Kerzon Biography

V 1. Before taking a place among the outstanding pianists of our time, this happened after the Second World War, Kerzon went through several stages of difficult and gradual formation, sometimes fraught with unexpected turns of fate and left - each in their own way - traces in the creative appearance of the musician. To start with the fact that in childhood his parents wanted to make a violinist out of him, and only by seven years did he change the violin to the piano.

At the age of 12, he had already entered the Royal Academy of Music in London, becoming the youngest student in its entire history. Four years later, he performed at Kuins-Hall as one of the performers of Bach's triple concert and established himself as an excellent ensemble. Finally, in the year, Kerzon, barely graduating from the Academy, received the post of assistant professor and class in it.

He began to teach, systematically perform in ensembles, occasionally as a soloist. It would seem that his fate was determined. But at this time, Kerzon first heard at the concert Arthur Schneabel and, in his own words, "finally realized that the game on the piano should be." He left pedagogy and went to study again. The English musician spent two seasons in Berlin, with Schnabel, becoming his admirer, a friend and spiritual heir: he took lessons in Paris from V.

so a peculiar appearance of the artist, which was difficult to determine with the help of ordinary criteria. Schnebel instilled in him a love of the music of romantics, taught him to analytically approach the performed works, pay attention to details and achieve integrity of form, avoid external effects. The experience of the musician-antenatalist helped him delve into the intricacies of musical fabric and at the same time imprisoned the chamber of chamber on his game.

Finally, not without the influence of Landovskaya, he showed interest in the history of music, before including the work in his repertoire, to turn to manuscripts and Urtecstam, to study the life of composers, the era that gave rise to history.

On the other hand, the character of his art was determined by the features of the creative individuality of the musician - a subtle nervous organization, the lack of the necessary pop freedom, preventing him from fully manifested himself. Chesins wrote: “Clifford Kerzon is an extremely sophisticated musician, a much more master musician than a master pianist, fundamental calm and subtlety of feelings, personal modesty and love of music are his main qualities.

The performance of those works that he can’t do, only a distant echo of the performance of those works that he owned. A few He plays works, withstanding expression and technical accuracy from beginning to end; The circle of works close to Kerzon and constantly performed, included primarily the music of Mozart, Brahms, Schubert, but also - Haydna. Beethoven and sheet.

At the same time, the chamber of his performing warehouse did not mean at all that he was only a miniature. On the contrary, large -uniform works are concerts and sonatas as well as Brahmsovsky Intermeco or Shubert’s impromptu, he is imbued with wise beauty and purity, a noble restraint of feelings and strict masculinity. These advantages are well conveyed by Kerzon's records made most of them directly in the concert: the artist praised the "sterile atmosphere" of the studio record.

That is how wonderful and largely unexpected in their scale records of the first concert of Tchaikovsky with the city of Sholti, the second concert of Rachmaninov with A. Bowlet and even an extremely rarely performed fourth concert by Anri Litolf. And along with this, his name stands on the records that captured Schubert’s “trout quintet”, chamber ensembles of Brahms, Dvomzhak, Schumann, Franca, but among his records there are no shopping works at all.

Only occasionally the artist included them in his programs, although he attributed Chopin to the number of his favorite authors, the American critic Harris Goldsmis recently painted such a portrait of this artist in one of his reviews: “From my point of view, Clifford Kerzon, a musician who deserves all gratitude. His calm spiritual and sensual transfer of music gives such a balanced and full satisfaction, which is rare for someone rarely someone He delivered us from the time of Mayra Hess.

This does not mean that Kerzon’s game is similar to her game - it is somewhat more sparkling and fulfilled forces, aggravated nervousness instead of the “euphoric” solidity of the great lady of the piano. Kerzon owns large reserves of strength and brilliance, but, penetrating into the very essence of music, as if anticipates their excited demonstration. Kerzon itself concludes a certain contradiction: it is obvious that the game in public gives this very closed person a certain inconvenience.

Missed notes, memory failures are also characteristic of him as expressive, relief phrases, delightful colors and exalted emotions. He is a wonderful virtuoso, capable of technical and aesthetic exceptional sophistication, but execution is not easy for him.On the other hand, every phrase that he calls for life discovers such a selfless love for music that only Olukh can remain indifferent.

"So, overcoming himself, Clifford Kerzon concerts, participated in chamber ensembles, wrote down. But every year the artist certainly made a lot - up to five months - a break in concert activities to replenish his repertoire, again and again to contact again and again and again and again. The origins of music, which he faithfully served for more than half a century. For merits in the field of musical art, he was awarded the Golden Medal of the Royal Philharmonic Society of Great Britain in the year.

Moscow, "Soviet composer", G.