February 2023

 February is known as the month of love (in the West), which is why this cover will be dedicated to Gregor Piatigorsky (1903 – 1976) and what could be defined as his love for music. The best way to understand this description is to go to the primary source, that is, by reading his own words. The Cellist book is an autobiographical compilation of Gregor Piatigorsky's notes, it inevitably made me remember The First Man by Albert Camus, due to the detailed and sincere way of expressing genuine feelings, without fear, without convincing anyone of anything.

 Gregor Piatigorsky

Image from http://piatigorskyarchives.colburnschool.edu.

 February 2023

 

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Cellist

During the reading, there were moments when tears came to my eyes and I felt a lump in my throat; I must say that few writers have made me cry throughout my life, in fact I avoid reading dramatic novels, because reading the newspapers is enough to add drama to life. It is a wonderful book that I would recommend reading to anyone, even those who don't like to enjoy music, because of its valuable content (even between the lines). I will limit myself to saying that Gregor Piatigorsky was like a Phoenix in many situations in his life, an exiled nightingale, free from ties with invisible deep scars, a lover of music and extremely generous with others. 

It is more than evident that the professional career of a cellist is the opposite of a path of roses. In just one paragraph Piatigorsky wrote:

«My cello has been transported on mules, camels, trucks, rowboats, droshkies, bicycles, gondolas, jeeps, a submarine off Italy, subways, trams, sleds, junks-and on a stretcher in Amalfi. But by far the most nerve-racking experience of all is when, in full dress, I must transport the cello in my own hands across the stage each time I have to play.»

On another chapter he recounted the conversation he had with the pianist Emanuel Bay about his expectations when he first visited the White House:

«In 1930 I was invited to play at the White House for President Hoover. The pianist Emanuel Bey and I arrived in Washington. On the day of the concert I had a visitor from the White House, who came to brief me on the exact procedure of the concert and the supper afterward. Since my English was weak, I referred him to Mr. Bey, and soon, curious about what the gentleman wanted, I went to Bey's room. I found him shaving. "Did you see the man?" "Yes," said Bey phlegmatically.

[Piatigorsky] "What did he want?" Stretching his lip full of lather, he said,
[Bay] "Nothing much."
[Piatigorsky]  "There must be something. I understood it was urgent."
[Bay] "Ridiculous. He wanted to be sure we knew how to behave."
[Piatigorsky]  "What did you say?"
[Bay] "I said that we come from good families and that we know how to behave. You know something? I would not be surprised if they put us musicians somewhere near the kitchen, like in the good old days."»

In addition to his professional demands or his experiences with the "jet set" (in this case politics), in practical issues, he experienced some disappointments:

«I worked with Igor Stravinsky in Paris on the cello arrangement of his Pulcinella Suite. […] Before the manuscript was sent to print, Stravinsky came to see me in New York. He produced a paper and said, "Here is the contract for you to sign. But before you do so, I want to explain the conditions."

[Piatigorsky]  "Conditions? But dear Igor Feodorovitch, I did not count on anything. I was happy to collaborate, and I am glad that the Italian Suite will be published."
[Stravinsky] "No, my friend, you are entitled to royalties. I insist. The question is, if you would agree to the proposition, which is fifty-fifty. To be sure, half for you, half for me."
[Piatigorsky]  "But really!" I protested, not wanting to hear of such a thing.
[Stravinsky] "I am not convinced you understand. May I repeat again: fifty-fifty, half for you, half for me. You see, it's like this: I am the composer of the music, of which we both are the  transcribers. As a composer I get ninety per cent, and as the arrangers we divide the remaining ten per cent into equal parts. In toto, ninety-five per cent for me, five per cent for you, which makes fifty-fifty." 

Chuckling, I signed the contract. Since then I have shied away from fifty-fifty deals, but I continue to love Stravinsky's music and to admire his arithmetic.»

It is clear that Piatigorsky worked tirelessly to build his career, not to mention all the hardships he endured. He could easily have dedicated himself to any other activity, settling in a country, opting for a quieter life, even marrying a wealthy and well-positioned woman. However, the opportunity cost of giving up making music would be so high that he chose to carry the Nansen passport for several years.

I have ever heard someone say that "It is music that chooses you".  It would seem as if a Muse would point to her chosen ones, but perhaps this phrase means that despite the difficult path of those who dedicate themselves to music, they will continue without hesitation. Piatigorsky was once concerned about a student:

«There was a difficult situation with a student of whom I was particularly fond. His talent captivated me. Sensitive, with good taste, and equipped with perfect build for his instrument, here, I thought, was a born virtuoso. Never did I wish more ardently to pass on to another all I knew. Believing in making my thoughts clear by examples, I played for him at the lessons, repeating passages and pieces he played. I criticized, praised, and analyzed, and I played for him-trying, and at times succeeding, to surpass myself.
The harder I tried, the less happy he seemed. At first slowly, and then increasingly from lesson to lesson, his playing worsened until all his previous qualities almost vanished. It was heartbreaking to watch such disintegration, and, unable to explain its cause, I developed a frustrating feeling of bewilderment and guilt.»

However, a characteristic of teachers committed to their work is precisely their attention to the growth of their students. Perhaps that student just needed to feel love for music, but there is no technique that makes that feeling flourish.

Without a doubt, the cover of the month of love is the ideal one to dedicate to Gregor Piatigorsky.

Reference

PIATIGORSKY GREGOR, Cellist, Montagnana Books, 1965.