Rosita Renard, a shy and introverted woman off the stage, was a powerhouse of a pianist, wild and exuberant in her playing. Her technical capabilites compared favorably to any of the great pianists of her day, and her musicality was extraordinary.
At the age of fifteen, after having made her debut in Chile the year before playing the Grieg piano Concerto, she was sent to study at the Stern Conservatory in Berlin. Her teacher was Martin Krause, a pupil of Liszt. One of her fellow students and very good friends was Edwin Fischer. Another friend of Rosita Renard's, Claudio Arrau, came later to Krause's masterclass. It is interesting to note that her approach and Arrau's, with the same formatinon, were at the very opposite end of the bell-shaped curve.
In 1945, this wonderful pianist who had retired from the concert stage for reasons of temperament and returned to Chile was discovered by the great German conductor, Erich Kleiber. They performed Mozart concerti together all over South America and her concert career blossomed anew.
In 1949 Rosita Renard gave a recital at Carnegie Hall which the critics determined to be "Stirring, impressive, enchanting". Fortunately for us all, this concert was recorded and can be heard in its entirety below.
Pianists of today would do well to study Rosita Renard's performances of Beethoven and leard from her use of dynamics. We hear about the mercurial Beethoven and his emotional outbursts, and yet we do not hear evidence of this Beethoven in the overwhelming majority of current performances of his piano sonatas.
Carnegie Hall Recital, 19th January 1949
Bach Partita 1 in B♭ major
i Prélude - ii Allemande - iii Courante - iv Sarabande - v Minuets 1 and 2 - vi Gigue
Mozart Sonata 8 in A minor, K 310 (12:44)
i Allegro maestoso - ii Andante cantabile con espressione - iii Presto
Mendelssohn Variations Serieuses, Op 54 (25:56)
Mozart Rondo in D major, K 485 (35:37)
in E♭ major, Op 10 ~11 (41:15) - in E Minor, Op 25 ~5 (43:18) - in E major, Op 10 ~3 (46:11)
in D♭ major, Op 25 ~8 (49:26) - in A minor, Op 25 ~4 (50:39) - in A minor, Op 10 ~2 (52:22)
Chopin Mazurka in C♯ minor, Op 30 ~4 (53:46)
Mendelssohn Prelude in B♭ major, Op 104 ~1 (56:42)
in F minor, Op 25 ~2 (58:57) - in F major, Op 25 ~3 (1:00:06) - in C♯ minor, Op 10 ~4 (1:01:42)
Ravel Valses nobles et sentimentales (1:03:41)
Debussy Danse (1:14:19)
Chopin Mazurka in F♯ minor, Op 59 ~3 (1:18:48)
Mozart Rondo in D major, K 485
recorded c 1928
Beethoven Piano Sonata in G major, Op 31 ~1
i Allegro vivace - ii Adagio grazioso (06:14) - iii Rondo allegretto (16:13)
recorded c 1928
Mendelssohn and Chopin
Mendelssohn Prelude in B major, Op 104 ~1
Chopin Prelude in A major, Op 28 ~7 (2:06)
Chopin Nocturne in E♭ major, Op 9 ~2 (2:53)
Chopin Nocturne in F♯ minor, Op 15 ~2 (5:57)
recorded in 1928
Schumann Traumeswirren, Op 12 ~7
Liszt Rhapsodie Espagnole (abbreviated)
1918 Duo-Art pianoroll
Schulz-Evler Arabesques on Themes from "The Beautiful Blue Danube" of Johann Strauss II
recorded c 1928 (abridged version)
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:
Follow these links to our main subject categories
Or return to the Great Women Pianists Play page