Schubert – 4 Impromptus, D. 935 (op. 142) – Eunice Norton, piano (Peacham, 1980)

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Schubert – 4 Impromptus, D. 935 (op. 142) – Eunice Norton, piano (Peacham, 1980)

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Schubert
Four Impromptus, D. 935 (op. 142)

Eunice Norton, piano
1980 Peacham Festival, Vermont

EUNICE NORTON: CITIZEN OF THE MUSICAL OLD WORLD (IN PEACHAM, VERMONT)
by Edward Jasiewicz

Eunice Norton traced a global musical path for her career. Born in 1908, in Minneapolis, she studied as a child with Britain’s William Lindsey at the University of Minnesota. There, she was “discovered” by Lindsey’s friend, Dame Myra Hess, and whisked off to London, in 1923, for studies with Hess’s teacher, Tobias Matthay. While there, she won the Bach Prize, in 1927, before winning acceptance into famed pianist Artur Schnabel’s inner sanctum in a controversial move to Berlin. Subsequently, she became a favorite on the stages of Germany, fleeing from that country to Italy in 1933, as did so many at the time. She crossed the Atlantic more than 20 times in these years, always accompanied by both her doting mother and her precious Steinway, plus scads of steamer trunks containing all the stage outfits her managers picked out for her. She surprised everyone when she eloped with the young British scientist, Bernard Lewis, who had followed her around, smitten after hearing her play at MIT, where he was their music critic (just one stop on his long career as a combustion expert, where he utilized the university’s broad asset of resources for his experiments). It was his career, in fact, that landed the newlyweds in Pittsburgh, where his job at the US Bureau of Mines kept him close enough to his post at the Pentagon during the war. But ultimately it was Norton’s management, Columbia Artists, who dealt the decisive blow when they took her off their roster of represented artists. Apparently, though Norton had been the first soloist to be invited to play with five American orchestras in one season – the Philadelphia, New York, Boston, Chicago, and Minneapolis symphonies, all within the 1931-1932 concert season – this did not protect her from the idea that a woman should not have a career and a husband simultaneously.

Instead, Norton relied on her trove of solo repertoire, shifting her focus onto recitals, which allowed her to give her large list of concertos a break. She also had ties to many European musicians, some with whom she partnered in chamber music concerts (at Schnabel’s urging), and who complained there were not enough chamber music performance opportunities here in the US. This prompted Norton to launch the Pittsburgh New Friends of Music chamber music series. She called in favors from stars like Lotte Lehman, Friedrich Schorr, Kathleen Ferrier (making her American debut), Myra Hess, Artur Schnabel, and his son, Karl Ulrich. With such talent, she was able to sustain the series for 40 years. She organized ambitious cycles of music not commonly heard outside of the important European musical centers. One such cycle, featuring the Budapest String Quartet’s performance of the entire Beethoven quartets, was so unexpectedly popular that it had to be repeated the following year.

Pittsburgh was also where, after taking up a post as Visiting Professor at local Carnegie Tech’s music conservatory, Norton created the popular Concert Artists performance group, with whom she worked in organizing hundreds of valuable performance gigs for music students and young professionals. Pittsburgh, not surprisingly, if anyone knows the place, turned out to be the perfect location for her to share her musical message, which, learned through the lineage of Schnabel and his teacher Leschetizky, stretched back directly to Beethoven himself.

(continued here: https://www.youtube.com/watch?v=Y2eDvT-Y9sY)

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Piano (Musical Instrument), Keyboard (Musical Instrument), Classical Music (Musical Genre), Eunice Norton (Musical Artist), Franz Schubert, Myra Hess, Tobias Matthay, Artur Schnabel, Impromptus (Composition),

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