Backhaus was born in Leipzig. His mother, amateur pianist, began his musical
tutorage. He was taught by Aloys Leckendorf at Leipzig Conservatory from 1891 to
1899. In 1898, he went to Frankfurt am Main, becoming Eugene d'Albert's pupil.
D'Albert was pupil of Liszt and well-known for his Beethoven interpretation.
There are contradictory opinions on this lesson to Backhaus' musical growing.
In 1900, he bagan concert tour and played with Gewandhaus Orchestra conducted by Arthur Nikisch. His fame was spread worldwide after the Rubinstein
Competition in Paris, August 1905, at which he won the first prize. Though the
great composer Bela Bartók was competitor in this competition, he said,
"Backhaus really played very beautifully." His New York debut took place on 5th January 1912. In the concert, he played ‘Emperor' concerto and hailed as virtuoso everywhere in USA. He toured South America, Asia and Europe till then.
His interest was only playing. His teaching did not last long - Manchester
Royal College of Music (1905), Curtis (1925~26), etc. Except for his military
service in World War I, he concentrated all of this time on playing on stage and
recordings. Even the Nazi regime could not stop his playing, which allies listed
him up as Nazi colleague temporarily. His total concert appearances are said to
be over 4000 times. After World War II, he settled at Lugano (Swiss), and was
admired as one of the great interpretors of Beethoven and Brahms by everyone.
His nickname 'Lion of the keyboard' has been only for him from now on. His last
recital took place on 28th June 1969, of which he died of heart failure seven
days later at a hospital in Villach (Austria). He was buried in Cologne.
Of course his technical perfectness at young age is surpassed by none. I think many Beethoven and Brahms recordings of his are deserved to become a creteria. His playing style is often characterized as perfect technique, somewhat fast tempi, straightness, and power. But most of all, his charming point is soft and mature sonority and deep lyricism. The beauty of his tone is undoubtedly first class in his contemporaries. I have never heard more beautiful and heart-touching melody line in Beethoven's Sonata No. 31(Klagender Gesang) than his recording. At the second movement of Beethoven's Sonata No. 32, the contrast of the breathtaking strain and relaxing is uncomparable to any recording. I think it does not justice to Backhaus that we criticize Backhaus if Gilels(called Iron-pianist) is not criticized though his late recordings are very lyrical and soft. It results from misunderstanding Backhaus' artistic essences. Backhaus had never depended for only his born-talent. They say there was a painting of very sad miner in his house. Whenever he was asked why he had so sad picture, he replied "Whenever I see the picture, I realize my labor is not harder than him". And when he was asked what was a key to his perfect technique, he said, "Only scale. Scale + alpha".
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