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YOLANDA MERO (1887-1963)
Hungarian-American pianist



Yolanda Mero was an wonderful pianist whose early formation took place under the tutelage of Augusta Rennebaum, a pupil of Franz Liszt.  She achieved considerable early success to which her concert performances under the likes of Rachmaninoff and Stokowski can attest. 

The great music critic James Huneker wrote "... she transformed Chopin preludes into veritable typhoons", and "... in the Barcarolle, instead of gondolas and the vows of lovers, moonlight and soft Adriatic zephyrs, we were shown a huge warship that steamed through the Grand Canal, sirens screaming, cannons booming, and a band playing Hungarian Rhapsody by Liszt.  I have no doubt that this style of play, perhaps best demonstrated by the recording of the 6th Hungarian Rhapsody by Liszt, in the early decades of the 20th century by what the American public took to be the great tradition of Liszt was very well received.

Unfortunately we have only a very few examples of Yolanda Mero's art and none that might demonstrate much in the way of subtlety and sensitivity.  But there is no question that she had a formidable technique.



Liszt  Hungarian Rapsody No. 4 in E major (abridged)

recorded in 1926




Liszt  Hungarian Rapsody 6 in D major

piano roll played on a 1924 Broadwood pupright


 


Max Vogrich (1852-1916)  Staccato Caprice

recorded in 1926




Cécile Chaminade (1857-1944)  La Lisonjera (L'enjoleuse/The Flatterer), Op 50

Welte Mignon piano roll issued in 1916










For those of you who enjoy murder mysteries, here is my first with a strong musical polemic as background

Murder in the House of the Muse

which is also available as an audiobook.



And this is the more recently published second mystery in the series:

Murder Follows the Muse



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