Original 1958 Keystone Press photograph of the celebrated cellist and pianist as they "put an end to their 27-year old quarrel as they appeared in a concert together at Prades (Southwestern France) yesterday. The reconciliation was brought about by Pablo's young wife who played the role of peacemaker." Photo is erroneously dated August 10/68 and measures 8.5 x 6 inches (18 x 13 cm).
This was Cortot and Casals's first (and last) concert since 1934. It was also the very last concert of one of the greatest wizards of the keyboard. The concert is recorded. "Their performance of the Beethoven Sonata # 3, though, demonstrates that a huge, unbridgeable gulf remained artistically, if no longer politically. Each does his own thing with barely a nod toward coordinating with the other; it's like an exploratory rehearsal in which preliminary ideas are tossed out, but as if they're each in separate rooms, their solo sounds randomly combined on tape. They sound better behaved on the Beethoven "Bei Mannern" Variations, perhaps only because the structure is so tight there's little room for interpretive contributions, although the details are still blurred." (Peter Gutmann)
Original 1958 Keystone Press photograph of the celebrated cellist and pianist as they "put an end to their 27-year old quarrel as they appeared in a concert together at Prades (Southwestern France) yesterday. The reconciliation was brought about by Pablo's young wife who played the role of peacemaker." Photo is erroneously dated August 10/68 and measures 8.5 x 6 inches (18 x 13 cm).
This was Cortot and Casals's first (and last) concert since 1934. It was also the very last concert of one of the greatest wizards of the keyboard. The concert is recorded. "Their performance of the Beethoven Sonata # 3, though, demonstrates that a huge, unbridgeable gulf remained artistically, if no longer politically. Each does his own thing with barely a nod toward coordinating with the other; it's like an exploratory rehearsal in which preliminary ideas are tossed out, but as if they're each in separate rooms, their solo sounds randomly combined on tape. They sound better behaved on the Beethoven "Bei Mannern" Variations, perhaps only because the structure is so tight there's little room for interpretive contributions, although the details are still blurred." (Peter Gutmann)