"I wanted to come face to face with a master: I recognised him as such." (Hélène Grimaud)
  1914-1990

The legendary Cuban American pianist Jorge Bolet

Click here to1914-1990  "I wanted to come face to face with a master: I recognised him as such." (Hélène Grimaud) 

Jorge Bolet's colossal graduation programme.

Leopold Godowsky and two rather famous friends

The Ansonia Hotel in New York City where Godowsky lived for a time.   Possibly it was here that Bolet played for him.

Moriz Rosenthal, pianist

Bolet as a young man

Selection of recital programmes at the Curtis Institute of Music

 On 28 February 1928 Moriz Rosenthal (with whom he would later have a short period of study in Vienna) gave a recital at Curtis which JB may have heard.  

 

The programme included Beethoven Op.109 in E major, Schubert Wanderer Fantasie, Chopin Barcarolle, Albeniz Triana, Liszt Hungarian Rhapsody No. 2 etc.)

 

CASIMIR HALL,   Sixth Season 1929-1930 

Monday Evening, May 26, 1930 at 8:30 o'clock

Students of Mr. Saperton

Cesar Franck: Prelude, Choral and Fugue & Strauss;

Schulz-Evler Concert Arabesques on the Blue Danube Waltz: Jorge Bolet

 

CASIMIR HALL,   Seventh Season 1930-31

Friday Evening, April 24, 1931 at 8:30 o'clock

Organ Fantasy and Fugue Johann Sebastian Bach in G minor in the Liszt adaptation; Waldesrauschen  Franz Liszt;  Fantasia quasi Sonata : "Apres une Lecture du Dante": Jorge Bolet

 

First Movement from the Concerto in C minor, Op.18 Sergei Rachmaninoff

Irene Peckham  (orchestral part played on a second piano by Jorge Bolet)

 

Saturday Evening, May 16, 1931 at 8:30 o’clock

The Academy of Music, Philadelphia;

Curtis Symphony Orchestra

Overture — "A Roman Carnival" Hector Berlioz, cond. Sylvan Levin

Concerto in B flat minor for Piano and Orchestra, TSCHAIKOWSKY:

First movement (Allegro non troppo e molto maestoso), Jorge Bolet

 

CASIMIR HALL  Eighth Season  1931-1932

Sunday Evening, December 13, 1931 at 8.15 o’clock

Quintet in D major, Opus 51, ANTONY STEPANOVITCH ARENSKY for Piano and String Quartet

Jorge Bolet, Piano, Jacob Brodsky / Leonard Mogill, Viola , Ladislaus Steinhardt / Howard Mitchell, Violoncello

 

Friday Evening, April 15, 1932, at 8:30 o’clock

Sonata in F minor, Opus 57 (Appassionata), BEETHOVEN, Menuett in A minor RAMEAU-GODOWSKY, Etude in A flat major, Opus 1, No. 2 PAUL DE SCHLOZER, Jorge Bolet

 

Friday Evening, January 29, 1932 at 8:45 o’clock

CARNEGIE HALL ,  NEW YORK

The Curtis Symphony Orchestra, Fritz Reiner, Conductor

Overture to "Oberon”, Carl Maria von Weber

Symphony No. 4 in E Minor  Johannes Brahms

Concerto in B flat minor for Piano and Orchestra,TSCHAIKOVSKY, First Movement (Allegro non troppo e molto maestoso), Soloist, Jorge Bolet

 

CASIMIR HALL,  Ninth Season— 1932-1933

Sixth Students' Concert, Tuesday Evening, March 14, 1933, at 8:30 o’clock, Students of MR. SALZEDO AND MISS LAWRENCE

Introduction and Allegro Maurice Ravel (with piano accompaniment), Marjorie Call, harp,  Jorge Bolet at the piano, LYON & HEALY HARPS

 

CASIMIR HALL,  Ninth Season 1932-1933

Wednesday Evening, April 5", 1933, at 8:30 o’clock

Sonata in B minor FRANZ LISZT, Le Cygne (Saint-Saens-Godowsky), Polka de W. R (Sergei Rachmaninov),  Rondo a capriccio, Op. 129 (Ludwig van Beethoven), La Campanella (Liszt/Busoni): Jorge Bolet

 

CASIMIR HALL  Tenth Season  1933-34

JORGE BOLET, Pianist

Monday Evening, April 16, 1934, at 8:30 o'clock

I

Variations and Fugue on a Theme of Handel, Opus 24, Johannes Brahms

Nocturne in E flat major, Opus 5 5, No. 2, Frederic Chopin

Rondo from Sonata, No. 1 in C major, Opus 24, Carl Maria von Weber

II

Sonata in B minor. Opus 58, Frederic Chopin

III

Prelude in E flat major, Opus 23, No. 6, Sergei Rachmaninoff

Prelude in G sharp minor. Opus 32, No. 12, Sergei Rachmaninoff

Suggestion diabolique, Serge Prokofiev

Symphonic Metamorphoses on Themes from Fledermaus Waltzes of Johann Strauss Leopold Godowsky

The Steinway is the official piano of The Curtis Institute of Music

 

DIPLOMAS in PIANO 1934 went to: Lilian Lia Batkin, Jorge Leopoldo Bolet,  Rosita Escalona, Florence Eraser, Martha Louise Halbwachs, William Henry Harms, Jr., Jean-Marie Robinault — in absentia

 

CASIMIR HALL,   Fourteenth Season — 1937-83

RECITAL by JORGE BOLET, Pianist, Graduate Student of Mr. Saperton

Tuesday Evening, October 19, 1937, at 8:50 o'clock 

Organ Fantasia and Fugue in G minor (Bach-Liszt )

Rondo from the Sonata in D major, Opus 53 (Franz Schubert )

Fantasie in F minor, Opus 49( Frederic Chopin) also Etudes: E flat major, Opus 10, No. 11, C sharp minor. Opus 10, No. 4  C sharp minor, Opus 25, No. 7, A minor, Opus 25, No. 11 

Sonata in B minor (Franz Liszt)

Suggestion diabolique (Serge Prokofiev)

Preludes: E flat major. Opus 23, No. 6  & G sharp minor, Opus 32 (Sergei Rachmaninoff)

Waltzes from "Die Fledermaus" Strauss-Godowsky

 

THE IRIS CLUB   LANCASTER, PENNSYLVANIA

Wednesday Afternoon, January 5. 1938, at 2:30 o’clock

Jorge Bolet 

 

FRIDAY EVENING, MARCH 31, 1939 AT 8:30 O'CLOCK

CASIMIR HALL  - CLAUDE DEBUSSY 1862-1918 

Masques, La Puerta del Vino, General Lavine — eccentric, La Terrasse des audiences du clair de lune, La Serenade interrompue, Mouvement

Jorge Bolet, Piano

...

CASIMIR HALL

FACULTY RECITAL by [Bolet's teacher] DAVID SAPERTON

Tuesday Evening, March 26, 1940, at 8:30 o'clock

PROGRAMME OF COMPOSITIONS BY LEOPOLD GODOWSKY

 

Passacalia

Composed as a tribute to the memory of Franz Schubert on the eve of the hundredth anniversary of his death. The theme is based on the first eight bars of the Unfinished Symphony.

 

Four selections from Phonoramas (Java Suite): 

Gamelan, The gardens of Buitenzorg , Chattering monkeys at the sacred Lake of Wendit , In the streets of old Batavia

 

Ten studies on Chopin's Etudes:

Opus 25. No. 1 in A flat major, third version

Opus 10, No. 2 in A minor, second version — Ignis Fatuus

Posthumous etude in E major, first version. Originally in A flat major

Opus 2 5, No. 6 in G sharp minor

Opus 25, No. 5 in E minor, first version

Opus 10, No. 5 and Opus 25, No. 9 combined, in G flat major — Badinage

Opus 10, No. 6 in E flat minor for the left hand alone

Opus 10, No. 11 and Opus 2*. No. 3 combined, in F major

Opus 10, No. 7 in G flat major, second version. Originally in C major — Nocturne

Opus 10, No. 7 in C major, first version — Toccata

 

Triana (transcribed from Albeniz)

Symphonic metamorphosis on theme from the "Artist-Life" waltz of Johann Strauss

Is there a Latin-American school of piano playing?

Miami  Herald 1.9.96, James Roos

 

Frank Cooper is quoted as saying ‘There’s really no Latin American piano school per se.’  

 

Traditionally Latin pianists after there genius was detected early and nurtured by expert local teachers left their countries, usually in their teens, to study in France, Germany, Austria and Russia.  

 

The Brazilian Guiomar Novaes (on of 19 children) was a prodigy at age 5; she was taught in Sao Paolo by an Italian, Luigi Chiafarelli, but then sent at age 15 by the Brazilian government to Paris in 1911.   There were 388 applicants for 12 places, only 2 for foreign students.   The jury included Debussy and Moszkowski.

 

Horacio Gutiérrez (born in 1948, Havana) is a virtuoso pianist originally from Cuba. He moved with his family to the United States in 1961, at the age of 13, and studied in Los Angeles with Sergey Tarnowsky (1882-1976), Vladimir Horowitz's first teacher in Kiev, and later at the Juilliard School of Music under Adele Marcus (1906-1995), a pupil of the legendary Russian pianist Josef Lhevinne.

Graduation and the wider world

The Pennsylvania census taken on 23 April 1930 lists George (sic) and Marie Bolet as lodgers in the house of a French lady, Marie Roufineau (b.1866), at 611 Locust Street, Phila., PA.

On Josef Hofmann

"I did not get to know Josef Hofmann very well.   I used to play for him once or twice during the school year, but he merely heard me.   I just went to his studio and played whatever I was currently working on, and that was it."    

 

Bolet's debut in January 1932 at Carnegie Hall

"At that performance, I also had the good fortune of meeting Rachmaninov.   During the second half of the concert, David Saperton took me up to Godowsky’s box to hear the remainder of the concert.  When the concert was over, Godowsky grabbed me by the arm and said, ‘There’s somebody I want you to meet.’   Simultaneously Rachmaninov was coming out of an adjoining box putting on his big overcoat with the sable collar,   Godowsky spoke to Rachmaninov in Russian, so I don’t know what was said.   But we shook hands and passed a few pleasantries before he hurried off."  

 

JB met him again a few years later after Rachmaninov’s concert at the Salle Pleyel.  Bolet was taking French courses at the Alliance Francaise.  (Elyse Mach  p.36f.)

Carnegie Hall

In 1932 [aged 17] JB performed with the Curtis SO under the fearsome conductor Fritz Reiner at Carnegie Hall in New York City.   Many eminent musicians were in the audience: Rachmaninov, Milstein, Zimbalist, Horowitz, Hofmann, Godowsky.   The programme included Weber's "Oberon" overture,  Brahms's fourth symphony and the first movement of Tchaikovsky's B-flat minor concerto with JB as piano soloist.   A review in the New York Times for 30 January says: ‘He has a brilliant technique.   From the thunderous succession of chords that open the pianist’s part...he was equal to the technical difficulties.  More, he played with the fine abandon of youth.’ 

 

It is during these early years of the 1930s that Bolet had some sessions with the legendary pianist Leopold Godowsky, going up to New York City for lessons.   JB’s teacher at Curtis, David Saperton was Godowsky’s son-in-law and had arranged the connection.   (Godowsky resided in the luxurious Ansonia Hotel on the Upper West Side, at 2109 Broadway, between West 73rd and 74th Streets, but moved into an apartment with his daughter Dagmar on Riverside Drive overlooking the Hudson River after his wife Frieda’s death in December 1933.)   Bolet would practise some of Godowsky’s fiendishly difficult music (few other of his contemporaries were up to the task) and then play it to the composer.

 

‘Jorge’s scores of these pieces bore Godowsky’s markings in red crayon—the daunting “Passacaglia,” based on themes from Schubert’s “Unfinished” symphony; the “Fledermaus” and “Kunstlerleben” symphonic metamorphoses; the “Java Suite”; the Sonata in E minor; pieces from the “Triakontameron.” ’ [Albert McGrigor]

 

Bolet listed these lessons for 1932-3 in a submission to Grove's Dictionary; but they do not seem to have been systematic lessons.   Gregor Benko has said, 'I remember a party at Sidney Foster’s house when he, Bolet and Abbey Simon reminisced about Leopold Godowsky, who apparently used sarcasm and insults with students..., and it left an indelible impression on these great artists, who had all played for him and suffered abuse.'   Godowsky's biographer, Jeremy Nicholas, states: ‘Occasionally, Saperton and Bolet would go to New York and visit Godowsky, and Bolet would play Godowsky to Godowsky, as it were, and get advice from him. He said that in that sense, yes, he had studied with Godowsky. Of course he also, in the same way, had advice from (and played for) Hofmann as he was head of piano at Curtis. But his main teacher was Saperton, though Bolet told me the greatest purely musical influence was the French musician Marcel Tabuteau, first oboe with the Philadelphia Orchestra – the greatest musical mind I have ever known.’

 

JB spent his summers in Havana.   The passenger manifest for the SS Virginia records that he arrives from Cuba on 11 September 1933 at the Port of New York; he was 18 years old.   His father’s address is given as Calle 6, #216, Vedado, Havana and his sister’s as 1016 [1816?], Spruce Street, Philadelphia.

 

Bordered in the east by Central Havana (Habana Centro), and in the west by Miramar, Vedado was developed from 1859 in an area that had been kept wide open in colonial days to have full view of pirates approaching the city. The name Vedado means: 'reserved' or 'prohibited'.    From the 1930s to the 1950s, it was a notorious gambling nightlife mecca for Americans.  It was also the neighbourhood where doctors, lawyers and business people lived before the revolution.   Down the wide tree-lined Avenida de los Presidentes (Calle 23 and G) many luxurious 19th century French-style mansions represent Cuba's architectural heritage. The present-day mix of shabbiness and former opulence is striking.

 

In 1933 Bolet’s sister Maria first went as a missionary to Spain, arriving in Madrid.  In the past she, along with a congregation, had a rented mission hall on Calle Villegas in the old part of Havana.  Eventually it became the Church of the Nazarene in Havana.  

 

In 1934 Jorge graduated from Curtis. In his graduation recital (April 16 Casimir Hall, Curtis), he performed a colossal programme, including Brahms/ Handel variations, Chopin’s third sonata in B minor, Godowsky’s complex paraphrase of waltzes from Johann Strauss’ Fledermaus, which became one his specialities.    (On Saturday, 3 April of the same year at the Teatro Principal de la Comedia, Havana, he played a ‘warm-up’ concert with the same programme as his graduation in May.)

 

The pianist Abbey Simon (b.1922) said that at Curtis he learned as much from listening to Bolet and Sidney Foster as he did from his lessons with Saperton and Hofmann.   ‘When I got out of Curtis in 1940 I was still pretty much a hick.   At Curtis, it was almost exclusively 19th century music, very little Bach, Mozart, Schubert.’    [From an interview, at his home in Geneva, to the New York Times 26.2.88]

 

Bolet also graduated from Stony Brook (Preparatory) School, Long Island, New York in 1934.  He had gone there to do one year of study to broaden his education. 

 

The passenger manifest for the SS California: JB arrives at the Port of New York from Havana on 17 September 1934 aged 19.   His status is now described as DIPLOMAT.  The word PIANIST is crossed out and GOVERNMENT OFFICIAL is written in by hand.   His father’s address is listed as Calle K, 191 [?] Vedado, Havana.   The Cuban government (through the Secretaria de Educación) was now giving him a grant.

De Tijd (Dutch newspaper)  8 May 1935

European debut

It was in May 1935 that Bolet made his European debut.   (He possibly sailed to Europe on 26 January 1935.)   There were recitals in Amsterdam in the Small Hall of the Concertgebouw (Wednesday 8 May) and The Hague, in the Diligentia Hall (Friday 10).   The reviews are highly encouraging, one referring to the Spanish composer Manuel de Falla’s Fantasía Bética, an impressionistic  description of Andalusia.

 

"We are thankful that he did not use his really sensational technical gifts merely to dazzle.   In his hands the de Falla became something of great musical importance."  Avondpost, den Haag, 11 May 1935

 

"A new star in the musical firmament, a pupil of Godowsky...a fervid imagination, no trace of nervousness.   We hope he will not become one of those brilliant keyboard wonders of today [?here today, gone tomorrow?]  for his musical gifts are too genuine and precious." Vaderland, den Haag, 11 May 1935

 

The Nieuwe Rotterdam Courant [9.5.35]  described the audience of the Amsterdam recital as "small but entranced".

 

And then Paris, London, Vienna, Madrid, Milan.   From memory, without consulting his files, Bolet told journalist A. Ramirez in 1943: the Salle Chopin (Paris), Bechstein Saal (Berlin), Aeolian Hall (London), the Diligentia Hall (the Hague) , the Conservatorio Verdi (Milan) and in 1936 (Spain) concertos with José María Franco (Madrid), concerts in the Teatro la Comedia; and also in Gijón, Oviedo and Pamplona.   It is worth noting that the Spanish concerts were in April, 1936, barely three months before the outbreak of the Civil War on 17 July.

The Deutsche Allgemeine Zeitung (17 May, 1935), reporting the Berlin début, talked of a phenomenal technique but said that everything was guided more by intellect than by emotion.

 

On 31 May 1935 8.30pm Aeolian Hall, London, Bolet made his first appearance in Great Britain, playing on a Steinway piano.   This Hall was at 135-137, New Bond Street and had begun life as the Grosvenor Gallery, built by Sir Coutts Lindsay in 1876 who in 1883, decided to light his whole gallery with electricity.

 

JB’s programme included Beethoven’s sonata Appassionata, César Franck’s Prelude Choral & Fugue and pieces by Chopin: Etudes Op. 10 (E flat) and Op. 25 (A minor) and the Ballade No. 1 in G minor

 

The Times 4 June 1935 reports:

“Unfaltering control... his powerful fingers enable him to annihilate any technical problems.”  The Appassionata was occasionally too theatrical but the essential urgency was well suggested, “though at times, especially in his rather prosaic treatment of the Andante, much of the poetry of the work seemed to vanish”.   In the Chopin tenderness was only achieved in a curiously deliberate fashion.  Liszt's Waldesrauschen and Strauss/Godowsky Fledermaus were also included in a programme which “seldom called for spontaneity, the quality most lacking from Mr Bolet's style”.   The Telegraph (1.6.35) wrote that it took JB some little time to reveal his true form.   In its earlier stages his playing obviously reflected the strain incidental to so important an occasion.   The Franck was unduly melodramatic and there was a too militant assertiveness in the Beethoven, in the handling of the emotional crises.

Moriz Rosenthal could trace his musical lineage to Chopin & Liszt

Rosenthal born Dec 18, 1862 in Lemberg (L’viv), eastern edge of the Austro-Hungarian empire.   Studied with Karol Mikuli (pupil of Chopin) 1872-4 and with Liszt (whom he met in Vienna in October 1876), from 1876-8 and from 1884-86.   His first tour of South America was in 1934.   In 1936 he did three concerts in Rome (at the Augusteo) and & recitals in the Wigmore Hall.   Arrives in November on the Normandie in the USA.   US tours in 1936-7 and 1937-8.  In NYC he lives at the Great Northern Hotel between 56th and 57th Streets (‘neither great nor northern’).  Last public concert in New York Town Hall 15.11.41.

Upon his graduation in 1934, the Cuban government sent JB  to Europe for further training under Moriz Rosenthal  in Vienna (possibly living at Ebendorferstrasse 8) during early 1935. "Five classes of advanced piano technique," said JB but he later told friends the lessons were useless.   

 

Rosenthal had been a student of Franz Liszt.      Born in 1862 in Lemberg (L’viv), on the eastern edge of the Austro-Hungarian empire, he studied with Karol Mikuli (pupil of Chopin) 1872-4 and with Liszt (whom he met in Vienna in October 1876), from 1876-8 and from 1884-86.    “In Tivoli, near Rome. . . I was fortunate to be his [Liszt] only student and to receive daily instruction in the fall of 1878. Every afternoon I appeared at the Villa d'Este, where I found the master composing either in his study or sometimes on the terrace, where he was gazing forlornly into the blue. The glowing Roman autumn, the picturesque beauty of the area, the Master's noble instruction - all these things blended into an ecstasy which I still feel today.”   In contrast, JB said that Rosenthal once mentioned Liszt’s sonata and said sarcastically as he hammered out the theme (when it makes its first ‘lyrical’ appearance), ‘You call that a composer?’  (Stephen Heliotes.)   Hard to beat was Rosenthal's wit.   He heard Vladimir Horowitz's Vienna debut, playing Tchaikovsky's First Piano Concerto, in which he blazed through the octave passages; but the elder statesman reported “He is an Octavian, but not Caesar.”  

 

Later, intense coaching sessions with Hofmann’s pupil Abram Chasins produced tangible results, and Bolet always acknowledged Chasins’s influence on his playing."   JB sometimes played Abram Chasins' Fantasy on “Schwanda der Dudelsackpfeiffer” {Schwanda the Bagpiper polka],  described as ‘a pretty tune wrapped in bombast’ by Bernard Holland.

 

There were concerts on 21 & 28 March and 4 April in Madrid.   La Voz, Madrid  reports that in the Teatro Espanol ‘el genial pianist Jorge Bolet’ will perform under the direction of maestro José María Franco.   This was Beethoven’s fifth piano concerto, the Emperor: ‘su interpretacion...digna de los grandes artistas’.   Bolet is described as an ‘artista bien dotado, con técnica magnifica.’    Also in the programme were Mendelssohn [Fingal’s Cave  overture]  and  Preludio para un tibor japonés by Julian Bautista (in which the pianist was Aurelio Castrillo).

 

On 17 May 1936 Bolet boarded the SS Columbus at Cherbourg, France and arrive in new York on the 24th.    He is listed as possessing $100 and was aged 21.   His US visa issued in Madrid, on 7 May 26 and his final destination was Philadelphia.   His mother, Mrs A Tremoleda, is listed as residing in Vedado.   He had last left the United States on 26 January 1935.

 

After a summer in Cuba where he gave two piano recitals in Havana, he arrived on the SS Pennsylvania at the Port of New York on 28 September 1936, as a ‘returning USA resident’.   He is aged 21 and his address is a friend’s house, M. Barnhouse , 1701 Delancey St., Philadelphia, PA.   This is the address of Donald Grey Barnhouse, Senior Pastor of the Tenth Presbyterian Church from 1927-1960.  

 

‘Barnhouse was a renaissance man who wanted a more prominent music program and regularly exhorted evangelicals “to rise above artistic philistinism.” He prized the arts, loved singing hymns, and played the piano for personal enjoyment. He also encouraged his family to experience music by taking piano lessons, attending operas and The Philadelphia Orchestra, singing hymns as a family, and hosting Jorge Bolet, the soon-to-be famous pianist who was then studying at the Curtis Institute.   Barnhouse also tried to encourage his church to appreciate excellent music.’ 

 

1936

There were concerts on 21 & 28 March and 4 April in Madrid.   La Voz, Madrid  reports that in the Teatro Espanol ‘el genial pianist Jorge Bolet’ will perform under the direction of maestro José María Franco.   This was Beethoven’s fifth piano concerto, the Emperor: ‘su interpretacion...digna de los grandes artistas’.   Bolet is described as an ‘artista bien dotado, con técnica magnifica.’    Also in the programme were Mendelssohn [Fingal’s Cave  overture]  and  Preludio para un tibor japonés by Julian Bautista (in which the pianist was Aurelio Castrillo).

 

Young Jorge Bolet in the Casimir Hall, Curtis Institute (Wednesday, 9 Dec 1936).   This is a very rare recording.   Overtones 1936, the magazine of the Curtis Institute, has the following:  "Summer 1936 fairly teemed with the peregrinations hither and yon of Curtis Institute people bent upon more or less musical pursuits.   This year the President (Mary Louise Curtis Bok) herself took to the sea and cruised the Arctic Circle. Looming high amongst professional travels was Dr. [Josef] Hofmann's monumental South American tour. Mr. (Fritz) Reiner conducted opera at Covent Garden in June. Jorge Bolet, Curtis graduate, gave two piano recitals in Havana. Jorge, by the way, is back at The Curtis Institute, studying, this time, conducting.

 

On 9th December, Jorge Bolet, pianist, was "guest" in the Curtis Institute "hour." The program featured works of Franz Liszt, commemorating the one hundred and twenty-fifth anniversary of the pianist-composer's birth and the fiftieth anniversary of his death. Mr. Bolet, who is a graduate in piano under Mr David Saperton, opened the concert with Liszt's Fantasie and Fugue in G minor on a Bach Chorale.   Barbara Thorne, soprano, pupil of Miss Harriet van Emden, then sang Es muss ein Wunderbares sein, Du bist wie eine Blume, and Die Lorelei, with Ethel Evans, pupil of Mr Harry Kaufman, at the piano.

 

Returning to the piano, Mr. Bolet played the Liebestraum, Waldesrauschen, Valse impromptu, and La Campanella, [in a version with additions by Busoni?] which brought the concert to a conclusion. 

 

During the years 1936-39 there were concerts in USA, Canada, Cuba, Mexico, Guatemala, Dominican Republic.    Bolet’s concerts in Havana were for Pro-Arte Musical, for the Lyceum, the Anfiteatro, Teatro La Comedia and the Auditorium, with the Filarmonica and the Sinfonica.

It was in 1937 that he made his first public US appearance, in Philadelphia.   This was with the  Philadelphia Orchestra and Eugene Ormandy in the Academy of Music, which is located at 240 S. Broad Street between Locust and Manning Streets in the Avenue of the Arts area of Center City.   It was built in 1855-57 and has been known as the Grand Old Lady of Broad Street.

 

Naumburg Prize

 

In April 1937, JB was awarded the Naumburg Prize, in the thirteenth competition.   There were 55 international competitors and in the final 3 US pianists and Bolet.   The impresario Arthur Judson, the biggest in the US at this date,  added JB to his list.

 

A report in the New York Times for 7 April 1937 states: ‘It was announced yesterday that pianists Ida Krehm and JB etc. had been selected as winners of the annual Walter W. Naumburg Music Foundation [13th] competition.’   The prize was a recital in NYC next season.   The judges included Walter Spaulding of Harvard University, Wallace Goodrich of New England Conservatory, Bruce Simmonds of Yale, Adolfo Bett, formerly of the Flonzaley Quartet and singer Povla Frijsh.

 

There is a review by H. Taubman in the New York Times about Bolet's debut (the Naumburg Prize) at the Town Hall, NYC on Tuesday, 19 October 1937.   The recital included Bach/Liszt G minor Fantasia and Fugue, the rondo from Schubert’s D major sonata (with its delightful rocking-horse/merry-go-round finale), a Chopin group including the Fantasy Op. 49 and 4 etudes, Liszt’s B minor Sonata, Prokofiev, Rachmaninov and Godowsky.

 

 ‘Jorge Bolet, 23-year-old Cuban pianist, made a striking debut at the Town Hall yesterday afternoon, injecting excitement into a season that has leaned heavily thus far on mediocrity.’

 

He subordinates his enormous technique to the music; ‘such understanding is the pathway to rank among the first-rate artists’.  His Chopin sang ‘tenderly, nostalgically, heroically by turns but never effetely.   Mr Bolet tended to be prodigal of his powers...several times he tore into the piano as if he was about to dismantle it and astonishingly the resultant tone was rounded and pleasing in quality.’   But he should learn to limit his compass of dynamics.’

 

In an interview with Elyse Mach in 1988, he said that nothing much came of this recital, despite fabulous reviews.  ‘I had no manager.’    [In the same interview he states that ‘Abram Chasins really turned my playing around.’]

 

Bolet had already performed this recital on Tuesday evening, 19 October at Curtis.  

 

Organ Fantasia and Fugue in G minor (Bach-Liszt)

Rondo from the Sonata in D major, Opus 53 (Franz Schubert)

Etudes: E flat major, Opus 10, No. 11 , C sharp minor. Opus 10, No. 4/  C sharp minor, Opus 25, No. 7/  A minor, Opus 25, No. 11, Fantasie in F minor, Opus 49 (F.Chopin) 

Sonata in B minor (Franz Liszt)

Suggestion diabolique (Serge Prokofiev)

Preludes: E flat major, Opus 23, No. 6 & G sharp minor, Opus 32 (Sergei Rachmaninoff)

Waltzes from "Die Fledermaus" (Strauss-Godowsky)

 

Bolet came from a strongly religious background and several siblings became missionaries for the Protestant faith.    There is a notice in the Reading Eagle around this time, which states that ‘at a Bible conference at Mt. Gretna, where the Rev. James R. Graham Jr., missionary from Xinjiang, China gave a series of talks, music was managed by ‘Señor Jorge Bolet of Havana, Cuba, graduate of the Curtis Institute’.   Reading Eagle, 4 Sept., 1937, Reading Pennsylvania.

 

In a letter from these years, sister Maria writes to a friend, ‘I am so crazy about my little brother that I can understand how proud you must be of yours.  My greatest pride about my little brother is that he really loves Jesus Christ as his savior and he prizes him more than the world with all its glories.  He knows the real value of things and is spiritually alive when so many are dead to God and blind to spiritual things in spite of character and culture. May your brother too find his treasure in Christ.’

 

Maria often worries about Jorge’s health.   ‘Jorge’s concert was a success I thought of you then and wanted you to have heard him.  He went with mother to Santiago de Cuba, a city far away from Havana in the east of the island to give a concert; they will come back next Saturday.  I am afraid he will get too tired, he is not strong now.  We are going in the boat until Key West, then take the train and will arrive to Jax (Jacksonville, FL?) Saturday 17th.’

 

Of her missionary work she writes:

 ‘We are having a small girls’ camp again this year at the Fleidnors mission house in the ancient city of El Escorial, not far from Madrid and we covet your prayers for us at this camp…Word has come from the village that I am forbidden to bring the village the protestant girls from Madrid as I did last year, accusing the girls of bad behavior while in the village which is all a lie of the priest and a plot to keep us out…

 

‘I have been busy and very happy teaching in the Bible school of the West Indies Mission besides attending to the work of our little magazine Revelation.  Part of my work in the Mission has been superintending the children's work…Spain must be evangelized at any cost.  It seems a totally impossible task as long as Generalisimo Franco is in power and the Roman Church in full control…Spain has a right to have an opportunity to hear the good news of salvation..’

In the programme booklet for the concert of February 1938 there is an advert for the venerable Philadelphia firm of Sautter’s Ice Cream & Cakes, 1415-1417 Locust St/ 41 South 13th.

1938 and the Philadelphia Orchestra

On a February afternoon, Friday 4th and the following Saturday and Tuesday, JB made his first appearance with the Philadelphia Orchestra (in its 38th season) and its famous conductor Eugene Ormandy.   Ormandy was born Jenő Ormándy-Blau in Budapest in 1899.   He became internationally famous as the music director and conductor of the Philadelphia Orchestra, beginning his tenure in 1936.  The maestro's 44-year-long association with the Philadelphia is one of the longest enjoyed by any conductor with a single orchestra.  He was friends with the Finnish composer Jean Sibelius and his recording of the Four Symphonic Poems from the Kalevala (also known as the Lemminkäinen Suite) for EMI in 1978 is justly famous.

 

The programme began with Menotti,  Amelia goes to the ball (overture).   Then JB played Rachmaninov’s third piano concerto.   This had last been played by Horowitz on Feb 10/11, 1928; he composer himself had Amelia was finished in the summer of 1936 in Austria and premiered on April 1, 1936 in the Academy of Music with Reiner at the helm.   The score was dedicated to Mary Louise Curtis Bok.

 

Edwin H. Schloss in the Philadelphia Inquirer states that this was ‘an unusually fine performance of the difficult concerto – which is a nice work if you can get it.   Yesterday’s soloist did get it and beautifully.’   He mentions a ‘silken touch, luxuriously rippling technique and (best of all) a head and heart... greatest of ease and the best of good taste.’  The concerto is ‘super-Muscovitish’ in its plaintive mood and Tchaikovskian glamour which makes it a work easily cheapened into sentimentality by Grade B keyboard exhibitionists.   ‘Young Bolet avoided that bog.’  The only possible rife in the lute was the fear that young Bolet does not seem to have acquired ‘a tone of sufficient force and resonance to match his other equipment’.

 

Leopold Godowsky died on Monday 21 November in the Lennox Hill Hospital, NYC.  Bolet was to continue to champion his works for the rest of his career, making a recording of a selection of his arrangements of Chopin’s études and waltzes for the DECCA label in 1978.  

JB's arrival on 15 September 1938 in Miami, Florida.