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| caption = 1960s
| caption = 1960s
| birth_name = Edith Peinemann
| birth_name = Edith Peinemann
| birth_date = 1937
| birth_date = {{Birth date and age|1937|3|3|df=yes}}
| birth_place = Mainz, Germany
| birth_place = Mainz, Germany
| death_date = <!-- {{Death date and age|YYYY|MM|DD|YYYY|MM|DD}} or {{Death-date and age|Month DD, YYYY|Month DD, YYYY}} (death date then birth date) -->
| death_date = <!-- {{Death date and age|YYYY|MM|DD|YYYY|MM|DD}} or {{Death-date and age|Month DD, YYYY|Month DD, YYYY}} (death date then birth date) -->
| death_place =
| death_place =
| nationality = German
| nationality = German
| other_names =
| other_names =
| known_for =
| known_for =
| occupation = Violinist
| occupation = Violinist
}}
}}


'''Edith Peinemann''' (born 1937) is a German violinist.
'''Edith Peinemann''' (born 3 March 1937) is a German violinist.


==Career==
==Career==


She was born in [[Mainz, Germany]], the daughter of a Mainz orchestra's concertmaster, with whom she learned violin until the age of fourteen.<ref>Kennedy, Michael. ed. ''The Concise Oxford Dictionary of Music'', Oxford Univ. Press (2004) p. 553</ref> She later studied with [[Max Rostal]] in London,<ref name=Charry>Charry, Michael. ''George Szell: A Life of Music'', Univ. of Illinois Press (2011) pp. 210-219</ref> and would fulfill the "prophecy of violinist [[Yehudi Menuhin]] who, upon hearing her play when she was 19, predicted a 'brilliant and successful career'."<ref name=Apone/>
Peinemann was born in [[Mainz]], Germany, the daughter of a Mainz orchestra's [[concertmaster]], with whom she learned violin until the age of fourteen.<ref>[[Michael Kennedy (music critic)|Kennedy, Michael]]. ed. ''The Concise Oxford Dictionary of Music'', Oxford University Press (2004) p. 553</ref> She later studied with [[Max Rostal]] in London,<ref name=Charry>Charry, Michael. ''George Szell: A Life of Music'', University of Illinois Press (2011) pp. 210-219</ref> and would fulfill the "prophecy of violinist [[Yehudi Menuhin]] who, upon hearing her play when she was 19, predicted a 'brilliant and successful career'."<ref name=Apone />


In 1956 she won the first prize in the International Competition of the German Radio in [[Munich]]. At that competition, conductor [[William Steinberg]], who was among the judges, invited her to make her American debut with the [[Pittsburgh Symphony Orchestra]], which she did in 1962. Word spread among Germany's conductors, such as [[Max Rudolf]], about her achievements in the U.S., including her Cleveland debut where she played [[Dvorak]]'s [[Violin Concerto (Dvořák)|Violin Concerto]].<ref name=Charry/> Reviews of that concert were positive, with Carl Apone noting that Dvorak's concerto was "a proving ground on which to separate the men from the boys:"<ref name=Apone>Apone, Carl. ''The Pittsburgh Press'', Nov. 24, 1962</ref>
In 1956, she won the first prize in the International Competition of the German Radio in Munich. At that competition, conductor [[William Steinberg]], who was among the judges, invited her to make her American debut with the [[Pittsburgh Symphony Orchestra]], which she did in 1962. Word spread among Germany's conductors, such as [[Max Rudolf (conductor)|Max Rudolf]], about her achievements in the U.S., including her Cleveland debut where she played [[Antonín Dvořák|Dvorak]]'s [[Violin Concerto (Dvořák)|Violin Concerto]].<ref name=Charry/> Reviews of that concert were positive, with Carl Apone noting that Dvořák's concerto was "a proving ground on which to separate the men from the boys:"<ref name=Apone>Apone, Carl. ''[[The Pittsburgh Press]]'', November 24, 1962</ref>
{{quote|By the time Germany's Edith Peinemann, 24, had reached the end of the first movement, it was obvious that this serious musician had the situation well in hand. . . When Miss Peinemann had completed her evening's work, she was called back for six curtain calls . . some of the men in the audience, as impressed with her physical beauty as with her musical talent. . . The orchestra violinists raved about her playing in a manner not often heard here and swarmed around to congratulate her.<ref name=Apone/>}}
{{quote|By the time Germany's Edith Peinemann, 24, had reached the end of the first movement, it was obvious that this serious musician had the situation well in hand. . . When Miss Peinemann had completed her evening's work, she was called back for six curtain calls . . some of the men in the audience, as impressed with her physical beauty as with her musical talent. . . The orchestra violinists raved about her playing in a manner not often heard here and swarmed around to congratulate her.<ref name=Apone />}}


Hungarian-born American conductor and composer [[George Szell]] saw her perform in Cleveland, invited her to perform with him at the Concertgebouw in Rotterdam in 1963, the Berlin Philharmonic, and the New York Philharmonic, and often gave her coaching before concerts. She began to call him "Uncle George," as they developed a close friendship during that period. Szell made a special attempt to obtain private funds from wealthy donors to buy her a violin of finer quality, which he helped her select. Peinemann recalls his assistance:
Hungarian-born American conductor and composer [[George Szell]] saw her perform in Cleveland, invited her to perform with him at the [[De Doelen|Concertgebouw]] in Rotterdam in 1963, the [[Berlin Philharmonic]], and the [[New York Philharmonic]], and often gave her coaching before concerts. She began to call him "Uncle George," as they developed a close friendship during that period. Szell made a special attempt to obtain private funds from wealthy donors to buy her a violin of finer quality, which he helped her select. Peinemann recalls his assistance:
{{quote|[Szell] was in Zurich and I had my violin dealer from Bern who had a lot of fine instruments come to Zurich. We went to the concert hall there and Mr. Szell went into the audience and I played to him five fine violins: two Guarnieri, three [[Stradivari]]. And he chose the one I have now, a [[Guarnieri]]. . . . He was marvelous to young musicians.<ref name=Charry/>}}
{{quote|[Szell] was in Zurich and I had my violin dealer from Bern who had a lot of fine instruments come to Zurich. We went to the concert hall there and Mr. Szell went into the audience and I played to him five fine violins: two [[Guarneri]], three [[Stradivari]]. And he chose the one I have now, a Guarneri. . . . He was marvelous to young musicians.<ref name=Charry />}}


She performed as a soloist with the Chicago Symphony Orchestra at the start of their new year in 1966,<ref>''Billboard'', Dec. 4, 1965</ref> and with the Atlanta Symphony in January, with [[Robert Mann]] conducting.<ref>''Life'' magazine. Oct. 14, 1966 p. 34</ref>
She performed as a soloist with the [[Chicago Symphony Orchestra]] at the start of their new year in 1966,<ref>''Billboard'', December 4, 1965</ref> and with the [[Atlanta Symphony]] in January, with [[Robert Mann]] conducting.<ref>''Life'' magazine. October 14, 1966 p. 34</ref>


In 1967, after working with Szell to perfect a performance of [[Violin Concerto No. 2 (Bartók)|Bartok's Violin Concerto No. 2]] along with a Beethoven concerto, he asked her to perform Mozart's concerto (the G Major), as Mozart, notes historian Michael Charry, was "a composer he reserved for his favorite and most mature artists.<ref name=Charry/>
In 1967, after working with Szell to perfect a performance of [[Violin Concerto No. 2 (Bartók)|Bartok's Violin Concerto No. 2]] along with a Beethoven concerto, he asked her to perform Mozart's [[Violin Concerto No. 3 (Mozart)|Violin Concerto No.&nbsp;3]], as Mozart, notes historian Michael Charry, was "a composer he reserved for his favorite and most mature artists.<ref name=Charry />


==Later career==
==Later career==
She continued her career over the following decades, becoming a professor of music at [[Frankfurt University of Music and Performing Arts]] from 1976, and is listed among their notable teachers, having taught other notable violinists, including [[Yaakov Rubinstein]].<ref>[http://www.rubinsteinklezmerproject.com/magical-trio/ya-akov-rubinstein.html "Ya'akov Rubinstein], Rubinstein Klezmer Project</ref> She performed as soloist with the Cleveland Symphony in July 1987.<ref>''Cincinnati Magazine'', July 1987 p. 31</ref>
Peinemann continued her career over the following decades, becoming a professor of music at [[Frankfurt University of Music and Performing Arts]] from 1976, and is listed among their notable teachers, having taught other notable violinists, including [[Yaakov Rubinstein]].<ref>[http://www.rubinsteinklezmerproject.com/magical-trio/ya-akov-rubinstein.html "Ya'akov Rubinstein"], Rubinstein Klezmer Project</ref> She performed as soloist with the [[Cleveland Symphony]] in July 1987.<ref>''Cincinnati Magazine'', July 1987 p. 31</ref>


Music professor Dr. David C. F. Wright, in an article acknowledging her contributions, notes that she made her American debut at Carnegie hall in 1965. In later years, she gave master classes at the Cleveland Institute of Music, Indiana University at Bloomington, Kasatsu Festival in Japan and the Lucerne Conservatory. In 2005, she was the international president of ESTA, the European String Teacher's Association. Wright offers his impression of her abilities:
Music professor Dr. David C. F. Wright, in an article acknowledging her contributions, notes that she made her American debut at [[Carnegie Hall]] in 1965. In later years, she gave [[master class]]es at the [[Cleveland Institute of Music]], Indiana University at Bloomington, [[Kusatsu, Gunma#Festivals and events|Kusatsu Festival]] in Japan and the Lucerne Conservatory. In 2005, she was the international president of ESTA, the European String Teacher's Association. Wright offers his impression of her abilities:
{{quote|Her recordings are few. There is the Dvorak Concerto, Prokofiev 1 and a sensational performance of the Berg conducted by Rudolph Kempe. I have heard and marvelled at her solo Bach and Bruch's first concerto with the BBC Philharmonic . . . Along with [[Ginette Neveu]], she is the best.<ref>Wright, David C. F. [http://www.wrightmusic.net/pdfs/music-in-mainz-and-frankfurt.pdf "Music in Mainz and Frankfurt"]</ref>}}
{{quote|Her recordings are few. There is the Dvořák Concerto, [[Violin Concerto No. 1 (Prokofiev)|Prokofiev 1]] and a sensational performance of [[Violin Concerto (Berg)|the Berg]] conducted by [[Rudolf Kempe]]. I have heard and marvelled at her solo Bach and [[Violin Concerto No. 1 (Bruch)|Bruch's first concerto]] with the [[BBC Philharmonic]] ... Along with [[Ginette Neveu]], she is the best.<ref>Wright, David C. F. [http://www.wrightmusic.net/pdfs/music-in-mainz-and-frankfurt.pdf "Music in Mainz and Frankfurt"]</ref>}}


Critic Roger Hecht described her recorded performance with Kempe:
Critic Roger Hecht described her recorded performance with Kempe:
{{quote|Edith Peinemann was a cult figure among violinists, and it is easy to hear why . . . it is clear that she saw herself as a member of an ensemble rather than a virtuoso soloist. Her warm tone and singing style fit Kempe’s approach well. The interplay between violin and orchestra is a pleasure to hear from the opening bars which actually glisten.<ref>[http://www.norpete.com/c0606.html Review: "Rudolf Kempe, w.Edith Peinemann (BBC Legends 4215)"] </ref>}}
{{quote|Edith Peinemann was a cult figure among violinists, and it is easy to hear why ... it is clear that she saw herself as a member of an ensemble rather than a virtuoso soloist. Her warm tone and singing style fit Kempe's approach well. The interplay between violin and orchestra is a pleasure to hear from the opening bars which actually glisten.<ref>[http://www.norpete.com/c0606.html Review: "Rudolf Kempe, with Edith Peinemann (BBC Legends 4215)"]</ref>}}


==Notes==
==Notes==
{{reflist}}
{{reflist}}

==External links==
*[http://www.wrightmusic.net/pdfs/edith-peinemann.pdf Biographical notes]] by David C. F. Wright
*{{Allmusic|class=artist|id=edith-peinemann-q45321}}

{{Persondata
| NAME =Peinemann, Edith
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =German classical violinist
| DATE OF BIRTH =3 March 1937
| PLACE OF BIRTH =Mainz, Germany
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Peinemann, Edith}}
[[Category:1937 births]]
[[Category:People from Mainz]]
[[Category:German classical violinists]]

Revision as of 12:44, 9 May 2012

Edith Peinemann
photo of violinist Edith Peinemann
1960s
Born
Edith Peinemann

(1937-03-03) 3 March 1937 (age 87)
Mainz, Germany
NationalityGerman
OccupationViolinist

Edith Peinemann (born 3 March 1937) is a German violinist.

Career

Peinemann was born in Mainz, Germany, the daughter of a Mainz orchestra's concertmaster, with whom she learned violin until the age of fourteen.[1] She later studied with Max Rostal in London,[2] and would fulfill the "prophecy of violinist Yehudi Menuhin who, upon hearing her play when she was 19, predicted a 'brilliant and successful career'."[3]

In 1956, she won the first prize in the International Competition of the German Radio in Munich. At that competition, conductor William Steinberg, who was among the judges, invited her to make her American debut with the Pittsburgh Symphony Orchestra, which she did in 1962. Word spread among Germany's conductors, such as Max Rudolf, about her achievements in the U.S., including her Cleveland debut where she played Dvorak's Violin Concerto.[2] Reviews of that concert were positive, with Carl Apone noting that Dvořák's concerto was "a proving ground on which to separate the men from the boys:"[3]

By the time Germany's Edith Peinemann, 24, had reached the end of the first movement, it was obvious that this serious musician had the situation well in hand. . . When Miss Peinemann had completed her evening's work, she was called back for six curtain calls . . some of the men in the audience, as impressed with her physical beauty as with her musical talent. . . The orchestra violinists raved about her playing in a manner not often heard here and swarmed around to congratulate her.[3]

Hungarian-born American conductor and composer George Szell saw her perform in Cleveland, invited her to perform with him at the Concertgebouw in Rotterdam in 1963, the Berlin Philharmonic, and the New York Philharmonic, and often gave her coaching before concerts. She began to call him "Uncle George," as they developed a close friendship during that period. Szell made a special attempt to obtain private funds from wealthy donors to buy her a violin of finer quality, which he helped her select. Peinemann recalls his assistance:

[Szell] was in Zurich and I had my violin dealer from Bern who had a lot of fine instruments come to Zurich. We went to the concert hall there and Mr. Szell went into the audience and I played to him five fine violins: two Guarneri, three Stradivari. And he chose the one I have now, a Guarneri. . . . He was marvelous to young musicians.[2]

She performed as a soloist with the Chicago Symphony Orchestra at the start of their new year in 1966,[4] and with the Atlanta Symphony in January, with Robert Mann conducting.[5]

In 1967, after working with Szell to perfect a performance of Bartok's Violin Concerto No. 2 along with a Beethoven concerto, he asked her to perform Mozart's Violin Concerto No. 3, as Mozart, notes historian Michael Charry, was "a composer he reserved for his favorite and most mature artists.[2]

Later career

Peinemann continued her career over the following decades, becoming a professor of music at Frankfurt University of Music and Performing Arts from 1976, and is listed among their notable teachers, having taught other notable violinists, including Yaakov Rubinstein.[6] She performed as soloist with the Cleveland Symphony in July 1987.[7]

Music professor Dr. David C. F. Wright, in an article acknowledging her contributions, notes that she made her American debut at Carnegie Hall in 1965. In later years, she gave master classes at the Cleveland Institute of Music, Indiana University at Bloomington, Kusatsu Festival in Japan and the Lucerne Conservatory. In 2005, she was the international president of ESTA, the European String Teacher's Association. Wright offers his impression of her abilities:

Her recordings are few. There is the Dvořák Concerto, Prokofiev 1 and a sensational performance of the Berg conducted by Rudolf Kempe. I have heard and marvelled at her solo Bach and Bruch's first concerto with the BBC Philharmonic ... Along with Ginette Neveu, she is the best.[8]

Critic Roger Hecht described her recorded performance with Kempe:

Edith Peinemann was a cult figure among violinists, and it is easy to hear why ... it is clear that she saw herself as a member of an ensemble rather than a virtuoso soloist. Her warm tone and singing style fit Kempe's approach well. The interplay between violin and orchestra is a pleasure to hear from the opening bars which actually glisten.[9]

Notes

  1. ^ Kennedy, Michael. ed. The Concise Oxford Dictionary of Music, Oxford University Press (2004) p. 553
  2. ^ a b c d Charry, Michael. George Szell: A Life of Music, University of Illinois Press (2011) pp. 210-219
  3. ^ a b c Apone, Carl. The Pittsburgh Press, November 24, 1962
  4. ^ Billboard, December 4, 1965
  5. ^ Life magazine. October 14, 1966 p. 34
  6. ^ "Ya'akov Rubinstein", Rubinstein Klezmer Project
  7. ^ Cincinnati Magazine, July 1987 p. 31
  8. ^ Wright, David C. F. "Music in Mainz and Frankfurt"
  9. ^ Review: "Rudolf Kempe, with Edith Peinemann (BBC Legends 4215)"

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