I apologize for not following this thread along and for not having responded to Buxtehude's query about a member of the Budapest String Quartet.
My newest CD had just come out and I have been actively promoting it. In a recent Fresno Bee interview (which I will soon post to my website), I was asked who were my biggest influences, and naturally Murray Perahia was the highest on my list along with Claudio Arrau. I especially believe in the whole weighted arm approach to piano playing, and of course the BEL CANTO-singing tone ... But back to the Budapest Quartet members. I did not personally know Sascha or Mischa Schneider, but I did get to meet them at post-concert receptions in NYC as I was dating a music critic for High Fidelity Magazine who naturally covered many of these performances. I also remember schmoozing with members of the Guarneri Quartet. At one of Perahia's receptions (following a performance of Op. 10 Chopin Etudes),
I remember him waiting expectantly for the NY Times review...very nervous.. and pacing.
I probably shared the story where Perahia preferred to play on a Steinway 57th Street basement piano, in lieu of the brand new one that was featured I think at the 150th birthday celebration of Steinway on CBS--or something like that.
I must say that Perahia's performance and that of either Horszowsky, or another luminary of the past whose name I cannot recall were the best on the program. Everyone seemed to be playing encore pieces except for Murray.
Oh here is a humorous anecdote about Perahia. I was scheduled to play the Tempest Sonata for him at a Master Class at the University here, and the day before, after he had actually given a recital here, I was invited to a reception in his honor. Well, he had just been married and I met his new wife, Naomi (from the BBC) and we talked about the old days at the NYC High School of Performing Arts.. Then I brought up the forthcoming Master Class that had a formal printed program with the names of the performers and the selections to be played. And one selection stood out glaringly. It was a work by a contemporary composer named Wilbur Straight. Well, Perahia looked down at his program and studied it and then I said how will you instruct on this Wilbur Straight piece (as I knew that Murray was definitely not into music like this) and he answered very forthrightly: "Well, I guess I'll tell him to play it straight."
So much for deep musical analysis
shirley K Check out my website www.fasttraxx.com/shirleykirsten