Arnold Földesy (1882-1940): Hongaars cellist, studeerde bij Hugo Becker en David Popper.
Hij was eerste cellist van de Berliner Philharmoniker voordat hij een solocarrière startte. Földesy nam tussen 1915-1919 op voor HMV, begin jaren ’20 voor Odeon en rond de jaren ’30 opnieuw voor HMV.
In deze post een opname van een Odeon opname uit begin jaren '20 en één rond 1930. De Kol Nidrei HMV 78t.plaat (aardig om te vergelijken met een eerdere post van de cellist Felix Salmond) is helaas van slechte kwaliteit met forse beschadigingen. Ik heb de opname wat forser bewerkt dan ik normaal doe, de ergste harde tikken heb ik handmatig verwijderd. Ondanks die matige kwaliteit is goed te horen hoe prachtig Földesy's cello klinkt.
Drie fragmenten waarin verteld wordt over Arnold Földesy, de eerste uit 1905:
American soprano Elizabeth Parkina headed a concert party, including the 22 year old Hungarian cellist Arnold Foldesy (and New Zealand flautist John Amadio, later the husband of Florence Austral), to Australia in 1905. "It was the strongest combination to visit Australia for a long time and a pleasant change from companies which consisted of one star and several mediocrities as padding, said the Sydney Mail. It was also pleasant for Australians to hear a concert company of artists on the threshold of their careers, instead of those who had decided to pay a long-delayed visit to this part of the world before they retired; [the common complaint about has-beens visiting for J.C. Williamson's]. Foldesy displayed brilliant virtuosity in his cello-playing." -- Source: Entertaining Australia : an illustrated history / Katharine Brisbane (ed.). Sydney : Currency Press, 1991 (p.144)
Uit de New York Times, 6 november 1907 een niet erg positieve recensie van zijn Amerikaans debuut:
Arnold Földesy, a violoncellist from Hungary, made his first American appearance last evening in Mendelssohn Hall before a large throng of his country men and women. He is a player of considerable technical fluency, but his tone is frequently rough and reedy in quality, and in rapid passage work tends towards scratchiness. He played a sonata by Benedetto Marcello, two movements from a concerto by Gottermann, an aria by Lotti, Popper’s Spinnlied, and a transcription of his own of Paganini’s violin fantasia on Rossini’s “Moses”.
Volgens de onvolprezen Damian is Földesy’s cello nu in het bezit van Daniel Müller-Scholl. We lezen in de autobiografie van de cellist Gregor Piatigorsky (1903-1976) o.a. hoe Gregor zelf in het bezit is gekomen van de cello van Földesy, en zich daar bezwaard over voelde. We krijgen ook een beeld van het karakter van deze bijzondere cellist.
Uit hoofdstuk 20 van CELLIST, the autobiography, van Gregor Piatigorsky (1903-1976):
I spent much time with my friends, fellow cellists. We met privately, played together, discussed music, and attended each other's concerts. Cassado, Eisenberg, Feuermann, Földesy, Garbousova, Mainardi, Marechal-all had qualities to generate my enthusiasm. Cassado and Mainardi composed prolifically for their instrument and dedicated some of their pieces to me.
At one time I saw a great deal of Arnold Földesy, the Hungarian cellist. Unreliable and exuberant, and not very scholarly, he had a peasant-like directness, and his mastery of his instrument attracted me. His very appearance, with his one glass eye and worn face, his princely largesse, and his cello, which rested on a pin about only half an inch from the floor, was as unusual as his artistry.
"Come in, don't be bashful," he shouted when I found him with his cello, practicing naked while his wife massaged his head. She brought in a basin of hot water for his foot bath, and he handed his cello to me. I loved his instrument. He said it was an early Stradivari, but then again, he said, it might be an Amati. He indicated a bad soundpost crack on the back and said it was the worst of cancers, but I still liked the sound and looks of the cello, and the "cancer" only made me feel the more tender toward it.
One night, after his appearance with the Philharmonic Orchestra, of which he had preceded me as first cellist, I attended a reception in his honor. He was the last to arrive. The moment he entered the exquisite parlor, the hostess and her guests watched him look around and walk directly toward me.
"What a conglomeration!" he boomed. "Let's leave these bores and go have beer and something to eat." He grabbed me by the hand and led me out.
"You shouldn't have done that."
"Oh hell, I didn't fit there anyway, and besides, my wife was not even invited. She would rather stay home and prepare paprika goulash. You never tasted anything like it."
He was right. It was a dream of a goulash. We ate and talked for many hours.
"Arnold thinks he is Kaiser Franz Josef, or something," Mrs. Földesy said the instant he left the room. "He bestowed a piano upon one stranger, gave my earrings to someone's bride, and his tail suit to a Hungarian headwaiter. He would give away-" She stopped as Arnold returned.
He often complained about his cello and couldn't understand why I liked it so much. One day he announced that he had finally found a satisfactory instrument and had decided to get rid of his. It was for sale at the violin dealer Emil Hermann, he said. I acquired it and concertized with it for years. Even after Földesy retired and went back to Budapest, the thought that he had maligned his instrument to make it easier for me to acquire haunted me for a long time.
2 Carl Davidoff: Springbrunnen op.20 4:02
Arnold Földesy, cello, + pianobegeleiding
78t 30 cm: Odeon Rxx 76 230 (XXB 6679/6682)
3 Max Bruch: Kol Nidrei 7:06
Arnold Földesy, cello, Helmut Baerwald, piano
78t 30 cm: HMV EH 15 (4-047850/1) Cw 303-I, 304-IDownload flac