scherzando (Rachmaninov) with William Kapell (piano)
14. Cello Sonata In G Minor, Op. 19 – 3. Andante (Rachmaninov) with William Kapell (piano)
15. Cello Sonata In G Minor, Op. 19 – 4. Allegro Mosso (Rachmaninov) with William Kapell (piano)