Friedberg began as a pupil of Clara Schumann. His novel idea of offering an all-Brahms evening in Vienna in 1893 was unprecedented and drew the consternation of the composer himself, who wondered who on earth could tolerate such an excess. But Brahms was pleased by Friedberg's playing and began privately coaching him by playing for him all of his works, which were annotated by Friedberg into the music, indicating changes Brahms wished after their publication. The abandon with which Friedberg delivers dramatic works such as Chopin's Polonaise op.44 is incomparable. His sensitive and acutely detailed performances of Brahms, particularly the Intermezzi op. 76#4 and op.117#1 offer great insight into the style Brahms himself approved of. Friedberg had performed with Mahler, Nikisch and many of the great instrumentalists of his time. He is recalled as having taught at the Juilliard School while knowledge of his playing is hardly widespread. The combination of intellectual profundity with a wide-ranging emotional sensitivity make Friedberg and his work one of the high points of our musical patrimony. By the way, Friedberg's letters (and the scores with Brahms' comments) were all donated to Columbia University. The Brahms editions were placed in general circulation (unlike the letters which were methodically catalogued) and are now lost. Isn't Academia wonderful?!
© Allan Evans, 1996