Description

ALBERT FERBER (LUCERNE, SWITZERLAND, 29 MARCH, 1911 – LONDON, ENGLAND, 11 JANUARY, 1987)

Albert Ferber was a classical pianist and teacher. He was born in Lucerne, and studied in Switzerland, Germany and France where his teachers included Karl Leimer, Walter Gieseking and Marguerite Long. Whilst in Switzerland he often played to Sergei Rachmaninoff although he never regarded the latter as a teacher in the conventional sense. He first came to England in 1937, basing himself in London permanently from 1939 where he undertook further study with James Ching. Although best known as a concert pianist and recording artist, Ferber had a brief association with the theatre and the cinema, conducting theatre orchestras during the 1940s for productions such as The Beggar’s Opera. A little later he appeared as pianist in the Brian Hurst film The Mark of Cain (1947) and composed scores for two films, The Hangman Waits (1947) and Death in the Hand (1948), both directed by the Australian, Albert Barr-Smith. After this, his performing activities prevented any further composition until near the end of his life when he wrote a set of six songs to texts by Paul Verlaine. Alongside his performing work, Ferber had an active teaching career, gaining early experience in Italy where he deputised for his former teacher Karl Leimer. After settling in England, he was employed as piano teacher (and concert manager) at the James Ching Pianoforte School. Later in life he gave many masterclasses in both the UK and Europe for organisations such as the European Piano Teachers Association (EPTA), but it is as a private teacher that he is probably best remembered. Robert Finley recalls that his teacher was an advocate of the Alexander Technique and that “he emphasised relaxation … and avoiding the build up of muscular tension and stress”. Kathron Sturrock commends Ferber’s “gentle and helpful wisdom” which saw her “through many a dark moment”, whilst Penelope Thwaites describes him as an “exceptional teacher … interested in drawing out the individuality of his pupils; believing in that individuality and conveying confidence: a rare gift”. She also states that he was “much loved by all his pupils”. Ferber’s performing career developed in England through a series of Wigmore Hall recitals in the late 1940s and early 1950s, many of which were managed by James Ching Ltd. A successful BBC audition in 1945 led to a concerto appearance for the Corporation and then to engagements with Sir Thomas Beecham and the Royal Philharmonic Orchestra, Josef Krips and the Hallé Orchestra, and further work with Sir Adrian Boult, Sergiu Celibidache, Jascha Horenstein and Hans Schmidt-Isserstedt. His career took him to most parts of the world, although he had a special affinity with South American countries, which he visited many times. In the UK he made regular recital appearances in London at the Queen Elizabeth and Wigmore Halls and continued to broadcast for the BBC until illness ended his performing career. He died in 1987.

TRACKLIST

1. 2 Arabesques, L. 66 No. 1 in E Major (Debussy)
2. 2 Arabesques, L. 66 No. 2 in G Major (Debussy)
3. Ballade, L. 70 Ballade slave (Debussy)
4. Berceuse héroïque, L. 132 (Debussy)
5. Danse, L. 69 Tarentelle styrienne (Debussy)
6. D’un cahier d’esquisses, L. 99 (Debussy)
7. Estampes, L. 100 No. 1, Pagodes (Debussy)
8. Estampes, L. 100 No. 2, La soirée dans Grenade (Debussy)
9. Estampes, L. 100 No. 3, Jardins sous la pluie (Debussy)
10. Hommage à Haydn, L. 115 (Debussy)
11. Images, L. 111 III. Poissons d’or (Debussy)
12. La plus que lente, L. 121 (Debussy)
13. L’isle joyeuse, L. 106 (Debussy)
14. Masques, L. 105 (Debussy)
15. Mazurka, L. 67 (Debussy)
16. Nocturne, L. 82 (Debussy)
17. Préludes, deuxième livre, L.123 No. 8, Ondine (Debussy)
18. Préludes, deuxième livre, L.123 No. 12, Feux d’artifice (Debussy)
19. Préludes, premier livre, L.117 No. 1, Danseuses de Delphes (Debussy)
20. Préludes, premier livre, L.117 No. 5, Les collines d’Anacapri (Debussy)
21. Préludes, premier livre, L.117 No. 7, Ce qu’a vu le vent d’ouest (Debussy)
22. Préludes, premier livre, L.117 No. 8, La fille aux cheveux de lin (Debussy)
23. Préludes, premier livre, L.117 No. 10, La cathédrale engloutie (Debussy)
24. Suite bergamasque, L. 75 (Debussy)
25. Valse romantique, L. 71 (Debussy)