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Chapter 34 - 1914–1916: The Last Years

Published online by Cambridge University Press:  29 April 2017

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Summary

Richter's letters, written after his retirement, were primarily domestic in content, though occasionally he would comment on or reminisce about music and musicians. In February 1914 he replied to several questions from Sydney Loeb.

Miss Fanny Davies is an excellent artist whose attainments I remember with pleasure. After many years lying in the archives, where it was forgotten by artists and public alike, I revived Joseph in Egypt and performed it in Vienna to great effect. This opera by Méhul is a masterpiece; the Master also loved it very much, which fact can be found in his letters and writings. For today's public, whose ears have been ruined by the motor car and other noises, this music is too refined. Even in Vienna the opera house remained empty despite an excellent performance and it soon vanished from the repertoire once again. In this case – as so often in others – it is the public which fails, not the opera. Brodsky plays everything superbly, but if you want a special treat, hear him and his quartet playing Schubert, in that he is unique; his warmth, his feeling, his fire resulted in a great success in Vienna. Send him and his splendid colleagues my warmest greetings. Borwick is a refined and stylish artist. Listen to Mengelberg as much as you can, I think very highly of him. Sir Villiers’ Irish Rhapsody is certainly a solid piece of work, just like the earlier ones. Watch out for the boring parts. I have already heard of Albert Coates, but I never saw him. Those reviews of him which I saw were not unfavourable.

Richter's friendship with Stanford had been soured by an unfortunate episode in April 1908. The quick-tempered Irishman had, as on so many occasions, sent a pupil to Richter for help. The young man in question was the pianist and composer James Friskin who was to attend Richter at the Queen's Hall after a morning orchestral rehearsal. The session finished early to enable the players to fulfil another musical engagement elsewhere later that day and Richter had to wait half an hour before Friskin arrived punctually at the arranged time. He was shy and nervous in the presence of the great conductor and, when asked if he was presenting himself as a pianist or composer, replied with the former.

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Hans Richter , pp. 441 - 451
Publisher: Boydell & Brewer
Print publication year: 2016

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