| 词条 | Draft:Josef Feigelson |
| 释义 |
Josef (Yosif) Feigelson is recognized as one of the foremost cellists of his time. From his studies under the renowned Mstislav Rostropovich at the Moscow Conservatory to his role as a popular masterclass teacher worldwide, he has helped define a daring role for the cello in contemporary classical music. "The Latvian-born cellist... plays with enormous sound, vivid character and resourceful technique," wrote Anthony Tommasini of the New York Times. Others have noted the richness of Feigelson's tone, his flamboyant style, and his embodiment of Russian classical traditions. His eclectic choice of pieces ranges from Russian master Prokofiev's Sonata, opus 119, to George Gershwin's "It Ain't Necessarily So." He has performed throughout the United States and Europe, and he has been featured as a solo player and as a guest with a number of orchestras. Feigelson was born into a musical family in Riga, Latvia. His father, Israel Feigelson was a tenor in a Riga opera house and his mother played violin. He began cello lessons with Don Yaffe at the Darzin Special School of Music at the age of six. Feigelson debuted with a Schumann Cello Concerto at age 12 and won first prize at the Concertino-Prague International Competition when he was 16. Feigelson's biggest opportunity arrived when a family friend set up an audition with Rostropovich, legendary cellist who agreed to give him lessons the following year at the Moscow Conservatory. "I had regular lessons with him twice a week," Feigelson told Paul Tseng of the Internet Cello Society, "which was more than I could have ever hoped for!" Feigelson studied with the master between 1971 and 1974, learning a characteristically Russian method of playing the cello. In 1974, Rostropovich left Russia for England, and many believed that Feigelson and his family would follow. Feigelson did not follow his teacher, he remained at the Moscow Conservatory and began studying under Natalia Gutman, another renowned cellist who also had difficulties with Soviet authorities. Both teachers' styles helped shape Feigelson's distinctive approach to the cello. In the mid-1970s, Feigelson toured across Russia and Eastern Europe. He performed at the prestigious Dvorak Hall in Prague, the Staatsoper in Berlin, and at the Great Hall of the Conservatory in Moscow. His renditions were recorded by the Panton, Olympia, and Melodiya labels. Life in the Soviet Union, however, continued to be difficult. His father and mother emigrated to Israel in 1979, and two years later, Feigelson decided also to emigrate. Feigelson moved to the United States in 1981 and became an American citizen in 1987. He made his New York debut recital at the 92nd Street Y in 1988. "Even the most stressful moments of this program did not overtax Mr. Feigelson's musical sense of direction or his beauty of tone," wrote Bernard Holland of the New York Times. 'The solo cello field is crowded with first-rate talent these days, but its present occupants are going to have to make some room for this talented emigre from the Soviet Union." Two months after the recital, Feigelson successfully debuted in Saint-Saens Cello Concerto with the New York Chamber Symphony substituting for ailing violinist Nathan Milstein. In 1990 Feigelson received the Avery Fisher Career Grant. Named for the philanthropist who helped remodel the Philharmonic Hall in New York City, the award represents excellence in the work of a solo performer. Like many working musicians, Feigelson expressed a desire for greater exposure. He explained his goals to Steve Schneider of Newsday: "Expansion of my role as a musician in this country and abroad both as a performer and an educator." He spent time traveling throughout the United States, appearing as a solo performer and as a featured guest in a number of orchestra settings. In 1991 he made a solo appearance with the Seattle Symphony, performing the Concerto for Cello by late Stephen Albert. "Feigelson grasped every opportunity for contrast," wrote Karen Mathieson of the Seattle Times. "His initial statement was a cry from the heart, setting the mood for the entire performance." He has appeared at every major hall in New York City, at the Symphony Hall in Chicago and at the Kennedy Center in Washington, D.C. In the late 1990s, Feigelson made a number of recordings featuring the cello works of Mieczyslav Weinberg (1919-1996). He returned to New York's 92nd Street Y with singer Barbara Hendricks in 1999, and his performance with the Detroit Symphony was broadcast in the United States and Europe. Feigelson has offered masterclasses for string players at the Detroit Civic Orchestra, Aspen and Waterloo festivals, Rutgers University, Chautauqua Institution, and at many other venues across the United States and in Europe. He is also an Artistic Director of the Kindred Spirits Arts Programs in Milford, PA, "Les Preludes de Pont-Aven" and "Le Cercle Stravinski" Music Society in France. "Mr. Feigelson has been noted for the powerful, dark tone that the Soviet school of instrumental playing likes to turn out," wrote Bernard Holland of the New York Times, "but also for his exceptional control over the instrument." These qualities and an active touring schedule have led critics to recognize Feigelson as a distinct and influential cellist. External links
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