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Feuermann, Emanuel

Brinton Smith Thesis on Emanuel Feuermann Emanuel Feuermann (1902-1942) was almost universally recognized during his brief lifetime as a peerless master of the instrument. Artur Rubinstein said "Feuermann became for me the greatest cellist of all time"[1], Jascha Heifetz accepted him as the first cellist worthy of serious collaboration, and would not play with another for nine years after his death. He was the cellist of choice for conductors including Toscanini, who described him as "the greatest" and said that "there is no one after him"[2] and Szell, who said that he played with "...noblesse and distinction, and with the complete equipment in the service of an artistic purpose."[3] His premature death during routine surgery in 1942 at the age of 39 brought his career to an end before he had a chance to establish the type of widespread fame that Heifetz and Casals secured, but even today -more than half a century after his death- there is a clear consensus, among cellists who were privileged to hear Emanuel Feuermann play and among those familiar with his recordings, that Feuermann was a cellist without equal. His graceful, elegant playing shows both a warm, Kreislerian musicality and a fluid and facile command of the instrument that most cellists agree has never been approached since.

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