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Yefim Bronfman: Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30

Yefim Bronfman – Wikipedia

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Summary of article content: Articles about Yefim Bronfman – Wikipedia Yefim “Fima” Naumovich Bronfman (Russian: Ефим Наумович Бронфман; born April 10, 1958) is a Soviet-born Israeli-American pianist. …
Most searched keywords: Whether you are looking for Yefim Bronfman – Wikipedia Yefim “Fima” Naumovich Bronfman (Russian: Ефим Наумович Бронфман; born April 10, 1958) is a Soviet-born Israeli-American pianist.
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Yefim Bronfman - Wikipedia — Yefim Bronfman – Wikipedia

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Summary of article content: Articles about Yefim Bronfman – Wikidata Yefim Bronfman. pianista soviético-israelí-estadounense. Traditional Chinese … Russian Wikipedia · imported from Wikimedia project · Czech Wikipedia. …
Most searched keywords: Whether you are looking for Yefim Bronfman – Wikidata Yefim Bronfman. pianista soviético-israelí-estadounense. Traditional Chinese … Russian Wikipedia · imported from Wikimedia project · Czech Wikipedia. Israeli-American pianist
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Yefim Bronfman - Wikidata — Yefim Bronfman – Wikidata

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Summary of article content: Articles about Yefim Bronfman Yefim “Fima” Naumovich Bronfman ( tiếng Nga : Ефим Наумович Бронфман ; sinh ngày 10 tháng 4 năm 1958) là một nghệ sĩ piano người Mỹ gốc Israel gốc Liên Xô . …
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Summary of article content: Articles about Yefim Bronfman, the official website To start, I will leave it to the great novelist Philip Roth to describe Yefim Bronfman, who played Beethoven’s “Piano Concerto No. …
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Yefim Bronfman, the official website

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Summary of article content: Articles about Yefim Bronfman Net Worth, Age, Height, Weight, Wife, Wiki, Family 2022 – Biography Yefim Bronfman (Born on 10-Apr-1958, in United States) is Pianist. Learn Yefim Bronfman’s net worth, wiki, bio, career, height weight, … …
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Yefim Bronfman

Yefim Bronfman (2008)

Yefim “Fima” Naumovich Bronfman (Russian: Ефим Наумович Бронфман; born April 10, 1958) is a Soviet-born Israeli-American pianist.

Biography [ edit ]
Bronfman was born in Tashkent, Uzbek SSR, and immigrated to Israel at the age of 15. He became an American citizen in 1989.[1]
Bronfman’s teachers were Rudolf Firkušný, Leon Fleisher, and Rudolf Serkin.[2][3] He made his international debut in 1975 with Zubin Mehta and the Montreal Symphony Orchestra.

He made his Carnegie Hall debut in 1989 and gave a series of recitals with Isaac Stern in 1991. He won a Grammy award in 1997 for his recording of the three Bartók piano concertos with Esa-Pekka Salonen and the Los Angeles Philharmonic. Another recording with Salonen, of the concertos of Sergei Rachmaninoff, was pirated by the record label Concert Artist and re-issued with the piano part falsely attributed to Joyce Hatto.

Bronfman is also devoted to chamber music and has performed with many chamber ensembles and instrumentalists.

He made a set of Sergei Prokofiev’s complete sonatas and concertos (with Zubin Mehta and the Israel Philharmonic Orchestra) for Sony Records.[4]
Yefim Bronfman (2009)

In 1999, he appeared in Disney’s Fantasia 2000, in a short clip introducing the “Steadfast Tin Soldier” segment. His rendition of Dmitri Shostakovich’s Piano Concerto No. 2 in F major (1st movement) with the Chicago Symphony Orchestra is the music used for the segment.

In March, 2006, Bronfman performed Shostakovich’s Piano Concerto No. 1 with the San Francisco Symphony conducted by Mstislav Rostropovich.

Bronfman has also made appearances with the Milwaukee Symphony Orchestra and the Orlando Philharmonic Orchestra, performing Beethoven’s “Emperor” Concerto.

His recent appearances have included performances with the Orchestre de Paris and the Singapore Symphony Orchestra; Bronfman has also appeared as a Pennington Great Performers series artist with the Baton Rouge Symphony Orchestra in 2005 and again in 2007. In January 2007, he also premiered Esa-Pekka Salonen’s Piano Concerto, of which he is the dedicatee, with the New York Philharmonic conducted by the composer. This was later followed by a European premiere at The Proms with the BBC Symphony Orchestra. In May 2008, Bronfman performed Johannes Brahms’ Piano Concerto No. 1 with Michael Tilson Thomas and the San Francisco Symphony, during a three-week Brahms Festival. On September 3, 2008, Bronfman performed Piano Concerto No. 3 in D minor by Rachmaninoff under the direction of Michael Tilson Thomas at the Opening Gala of the San Francisco Symphony, and on September 28 and 29 with the St. Louis Symphony Orchestra, under the direction of David Robertson. On March 25 and 26, 2009, he performed it yet again, this time under the baton of Pinchas Zukerman with the National Arts Centre Orchestra in Ottawa, Ontario, Canada. Bronfman performed Brahms’s Second Piano Concerto with the Houston Symphony Orchestra March 12–15, 2009, under the baton of Maestro Hans Graf, resident Music Director. In September 2021, he played Piano Concerto No. 3 in D minor by Rachmaninoff with the Rotterdam Philharmonic Orchestra, under the direction of Maestro Lahav Shani at the George Enescu Festival in Bucharest.

Cultural references [ edit ]
In The Human Stain by Philip Roth, the narrator attends a rehearsal at Tanglewood at which Bronfman performs. The following description is offered (pages 209–10):

Then Bronfman appears. Bronfman the brontosaur! Mr. Fortissimo. Enter Bronfman to play Prokofiev at such a pace and with such bravado as to knock my morbidity clear out of the ring. He is conspicuously massive through the upper torso, a force of nature camouflaged in a sweatshirt, somebody who has strolled into the Music Shed out of a circus where he is the strongman and who takes on the piano as a ridiculous challenge to the gargantuan strength he revels in. Yefim Bronfman looks less like the person who is going to play the piano than like the guy who should be moving it. I had never before seen anybody go at a piano like this sturdy little barrel of an unshaven Russian Jew. When he’s finished, I thought, they’ll have to throw the thing out. He crushes it. He doesn’t let that piano conceal a thing. Whatever’s in there is going to come out, and come out with its hands in the air. And when it does, everything there out in the open, the last of the last pulsation, he himself gets up and goes, leaving behind him our redemption. With a jaunty wave, he is suddenly gone, and though he takes all his fire off with him like no less a force than Prometheus, our own lives now seem inextinguishable. Nobody is dying, nobody—not if Bronfman has anything to say about it.

Yefim Bronfman, the official website

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Bronfman and CSO forge a powerhouse partnership with Beethoven

Chicago Sun Times

February 17, 2017

By Hedy Weiss

http://tinyurl.com/h9nnwrk

To start, I will leave it to the great novelist Philip Roth to describe Yefim Bronfman, who played Beethoven’s “Piano Concerto No. 4 in G Major” Thursday evening as Maestro Riccardo Muti led the Chicago Symphony Orchestra. Although in his book “The Human Stain” Roth describes the pianist playing a work by Prokofiev, the overall impression of the musician needs little editing.

As Roth writes: “Then Bronfman appears. Bronfman the brontosaur! Mr. Fortissimo! Enter Bronfman to play at such a pace and with such bravado as to knock my morbidity clear out of the ring. He is conspicuously massive through the upper torso . . . somebody who has strolled into the music shed out of a circus where he is the strongman and who takes on the piano as a ridiculous challenge to the gargantuan strength he revels in. Yefim Bronfman looks less like the person who is going to play the piano than like the guy who should be moving it. I had never before seen anybody go at a piano like this sturdy little barrel of an unshaven Russian Jew.”

Listening to Bronfman play Beethoven’s familiar concerto is like being in a crowded room when suddenly a profound conversationalist begins to speak and everyone just steps back to listen with rapt attention. The pianist is, indeed, a bear of a man, and when that heft is called for in this piece, he is there to deliver it. He can roar, but he also can whisper. He can conjure a multitude of dynamics, shifting quickly from one extreme to another – making little fuss with the simple opening chords of that first movement, and later grabbing hold of great solo interludes with such force that by the end of the first movement even the CSO’s sophisticated audience broke an unspoken taboo and erupted into spontaneous applause.

Of course, the CSO and Muti can do much same thing, shifting from the concerto’s lightest, most fluid, rippling passages, to its slower, more considered sequences, to the fury of the strings (altogether ravishing) in the second movement. And there are moments when the overall structure of the piece, and its seamless melding of moods, just makes you sit up and revel anew at the genius of Beethoven.

For the program’s opener, Muti chose something of an “amuse bouche” – the Overture to Rossini’s opera “Semiramide.” Although the opera itself is a tragedy, the shifts from a delicate, skittering energy to full-out storminess, from the sweetness of one theme to the mellow sound of a full complement of French horns, is easily engaging. And Rossini clearly is mother’s milk to Muti.

The second half of the program was devoted to Mendelssohn’s “Symphony No. 5 in D Major (Reformation),” and true to its title, it heralds the establishment of the Lutheran faith, to the point where at one moment you can almost hear Martin Luther nailing to a door the paper containing the 95 revolutionary opinions that would begin the Protestant Reformation.

The irony in all this is that Mendelssohn was from a prominent German-Jewish family that, feeling the impact of European anti-Semitism, made the decision to convert to Lutheranism. His symphony, superbly played here, unquestionably summons up the notion of an emergent and then fully triumphant movement, with the liturgical weight leavened by passages with an almost dancing, lyrical sweetness. Yet I can’t say I was swept away by this work. I would much prefer to hear this composer’s “Violin Concerto,” “String Octet” or music for “A Midsummer Night’s Dream. ”

Cleveland Orchestra returns to Bruckner and Widmann with renewed, clearer vision (review)

Cleveland.com

January 13, 2017

By Zachary Lewis

http://tinyurl.com/gwtlkxh

CLEVELAND, Ohio – Out of agony this week at Severance Hall comes a disproportionate degree of ecstasy.

No matter that both works on the program were conceived at least partially in sadness. The Cleveland Orchestra and music director Franz Welser-Most still manage to make the experience of them uplifting.

As well they might have been expected to do. Both Bruckner and Jorg Widmann are composers with whom the musicians are intimately familiar. Welser-Most has been an avid (some might say too avid) champion of Widmann, and the symphonies of Bruckner have emerged as hallmarks of his tenure.

That intimacy certainly shone through the performance of Bruckner’s Symphony No. 7 Thursday night. After several years away from the score and a DVD recording, Welser-Most returned to the piece with seemingly clearer eyes, more determined than ever to reveal its structural and emotional wonders.

Never has the conductor taken a smooth, luxurious approach to Bruckner. His preference, exemplified again Thursday, has always been to revel in the music’s abruptness, to celebrate its contrasts and never to deprive listeners of a tumultuous, rough-and-tumble ride.

Nowhere was this philosophy more evident, or more greatly appreciated, than in the symphony’s Finale. As the cap to Bruckner’s long musical journey, Welser-Most gave each force in the orchestra, especially the brass, carte blanche, even at the expense of balance, elegance, and other niceties. The result was a turbulent wrestling match, in which the tide shifted often and the struggle was relentless.

No less effective was the Adagio. If ever there were a piece Welser-Most was born to conduct, this is it. In that one movement, Bruckner audibly grapples with all the eternal questions and ultimately transforms his melancholy over the imminent death of Wagner into a grand affirmation of life and faith.

The performance Thursday lacked for nothing. The lyrical opening was as tender and achingly beautiful as could be, the long, gradual rise to resolution wholly organic and irresistible. On top of that came a devastating climax.

The takeaway from the first movement, meanwhile, was Bruckner’s structural genius. After taking a few bars to settle, Welser-Most and the orchestra set about erecting a solid tower in which every component, from the foundation to the peak, was audibly, inextricably, and poignantly linked. They did so, too, without applying gloss or making any attempt to patch over the bumps.

Structure was also one of several admirable traits of Widmann’s “Trauermarsch” (“Funeral March”), an absorbing, single-movement piano concerto performed by pianist Yefim Bronfman. Even as the 25-minute score, a joint commission from 2014, ranged in innumerable, chaotic directions, a simple stepping motif persisted, lumbering steadily beneath it all.

Color and texture were its other finest qualities. Brilliant as he was negotiating a dense and wandering thicket at the keyboard, Bronfman was only the most prominent element in a dazzling chromatic patchwork.

Bolstered by a host of unusual percussion instruments, the orchestra joined and dovetailed the piano on a stately trek interrupted by everything from bouts of frenetic screaming to alien melodies. A few profoundly low notes on the rarely-heard contrabass clarinet endowed the conclusion with a chilling air of finality.

Musical ecstasy comes in many forms, and this, surely, was one of them.

Yefim Bronfman Net Worth, Age, Height, Weight, Wife, Wiki, Family 2022

Yefim Bronfman is a Russian-born American pianist. He began studying the piano at the age of six, and made his concert debut at the age of nine. He studied at the Moscow Conservatory with Tatiana Kuznetsova, and later with Rudolf Serkin at the Curtis Institute of Music in Philadelphia. Bronfman has won several prestigious awards, including the Gold Medal at the Tchaikovsky Competition in Moscow (1978), first prize at the Arthur Rubinstein International Piano Competition (1981), and the Grammy Award for Best Classical Instrumental Soloist Performance (1998). He has also been awarded the National Medal of Arts (2006) and the Kennedy You might be interested to know more about Yefim Bronfman. So, in this article, we discussed all information about Yefim Bronfman’s net worth, wiki, bio, career, height, weight, family, pics, affairs, car, salary, age, and other details in 2022. Continue reading to discover who is Yefim Bronfman.

Yefim Bronfman Biography

Yefim Bronfman

Do you wanna know the Yefim Bronfman’s full Biodata? Yefim Bronfman is a Pianist. He was born in Tashkent, Uzbek SSR on April 10, 1958. He is 64 years old. Take a look at the following table for more information.

Name Yefim Bronfman Nickname None Gender Male Date of Birth 10-Apr-1958 Age in 2022 64 Birth Place Tashkent, Uzbek SSR Country United States Nationality American Height None Weight Weight Profession Pianist

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Birthday April 10, 1958 Name of the Day Thursday Next Birthday 10 April, 2023 Age 64 years Place of Birth Tashkent, Uzbek SSR Country of Birth United States

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In Pound: Not known Eye Color Black Hair Color Black (Approx)

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School Yet to update College Yet to update University Yet to update

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Top 19 Yefim Bronfman Wiki 25 Most Correct Answers

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