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The Russian-born pianist, Sophie Svirsky (neé Sophie Stern), was born in Leningrad when it was called St. Petersburg. She was the daughter of a court attorney and was only six years old when her mother introduced her to the art of music. Like her sister, who was a violinist of repute, she undoubtedly inherited talent from her mother. Sophie’s first lessons indicated an ability so precocious that a trip to Paris for further study seemed amply justified. There, in company with her mother, she studied with Antoine-Emile Marmontel, at that time director of the piano class at the Paris Conservatory, together with Victor Staub, and with Raoul Pugno, who was also a professor at the Conservatory and died later in Moscow.
Sophie Svirsky's ability and talent as a musician were so evident that even as a child she gave recitals in the concert halls of Pleyel and Ehrard in Paris. Pugno tried very hard to influence her mother to take her to the USA. However, she returned to her own country and continued her studies at the Imperial Conservatory under the guidance of Annette Essipof (Esipov) (once assistant to-and wife of- Theodor Leschetizsky) who got her ready for her diploma. That diploma she won with the same brilliant distinction as her classmate, Prokofiev.
World War I put a stop to Sophie Svirsky's rising and promising career, but circumstances helped to shape the destiny of the young pianist. The rhythm of intellectual and artistic life was entirely interrupted, and Sophie’s only recourse was to offer her musical talent to the applause of soldiers on furlough from the Imperial army, or to giving benefit-concerts. Making arrangements for all that was necessary in the bosom of her own family, Sophie concentrated on the study of chamber-music which was wellsuited to the seriousness of her artistic leanings. At this time she developed a newly-awakened interest in the works of the 17th and 18th century masters.
Then the revolution broke out. The new regime recruited every available resource in the country and militarized every aspect of human activity, including the arts. Sophie Stern, by now Madame Svirsky, became “Soldier Svirsky” and was ordered to entertain the masses with her talent. A series of recitals followed: they were held in factories, orphanages, bakeries, military barracks - under the most frustrating conditions imaginable: with pianos which could not be tuned, or which rested on hassocks because their legs had been cut off to serve as firewood. In an Empire of cold and hunger, where artists were paid off in kind (bread, for the most part), living conditions in Soviet Russia wrere all but impossible; privations were most severe and an artist could hardly get enough to eat. In 1924 Sophie Svirsky left Russia and never returned. She travelled by sea as far as Stettin and after spending a brief time in Berlin, she joined her mother in Paris.
What a contrast between the cruel climate of Russia in revolution, and Paris with a respite between two wars. There one could find all that the West esteemed in artistic and intellectual life; the city bubbled with ideas and the people were exchanging opinions in all directions. Before presenting herself to the public, Sophie Svirsky made careful preparation under the masterful direction of Lazare Levy.
Concerts followed. And Sophie Svirsky did not forget her musical ancestors. Prokofiev, Glazounov, Borodine, Sergei Rachmaninov, as well as contemporaries in her adopted country (Ravel, Francis Poulenc, Emmanuel Chabrier) all found an important place in her repertoire. And more often still, the works of J.S. Bach, Wilhelm Friedemann Bach, George Frideric Handel, J. Haydn, D. Scarlatti, Giovanni Battista Pescetti, Jean-Philippe Rameau, W.A. Mozart were well represented in her presentations and gave evidence of her passionate interest in the musical accomplishments of the 18th century. Indeed, this music more properly corresponds to her taste and a temperament which was detached, impassioned, and selfless. Whenever her fingers touch the keyboard, Sophie Svirsky subjects a masterpiece to the genius of her interpretation. She dissects it with methodical precision and searches for its original message. Her disciplined technique encompasses all the mechanical requirements needed for an exacting presentation, solidly based on a delicately competent left hand. Yet, losing none of the qualities of the truly feminine artist, she retains a lightness which, while excluding fantasy, betrays at times a lively temperament, especially in the charming acceleration of certain final cadences.
World War II interrupted her career again. In 1940 Sophie Svirsky was obliged to flee to Vienna in the valley of the Rhone and it was not until 1945 that Sophie was able to return to Paris. Then she became completely absorbed in teaching.
In 1965 and 1966 Sophie Svirsky made several recordings for the American label Monitor. She recorded for other labels as Delta in London (1962) (and Gregorian Institute of America (1965). |
