References in periodicals archive ?
In the early 1930s Alfred Cortot was one of the best-known classical musicians in the world, and his recordings of Chopin's "24 Etudes" were considered the definitive interpretation.
Spotts is particularly harsh on those such as the ballet master Serge Lifar and the pianist Alfred Cortot whom he portrays as having been enthusiastic collaborators.
Pianists who played at the Rudolfinum also included the Russians Vladimir Pachman, Sapelnikov and Siloti, the Pole Ignacy Paderewski, distinguished performer of Chopin and first prime minister of Poland after the re-establishment of the state in 1918, the German composer and piano virtuoso Eugen d'Albert and from France Camille Saint-Sauns, his compatriot Alfred Cortot and numerous others.
In Paris, he studied at L'Ecole Normal du Paris with famous pianist Alfred Cortot.
Posteriormente perfecciono sus estudios en Paris con Alfred Cortot y obtuvo la licencia de concierto, presentandose en la Sala Pleyel de Paris.
Varios nombres acuden con prontitud "en el arca confusa del recuerdo" (Antonio Gala): Yves Nat (1890-1956), Pierre Sancan (1916), Robert Casadesus (1899-1972), Ricardo Vines (1875-1943), Jacques Fevrier (1900-1979) al igual que, obviamente, Alfred Cortot (1877-1962) --con todo y sus notas falsas e inclinaciones fascistoides--, asi como Vlado Perlemuter (1904), Claude Helffer (1922), Samson Francois (1924-1970) tan discutido, o Bernard Ringeissen (1934).
Other pianists represented in the collection are Alfred Cortot, Ignaz Friedman, Ernest Hutcheson and Ernest Schelling.
He also included recorded examples from pianists he particularly admired ("on a good day, when the wind was blowing in the right direction for them") - Edwin Fischer in Bach, Alfred Cortot in Chopin, and offerings by Schumann and Haydn where he didn't identify the performer; modestly, perhaps they were from himself.
Cortot Discoveries" includes historical information about the recording career of pianist Alfred Cortot, accompanied by select recordings and a table of matrix numbers of takes by Cortot for the Gramophone Company during the 1920s.
Lang began collecting from around the age of sixteen, using the personal collections of Prunieres and of Alfred Cortot as his models.