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HEINRICH NEUHAUS A Life beyond Music Heinrich Neuhaus Eastman Studies in Music Ralph P. Locke, Senior Editor Eastman School of Music Additional Titles of Interest Bedrich Smetana: Myth, Music, and Propaganda Kelly St. Pierre Busoni as Pianist Grigory Kogan Translated and annotated by Svetlana Belsky Janáček beyond the Borders Derek Katz John Kirkpatrick, American Music, and the Printed Page Drew Massey Not Russian Enough?: Nationalism and Cosmopolitan in Nineteenth-Century Russian Opera Rutger Helmers Opera and Ideology in Prague Brian S. Locke Refl ections of an American Harpsichordist: Unpublished Memoirs, Essays, and Lectures of Ralph Kirkpatrick Edited by Meredith Kirkpatrick Schumann’s Piano Cycles and the Novels of Jean Paul Erika Reiman Samuel Barber Remembered: A Centenary Tribute Edited by Peter Dickinson Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces: Reception, Enthusiasm, Cult Hannu Salmi A complete list of titles in the Eastman Studies in Music series may be found on the University of Rochester Press website, www.urpress.com Heinrich Neuhaus A Life beyond Music Maria Razumovskaya Copyright © 2018 by Maria Razumovskaya All rights reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2018 University of Rochester Press 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.urpress.com and Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com ISBN-13: 978-1-58046-932-6 ISSN: 1071-9989 Library of Congress Cataloging-in-Publication Data Names: Razumovskaya, Maria, author. Title: Heinrich Neuhaus : a life beyond music / Maria Razumovskaya. Other titles: Eastman studies in music ; v. 148. Description: Rochester : University of Rochester Press, 2018. | Series: Eastman studies in music ; v. 148 | Includes bibliographical references and index. Identifiers: LCCN 2018025834 | ISBN 9781580469326 (hardcover : alk. paper) Subjects: LCSH: Neĭgauz, Genrikh Gustavovich, 1888–1964. | Pianists—Russia (Federation)—Biography. Classification: LCC ML417.N34 R39 2018 | DDC 786.2092 [B] —dc23 LC record available at https://lccn.loc.gov/2018025834 This publication is printed on acid-free paper. Printed in the United States of America. Contents Acknowledgments vii Editorial Notes ix Introduction 1 1 Cosmopolitan Wanderings 19 2 A Return to Russia 46 3 Becoming a Poet of a Belated Silver Age 88 4 Heinrich the Great: Between Russian and International Musings 120 5 Not Ordinary Pedagogy 147 Conclusion 173 Discography 177 Select Glossary of Names 183 Notes 205 Bibliography 231 Index 247 Acknowledgments Without the generosity of the Arts and Humanities Research Council Doctoral Award (Royal College of Music) I would never have embarked upon a seri- ous study focusing on Heinrich Neuhaus. After completing the thesis, however, I was left with many more questions than I ever anticipated. I am therefore extremely grateful to the Guildhall School of Music and Drama—especially Cormac Newark and Alessandro Timossi—who believed in the importance of fi nding the answers to these questions, and supported the further research that allowed me to complete this book. I would like express my sincere thanks to those who helped me along the way: Barbara Mühlenhoff, a distant relative of Neuhaus who shared her knowledge of the family and graciously gave me legal permission to access restricted archi- val materials; Pauline Fairclough, Marina Frolova-Walker, Amanda Glauert, Raymond Holden, Natasha Loges, Geoffrey Norris, Jan Smaczny, and Patrick Zuk, who read chapters and commented on drafts; Aoife Shanley and Shona Dale knew how to ask the right questions to get my thoughts together. Philip Ross Bullock read the entire manuscript and was unfailingly encouraging and insightful. The immense patience of Dmitri Alexeev and Tatiana Sarkisova in reading several different versions of the manuscript was matched by countless stimulating conversations. The staff of the Russian State Archive of Literature and Art (RGALI), the Vladimir Dahl Russian State Literary Museum, and the archive of the Federal Security Service of the Russian Federation (FSB) went above and beyond the call of duty to help me discover previously unknown facets of Neuhaus’s life. Therese Malhame did a sterling job with the copyedit- ing. Lastly, I would like to thank Sonia Kane, Julia Cook, Ralph Locke, and the anonymous readers for their support and encouragement. Editorial Notes Dates Prior to the Revolution, Russia followed the Julian or “Old Style” calendar. On January 24, 1918, a decree was issued to adopt the Gregorian or “New Style” calendar used in Western Europe. Thus, Wednesday, January 31, 1918, was to be followed by Thursday, February 14, 1918, in order to realign the calendar by thirteen days (having been twelve days behind throughout the nineteenth century). The date of the “October Revolution,” October 25, 1917, according to the “Julian Calendar” is therefore equivalent to November 7, 1917. All dates are given in “New Style” unless otherwise marked by the abbreviation OS. Translation and Transliteration For those confi dent in reading Cyrillic, no transliteration system will ever be completely satisfactory. I have used a modifi ed version of the system The New Grove Dictionary of Music and Musicians in the main text because it allows for the designation of the Cyrillic ы with the character ï, and the Cyrillic й as y. Modifi cations apply to proper nouns where the ending ий is replaced by y (Lunacharsky rather than Lunacharskiy, Anatoly rather than Anatoliy, Yevgeny instead of Yevgeniy); and soft (ь) and hard (ъ) signs are omitted. Familiar Anglicized form is used for the fi rst names Sergei (not Sergey), Nikolai (not Nikolay), Dmitri (not Dmitry), Sofi a (not Sofi ya), Maria (not Mariya), and Alexander (not Aleksandr). Russian names of Germanic ori- gin are not transliterated in the main text: Heinrich Felix Neuhaus (not Genrikh Feliks Neygauz), Gustav Wilhelmovich (not Gustav Vil’gel’movich), Goldenweiser (not Gol’denveizer), Fichtenholz (not Fikhtengol’ts), and Richter (not Rikhter). In cases where there is a commonly adopted transliteration, this is used in place of New Grove (for instance, Tchaikovsky). Strict transliteration according to New Grove applies for titles of works published in Russian, and throughout the bibliography and notes. German place-names on maps have been stated in the version that was widely common in the early