Guiomar Novaes (February 28, 1895 – March 7, 1979) was a Brazilian pianist known for individuality of tone and phrasing, singing line, and a subtle and nuanced approach to her interpretations.
21-521: Aeolian Hall may refer to: Aeolian Hall (Manhattan) , a concert hall near Times Square in Midtown Manhattan, New York City Aeolian Hall (London) , England Aeolian Hall (London, Ontario) , a historic music venue in London, Ontario Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
42-738: A mind of her own." Philipp later considered her one of his greatest students. By the end of 1910, Novaes was a concert veteran. She made her official debut with the Chatelet Orchestra under Gabriel Pierné . She also played under Sir Henry Wood in England and on tour in Italy , Switzerland and Germany . Returning to Brazil at the start of World War I , she made her U.S. debut in Aeolian Hall in New York City in 1915. She
63-614: A performance by violinist Leon Goldman. Notes Citations Guiomar Novaes Born in São João da Boa Vista (in the area of São Paulo state in Brazil) as one of the youngest children in a very large family, she studied with Antonietta Rudge Miller and Luigi Chiafarelli before she was accepted as a pupil of Isidor Philipp at the Conservatoire de Paris in 1909. That year there were two vacancies for foreign students at
84-467: A perpetually singing line and complete spontaneity. Her natural approach to the keyboard was part of her appeal. Because of her relaxed, effortless nature at the keyboard, she was one of the few pianists about whom it seemed the instrument was a welded extension of her arms and fingers. The tone and subtlety of her tone recalled the great Romantic pianists of previous generations. Her technique was supple, with no striving for effect. At all times her playing
105-527: A pianist whose playing gave as much sheer pleasure as that of Guiomar Novaes." David Dubal writes in The Art of the Piano that her playing was "first and always personalized. She delighted in details, leaving one wondering why others never saw or savored them. Even at capricious moments, she had that marvelous and indispensable trait of a great interpreter -- the power to convince. In whatever she touched there
126-690: A recording of Beethoven 's Piano Concerto No. 4 , with Otto Klemperer and the Vienna Symphony Orchestra , that is highly rated by musicians and critics. She also recorded works for piano and orchestra by Mozart , Schumann, Grieg , and Falla . The noted Brazilian Chopin specialist Nelson Freire says that he was deeply influenced by Novaes' recording of Chopin's Second Piano Concerto with Klemperer, which he first heard at age 14 and regards as an ideal to strive for. Her mid-century recordings of concertos, encore pieces, and Chopin solo works have been reissued by Vox on CD. A 3-CD set of
147-466: A slightly different point of view; each time, the new approach seemed inevitable and perfectly natural. In his obituary of Novaes in The New York Times dated 7 March 1979, Schonberg stated: "The sheer beauty of her playing managed to transcend any other considerations; it was its own reward. There may have been more monumental pianists, more intellectual pianists, but it is hard to think of
168-541: Is a skyscraper in Midtown Manhattan in New York City , at 29–33 West 42nd Street and 34 West 43rd Street, just north of Bryant Park . The 1912 building was the fourth headquarters of the Aeolian Company , which manufactured pianos and other musical instruments. The 18-story building contained the 1,100-seat Aeolian Hall (1912–1927), a top concert hall of its day. The building stands next to
189-664: The Grace Building . The building, on the site of the Latting Tower , a popular observatory during the 19th century, was designed by the architects Whitney Warren and Charles Wetmore and completed in 1912. Its name refers to the Aeolian Company , which manufactured pianos. It is 260 feet (79 m) high and has 18 floors. In mid-1922, the company sold the building to the Schulte Cigar Stores Company for over $ 5 million. From 1961 to 1999,
210-778: The Jazz Age and the cultural history of New York City. The building continued to host concerts by the International Composers' Guild up to January 1926, at least, when the appearance of African American Broadway performer Florence Mills , singing jazz-based pieces by William Grant Still , caused a minor sensation. Nadezhda Plevitskaya reportedly delighted the Aeolian Hall audience with her Russian folk songs in April 1926. The concert hall closed in May 1927, with
231-651: The Peabody Mason Concert series in 1954. Through the 1960s she came to New York every December for a single concert at Carnegie Hall. Her final concert appearance in New York was at Hunter College in 1972. Novaes had a stroke on January 31, 1979. She died in São Paulo, Brazil on March 7, 1979. Novaes commanded a very large repertoire in her early touring days, narrowing it in later life. Whatever she played, she played with an aristocratic approach,
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#1732776419129252-662: The Conservatoire—and 387 applicants. Novaes played for a jury that included Debussy , Fauré , Moszkowski and Widor . Her pieces were the Paganini – Liszt Etude in E, Chopin 's A-flat Ballade and Schumann 's Carnaval . She won first place. Debussy wrote a letter in which he reports his amazement about the little Brazilian girl who came to the platform and, forgetting about public and jury, played with tremendous beauty and complete absorption. Novaes' technique and musical interpretations may have already been fully formed by
273-649: The United States after several years in Europe, the Zoellner Quartet gave its first New York performance there on January 7, 1914. The hall is most famous for a concert given by Whiteman's orchestra on February 12, 1924, titled "An Experiment in Modern Music". Intended to be an educational demonstration on how far American music had progressed in recent decades and how jazz could be performed in
294-598: The building housed the Graduate Center of the City University of New York , and today houses the State University of New York's College of Optometry . The concert hall, which could seat 1,100 spectators, was on the 43rd Street side of the building, on the first and second floors. The New York Symphony Society performed concerts in both Aeolian Hall and Carnegie Hall , but moved in 1924 to
315-505: The concert hall, the concert included a suite by Victor Herbert and closed with the Pomp and Circumstance marches by Edward Elgar . The concert is remembered, however, for the penultimate piece, the world premiere of George Gershwin 's Rhapsody in Blue with the composer at the piano, orchestrated by Whiteman's arranger Ferde Grofe . This concert is today considered a defining event of
336-654: The new Mecca Auditorium on 55th Street . In 1923 American contralto Edna Indermaur made her singing debut at Aeolian Hall. From 1923 to 1926 the WJZ (now WABC ) studios were at Aeolian Hall, with towers atop the building. Aeolian Hall also featured concerts by leading musical figures such as William Grant Still, Ottorino Respighi , Sergei Rachmaninoff , Beniamino Riccio, Josef Hofmann , Sergei Prokofiev , Ferruccio Busoni , Guiomar Novaes , Rebecca Clarke , May Mukle , Ignacy Jan Paderewski and Vladimir Rosing , as well as Paul Whiteman and His Orchestra. Upon its return to
357-415: The time she reached Paris. One of her first pieces for Philipp was Beethoven 's Les Adieux Sonata . Philipp said she played the second movement much too fast and suggested that she repeat it at a slower tempo. Novaes thought for a moment, then replayed with some differences in detail but at exactly the same tempo. This happened several times. Philipp finally gave up, saying later, "Even at that age, she had
378-528: The title Aeolian Hall . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Aeolian_Hall&oldid=877663893 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Architectural disambiguation pages Aeolian Hall (Manhattan) The Aeolian Building
399-434: Was a feeling of intimacy, and it was Chopin she touched most." Novaes was particularly renowned for her interpretations of Chopin and Schumann , which were full of nuances and insights. She left a variety of recordings, including 78s from the 1920s and 1940s (she was not recorded during the 1930s) that have been collected on two CDs by APR . Later, and especially during the 1950s, she recorded mostly for Vox , producing
420-479: Was intensely poetic. Harold C. Schonberg recalls in his book The Great Pianists that her performance of the Schumann concerto under the direction of André Cluytens in the late 1950s "was strikingly reminiscent of Josef Hofmann 's [performances]. It had much the same suppleness, tonal subtlety and unswerving rhythm ." Like Hofmann, she never played a piece quite the same way twice. Each time she brought to it
441-651: Was still only 19. Richard Aldrich at the New York Times dubbed her "a musician by the grace of God." Pitts Sanborn in the Boston Globe called her "the young genius of the piano." Dubbed "the Paderewska of the Pampas," she continued playing in the United States frequently, mostly in New York. In 1922 she married Octavio Pinto , a civil engineer who was also a pianist and composer. Novaes performed for
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