Status
Available
Call number
Collection
Publication
Doubleday (2010), Edition: 1st, 336 pages
Description
The stirring memoir of one of the greatest pianists of the postwar era--an inspiring tale of triumph over crippling incapacity that rivals Shine. The pianist Leonnbsp; Fleisher--whose student-teacher lineage linked him to Beethoven by way of his instructor, Artur Schnabel--displayed an exceptional gift from his earliest years. And then, like the hero of a Greek tragedy, he was struck down in his prime: at thirty-six years old, he suddenly and mysteriously became unable to use two fingers of his right hand. It is not just Fleisher's thirty-year search for a cure that drives this remarkable memoir. With his coauthor, celebrated music critic Anne Midgette, the pianist explores the depression that engulfed him as his condition worsened and, perhaps most powerfully of all, the sheer love of music that rescued him from complete self-destruction. Miraculously, at the age of sixty-six, Fleisher was diagnosed with focal dystonia, and cured by experimental Botox injections. In 2003, he returned to Carnegie Hall to give his first two-handed recital in over three decades, bringing down the house. Sad, reflective, but ultimately triumphant, My Nine Lives combines the glamour, pathos, and courage of Fleisher's life with real musical and intellectual substance. Fleisher embodies the resilience of the human spirit, and his memoir proves that true passion always finds a way.… (more)
User reviews
LibraryThing member anna_in_pdx
My parents are from Ohio and my mother was an usher for the Cleveland Symphony when George Szell conducted. As this book discusses at some length, Leon Fleisher's early career included lots of recordings with Szell and the Cleveland Orchestra. We owned most of these recordings and I grew up
This book is a wonderful resource for students of music, particularly classical. His discussion of his experience learning from great teachers and, later, becoming a great teacher himself, is pretty much unparalleled. I really admire his (and his co-writer's, who really knows how much of this is her writing) ability to put musical expression into language in a way that makes sense to the reader. I've never been able to do that.
One of the best observations he made about music was in a little lecture about emotion and music. He pointed out that students usually come to him thinking that emotion is something they have to put into the music. His take is that the emotion has to come through you, from the music. Otherwise, you sound more sentimental and melodramatic than really truly emotional. This is so true and as a music appreciator I have heard so many musicians that I think really "overdo" music that is already designed to sound emotional, e.g., Brahms or Schubert.
Fleisher lost the use of his right hand at the height of his career and spent the next several decades of his life trying to fix this - looking at all sorts of medical/psychological/alternative explanations and "cures" that had very little overall impact. Although he never gave up on trying to cure his hand, and eventually has somewhat healed it through a combination of Rolfing and Botox injections, he also discovered a left-handed repertoire and threw himself into teaching/conduction/music administration (he was the artistic director at Tanglewood for several years). Thus the title of the book.
The highlights of the book are his "master classes" where he discusses individual piano pieces, mostly concerti:
-Brahms Concerto #1
-Beethoven Concerto #4
-Ravel Concerto for the Left Hand
-Mozart Concerto #25
-Schubert Sonata in B flat major
Astounding to read about these wonderful pieces in this way. I need to re-read all of these sections while listening to the music. Unfortunately I read this book while I was at my father's house and he is not a fan of the Romantics. :) If only he had included some Bach in there.
I am sending this book on to my musician sister who currently plays violin for the Cleveland Orchestra and she will send it on to my mother, the original Fleisher fan extraordinaire. This book will be treasured by my whole family.
Some of the reviewers here mention the way he discusses his personal life. This was the most difficult thing in the book for me. He definitely fessed up to his limitations and unkindnesses but it was still disturbing for me to read about. I'm female and it is hard for me to read about the way he and others of his generation treated women and went through them. Even though lots of these women were professional musicians as well and presumably can tell their own stories, I felt they were glossed over in the book so much. I particuarly noticed that the first wife just disappeared from the book and I sort of wanted to know what she did with her life after he moved on to the woman he was having an affair with (he describes this really blatant behavior and how much it was upsetting for his first wife in a clinical sort of tone, but then the first wife just disappears entirely, and is not even mentioned when he discusses their children). He calls his kids "opus one" (from his first marriage) and "opus two" (from the second marriage). My taking this sort of thing personally is not really a critique of the book, nor is it a critique of Fleisher as a musician, only as a spouse. Of course he learned and improved as he went along, as we all do, and he is very open about it all, which is commendable.
I believe this memoir would be a wonderful gift for any musician, particularly a classical musician, and I believe it is an inspiring tale of a person who never stopped trying to fulfill his destiny as an incredibly talented pianist.
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listening to them. Fleisher was one of my mother's favorite pianists of all time. He played the music she loves the most - Brahms, Beethoven, Schubert, etc.This book is a wonderful resource for students of music, particularly classical. His discussion of his experience learning from great teachers and, later, becoming a great teacher himself, is pretty much unparalleled. I really admire his (and his co-writer's, who really knows how much of this is her writing) ability to put musical expression into language in a way that makes sense to the reader. I've never been able to do that.
One of the best observations he made about music was in a little lecture about emotion and music. He pointed out that students usually come to him thinking that emotion is something they have to put into the music. His take is that the emotion has to come through you, from the music. Otherwise, you sound more sentimental and melodramatic than really truly emotional. This is so true and as a music appreciator I have heard so many musicians that I think really "overdo" music that is already designed to sound emotional, e.g., Brahms or Schubert.
Fleisher lost the use of his right hand at the height of his career and spent the next several decades of his life trying to fix this - looking at all sorts of medical/psychological/alternative explanations and "cures" that had very little overall impact. Although he never gave up on trying to cure his hand, and eventually has somewhat healed it through a combination of Rolfing and Botox injections, he also discovered a left-handed repertoire and threw himself into teaching/conduction/music administration (he was the artistic director at Tanglewood for several years). Thus the title of the book.
The highlights of the book are his "master classes" where he discusses individual piano pieces, mostly concerti:
-Brahms Concerto #1
-Beethoven Concerto #4
-Ravel Concerto for the Left Hand
-Mozart Concerto #25
-Schubert Sonata in B flat major
Astounding to read about these wonderful pieces in this way. I need to re-read all of these sections while listening to the music. Unfortunately I read this book while I was at my father's house and he is not a fan of the Romantics. :) If only he had included some Bach in there.
I am sending this book on to my musician sister who currently plays violin for the Cleveland Orchestra and she will send it on to my mother, the original Fleisher fan extraordinaire. This book will be treasured by my whole family.
Some of the reviewers here mention the way he discusses his personal life. This was the most difficult thing in the book for me. He definitely fessed up to his limitations and unkindnesses but it was still disturbing for me to read about. I'm female and it is hard for me to read about the way he and others of his generation treated women and went through them. Even though lots of these women were professional musicians as well and presumably can tell their own stories, I felt they were glossed over in the book so much. I particuarly noticed that the first wife just disappeared from the book and I sort of wanted to know what she did with her life after he moved on to the woman he was having an affair with (he describes this really blatant behavior and how much it was upsetting for his first wife in a clinical sort of tone, but then the first wife just disappears entirely, and is not even mentioned when he discusses their children). He calls his kids "opus one" (from his first marriage) and "opus two" (from the second marriage). My taking this sort of thing personally is not really a critique of the book, nor is it a critique of Fleisher as a musician, only as a spouse. Of course he learned and improved as he went along, as we all do, and he is very open about it all, which is commendable.
I believe this memoir would be a wonderful gift for any musician, particularly a classical musician, and I believe it is an inspiring tale of a person who never stopped trying to fulfill his destiny as an incredibly talented pianist.
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LibraryThing member 530nm330hz
This is a very readable book about a fascinating person. Fleisher, as you may know, is a world-class pianist who for many years had lost the use of his right hand. The book really tells three interwoven stories: the main thread, of course, is about Fleisher's career. The second thread is the
As autobiography, the story is competently told. Honestly, Fleisher doesn't come across as an entirely sympathetic character, but his honesty with his readers is a redeeming quality. Child prodigy, promising career, injury, destroying relationships, second career, redemption in both the professional and personal realms --- all the elements are there of the classic narrative arc. Yet somehow the way the story is told doesn't live up to the material.
As raconteur, Fleisher is a mensch. Everyone but himself comes out looking good. The anecdotes are consistently interesting, at times charming, often enlightening, but never mean-spirited.
As teacher, however, Fleisher shows his strengths. Several times while reading this book, I suddenly understood things about specific pieces or about performance techniques that I had never even thought of as issues. His explanation for why left-hand-only piano pieces can be written, but right-hand-only cannot, for example, was elegant and profound. His excursis on Mozart's piano concerto No. 25 (K. 503) is a clear, concise manifesto not just on how to perform but on how to listen.
This is a fine book with many things to recommend it. If you're looking for Fleisher's life story, this is probably as good as any place to start. If you're looking for Fleisher's musicianship, you will be well rewarded for the time you spend with this book.
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anecdotes about the other great musicians he has known. The third thread, which exists both in the context of the narrative and also as five interjected "Masterclass" chapters, are Fleisher's insights into the repertoire.As autobiography, the story is competently told. Honestly, Fleisher doesn't come across as an entirely sympathetic character, but his honesty with his readers is a redeeming quality. Child prodigy, promising career, injury, destroying relationships, second career, redemption in both the professional and personal realms --- all the elements are there of the classic narrative arc. Yet somehow the way the story is told doesn't live up to the material.
As raconteur, Fleisher is a mensch. Everyone but himself comes out looking good. The anecdotes are consistently interesting, at times charming, often enlightening, but never mean-spirited.
As teacher, however, Fleisher shows his strengths. Several times while reading this book, I suddenly understood things about specific pieces or about performance techniques that I had never even thought of as issues. His explanation for why left-hand-only piano pieces can be written, but right-hand-only cannot, for example, was elegant and profound. His excursis on Mozart's piano concerto No. 25 (K. 503) is a clear, concise manifesto not just on how to perform but on how to listen.
This is a fine book with many things to recommend it. If you're looking for Fleisher's life story, this is probably as good as any place to start. If you're looking for Fleisher's musicianship, you will be well rewarded for the time you spend with this book.
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LibraryThing member ponder
Mr. Fleisher certainly is full of himself. Perhaps there were many who awaited his two-handed return with breath held but I think not. Never would I dismiss the serious impact that the nerve issues caused in his life. However, his over estimated view of self and lack of regard for those who
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supported and loved him makes the book a chore. Show Less
LibraryThing member vpfluke
Leon Fleisher writes a very affecting biography of his life in the music world. He was riding a great performance as a pianist as a world-renowned pianist, when it all toppled with a dystonia that so severely cramped his right hand, he could not play the piano with it for decades.
The book is
Around 1963, Fleisher began to notice some muscle problems in his right hand. By 1964 he had to cease playing publicly as his the right fingers of this hand were curling under rather permananetly. But he continued to practice in private, which may have hurt his problem. He sought out many types of cures, but none came. He began to discover the left had repertoire for the piano, developed an ability to conduct orchestras, and continued to teach. Of the latter, he was very fond. His first marriage did end up in divorce, but seems to have a good relationship with his children.
He eventually found a doctor who thought that botox injections might work. This, coupled with a rolfing therapist, led to his being able to regain the use of his right hand, even though he is not really cured of the dystonia. By now, he was age 66, but his life had developed truly redemptive swaths, and the story is worth reading.
I particularly enjoyed looking at the photgraphs in the book. They were well chosen, and show his life and the musicians around him (Eugene Istomin, Gary Graffman, and many others). Another treat of the book is his short chapters delving into certain music compositions that were touchstones for him, Brahms' First Piano Concerto, Beethoven's Fourth Piano Concerto, Ravel's Concerto for the Left Hand, Mozart's Piano Concerto # 25, and Schubert's B-flat Major Sonata.
The book is
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divided into nine chapters, the first five descirbe his growing pianist life before the "Catastrophe" of the sixth chapter. He was a child prodigy, and eventually became a student of the famous Artur Schnabel. Fleisher mentions many of the famous musicians that he worked with, such as the conductor Pierre Montreux. These brought back memories of my early record collecting, as I don't remember obtaining many Fleisher recordings. This book does contain a nice discography for those like me who would like to follow his music a little closer.Around 1963, Fleisher began to notice some muscle problems in his right hand. By 1964 he had to cease playing publicly as his the right fingers of this hand were curling under rather permananetly. But he continued to practice in private, which may have hurt his problem. He sought out many types of cures, but none came. He began to discover the left had repertoire for the piano, developed an ability to conduct orchestras, and continued to teach. Of the latter, he was very fond. His first marriage did end up in divorce, but seems to have a good relationship with his children.
He eventually found a doctor who thought that botox injections might work. This, coupled with a rolfing therapist, led to his being able to regain the use of his right hand, even though he is not really cured of the dystonia. By now, he was age 66, but his life had developed truly redemptive swaths, and the story is worth reading.
I particularly enjoyed looking at the photgraphs in the book. They were well chosen, and show his life and the musicians around him (Eugene Istomin, Gary Graffman, and many others). Another treat of the book is his short chapters delving into certain music compositions that were touchstones for him, Brahms' First Piano Concerto, Beethoven's Fourth Piano Concerto, Ravel's Concerto for the Left Hand, Mozart's Piano Concerto # 25, and Schubert's B-flat Major Sonata.
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LibraryThing member fdholt
The subtitle of this book describes it perfectly – A Memoir of Many Careers in Music. Leon Fleisher has been a student, a child prodigy, a concert pianist, a teacher, an orchestral conductor and an administrator of a music program. All of his many careers are covered in his autobiography with the
Fleisher describes his life in terms of his music. The most fascinating aspect to me was his descriptions of major figures in the world of music including Artur Schnabel, Gary Graffman, George Szell, Leonard Bernstein, Gunther Schuller, Andre Watts and many, many others. He also goes into detail about his disease, the 30 year quest for a treatment and how his concert career changed in those years. He became noted for playing concerts from the left hand repertoire.
In an easy writing style, Fleisher outlines these events and makes it interesting to the reader who need not be a pianist. But for those of us who play piano, he includes chapters of what he calls master classes on 5 works in his repertoire. These were far too brief; I felt he had so much more to say on these pieces. He has written some comments in various booklets accompanying CDs but I think that his live concerts and recordings probably say more than the written word ever could.
If you want to understand classical music and the place of the performer in this world, this book is for you.
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central theme being the joy of playing the piano and how his undiagnosed focal dystonia affected his right hand and the ability to play.Fleisher describes his life in terms of his music. The most fascinating aspect to me was his descriptions of major figures in the world of music including Artur Schnabel, Gary Graffman, George Szell, Leonard Bernstein, Gunther Schuller, Andre Watts and many, many others. He also goes into detail about his disease, the 30 year quest for a treatment and how his concert career changed in those years. He became noted for playing concerts from the left hand repertoire.
In an easy writing style, Fleisher outlines these events and makes it interesting to the reader who need not be a pianist. But for those of us who play piano, he includes chapters of what he calls master classes on 5 works in his repertoire. These were far too brief; I felt he had so much more to say on these pieces. He has written some comments in various booklets accompanying CDs but I think that his live concerts and recordings probably say more than the written word ever could.
If you want to understand classical music and the place of the performer in this world, this book is for you.
Show Less
LibraryThing member thegreatpenguini
I knew who Fleisher was before this was released. I think I even have some of his recordings somewhere in my large music collection. What I didn't know was how he struggled with the pain in his hand that kept him from playing as much as he loved. I certainly appreciate his journey all the more now,
A well written, welcoming book. He doesn't talk over anyone. Thank you, Leon Fleisher, for telling your story.
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as well as appreciating his gift of music to the world. The pain affected all aspects of his life. I enjoyed his tales of training and meeting and working with many great talents in the classical music world, many names I recognized all too well. His strength to find ways to work WITH the pain, with the disability, is admirable and makes me want to start playing again. His perseverance makes me want to get back into it, even if it leads nowhere. A well written, welcoming book. He doesn't talk over anyone. Thank you, Leon Fleisher, for telling your story.
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LibraryThing member laytonwoman3rd
Leon Fleisher was a child prodigy at the piano. By the time he was nine years old, he was dreaming of studying with Artur Schnabel, who never took on a student so young. Through the subterfuge of a friend, Schnabel was more or less compelled by courtesy to listen to little Leon play, and was so
My Nine Lives is absorbing and well-written (with the help of Ann Midgette, a classical music and theater critic). Its greatest strength is the inclusion of sections titled “Master Class”, in which particular pieces of music are discussed in some detail. There is also a useful discography of Fleisher’s recordings, a listing of musical works composed for Fleisher, and a nice selection of photographs. Highly recommended if you enjoy classical music, whether you’re familiar with Fleisher or not, and even if you are relatively ignorant of music, but “know what you like”.
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impressed that he did agree to admit the boy to his famous Italian summer session. So began a 10 year period of study for Fleisher with the intimidating, brilliant Schnabel. At the age of 16, Fleisher made his solo debut with the New York Philharmonic at Carnegie Hall. From there forward, his career had its ups and downs, but during the 1950’s and early 1960’s the combination of Leon Fleisher at the piano with the Cleveland Orchestra, George Szell conducting, was an international phenomenon. He was a wonder, and he knew it. But he was so often in the company of other wunderkind and great masters that it seemed normal to him. Fleisher tells his own story with remarkably little egotistical overlay in this memoir. He comes across as an ordinary man who happens to have an extraordinary gift. He isn’t the sort of socially crippled genius that Glenn Gould was, for instance. But he did face a professional crisis at the age of 36, when he began having difficulty controlling two fingers on his right hand. Following years of mis-diagnoses and attempts at treatment – some of them outlandish—Fleisher accepted the descriptive, but not definitive, diagnosis of “focal dystonia”, a condition he found not terribly uncommon among musicians. His friend Gary Graffman suffered from it, as did Robert Schumann. He continued to perform some one-handed pieces, included some that were written specifically for him, but his later career triumphs were in the field of conducting, teaching and in working with Leonard Bernstein, Seiji Ozawa and other greats at the Tanglewood Music Center.My Nine Lives is absorbing and well-written (with the help of Ann Midgette, a classical music and theater critic). Its greatest strength is the inclusion of sections titled “Master Class”, in which particular pieces of music are discussed in some detail. There is also a useful discography of Fleisher’s recordings, a listing of musical works composed for Fleisher, and a nice selection of photographs. Highly recommended if you enjoy classical music, whether you’re familiar with Fleisher or not, and even if you are relatively ignorant of music, but “know what you like”.
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LibraryThing member Jcambridge
As a classical music lover and as the parent of a rising opera singer, whose career began at a young age, I found this book both interesting and troubling. The highs and lows of a musical prodigy more often than not continue throughout their lives. Fleisher's story encompasses so many phases of an
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artist's life -- a parent (or parents) who recognize and encourage a child's talents, the artist's realization at a young age that "yes, this can and will be my life", the opportunities afforded both in the U.S. and abroad at places like Tanglewood and Curtis, the amazing professionals and fellow young artists encountered along the way, the accolades and criticism that come with every performance... This is not an easy life and it can be a lonely life...long-term personal relationships can be difficult to maintain. I would highly recommend this book to both young artists and to members of their families... Show Less
LibraryThing member bibliophileofalls
An interesting true story about a child prodigy who developed a devastating disability. A pianist needs all fingers to be working and Leon had two fingers of his right hand become unusable after starting out on a brilliant career at the piano. Although he tried dozens and dozens of "cures" over a
The book was interesting to me because I enjoy classical music; however, I have to admit I did not recognize the vast majority of names of outstanding classical artists of the 1940's and 50's. Also, there was a fair amount of rather technical description of music which only trained musicians would find meaningful. To read descriptions of music is kind of like "watching" a parade on the radio or having someone narrate a fireworks display you couldn't see. Just doesn't work for me.
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period of some thirty years, he also demonstrated some remarkable adaptations to his disability by playing music composed for the left hand only and later becoming a conductor of some very outstanding orchestras. The book was interesting to me because I enjoy classical music; however, I have to admit I did not recognize the vast majority of names of outstanding classical artists of the 1940's and 50's. Also, there was a fair amount of rather technical description of music which only trained musicians would find meaningful. To read descriptions of music is kind of like "watching" a parade on the radio or having someone narrate a fireworks display you couldn't see. Just doesn't work for me.
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LibraryThing member JeffV
Some of my favorite books of all-time are biographies/autobiographies of those who lived fascinating lives. Some of the most disappointing are those whose expectations were higher (Christopher Hitchens, I'm looking at you!) The best are those where you go in not expecting much, and are pleasantly
Pianist Leon Fleisher's autobiography falls under this last category. I like classical music, and I do like pianists. Fleisher is an old-timer from my parent's generation, and I always thought of him as a historical figure. The first thing that surprised me was (1) that he is still alive and (2) the climax of his career actually occurred when I should have been paying closer attention (and might have if I was aware of #1). Leon Fleisher was a name I knew from radio and from Music Choice on cable TV. I'm sure I have some of his recordings in my own collection. But I admit I didn't know much about him personally.
So what could possibly be so fascinating about the life of a classical music pianist? For starters, the people Fleisher has worked with since he was a child prodigy in the 1930's are a Who's Who of Classical Music in the recorded era. Hearing his stories about studying under Artur Schnabel, or playing with the Cleveland Orchestra's legendary conductor George Szell certainly caught my attention. So does his anecdotes involving relationships with Leonard ("Lenny") Bernstein, Boston Symphony relic Seiji Ozawa, and his former page-turner, Daniel ("Danny") Barenboim. This alone would have made for an entertaining enough read for fans of classical music history. But there was also his personal life -- three times married, the first two yielding offspring who turned out pretty damn well considering he was never much of a dad. And that was another thing that was refreshing -- in an industry renown for primadonnas, Fleisher was brutally honest when it came to describing his own character and flaws. He doesn't ask for forgiveness, he is proud of how they turned out in spite of his lack of parenting skill.
The most interesting part of Flesher's story, however, and what makes him a sympathetic figure was the repetitive-stress disorder he came down with in the prime of his career; at a time when such things were not yet part of the medical lexicon. Two fingers on his right hand curled and locked, making two-handed piano playing impossible. For the next 35 years, Fleisher was afflicted with a condition that defied all treatment.
After an initial period of depression, Fleisher devoted his musical talent to other endeavors, including teaching and conducting. He became well accomplished in both, and then discovered a whole repertoire of pieces written for only the left hand. Fleisher augmented his career by performing such pieces, but always considered it someone of a gimmick. His dream remained to find a cure and perform two handed once again, something he managed well into his 60's thanks to Botox therapy.
Throughout the book, Fleisher takes us on musical interludes, describing in detail an artists perspective on pieces by the likes of Brahms, Beethoven and Mozart. Fleisher was a talent from childhood -- but unlike many savants who have talent but don't reflect on it, Fleisher is passionate about the interpretation of music and considers it the musician's responsibility to do full credit to the composer's intentions. Years of watching supremely talented athletes with no concept of the history or traditions of their trade has sort of jaded me when it comes to top-level performers. It is refreshing to hear that Fleisher (and his colleagues) work as hard as they do to achieve such amazing results.
My Nine Lives stands as an interesting story in its own right, emotional, passionate, tragic and triumphant -- themes anyone can identify with. If you're also a fan of classical music, then this should be on your required reading list.
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surprised. Pianist Leon Fleisher's autobiography falls under this last category. I like classical music, and I do like pianists. Fleisher is an old-timer from my parent's generation, and I always thought of him as a historical figure. The first thing that surprised me was (1) that he is still alive and (2) the climax of his career actually occurred when I should have been paying closer attention (and might have if I was aware of #1). Leon Fleisher was a name I knew from radio and from Music Choice on cable TV. I'm sure I have some of his recordings in my own collection. But I admit I didn't know much about him personally.
So what could possibly be so fascinating about the life of a classical music pianist? For starters, the people Fleisher has worked with since he was a child prodigy in the 1930's are a Who's Who of Classical Music in the recorded era. Hearing his stories about studying under Artur Schnabel, or playing with the Cleveland Orchestra's legendary conductor George Szell certainly caught my attention. So does his anecdotes involving relationships with Leonard ("Lenny") Bernstein, Boston Symphony relic Seiji Ozawa, and his former page-turner, Daniel ("Danny") Barenboim. This alone would have made for an entertaining enough read for fans of classical music history. But there was also his personal life -- three times married, the first two yielding offspring who turned out pretty damn well considering he was never much of a dad. And that was another thing that was refreshing -- in an industry renown for primadonnas, Fleisher was brutally honest when it came to describing his own character and flaws. He doesn't ask for forgiveness, he is proud of how they turned out in spite of his lack of parenting skill.
The most interesting part of Flesher's story, however, and what makes him a sympathetic figure was the repetitive-stress disorder he came down with in the prime of his career; at a time when such things were not yet part of the medical lexicon. Two fingers on his right hand curled and locked, making two-handed piano playing impossible. For the next 35 years, Fleisher was afflicted with a condition that defied all treatment.
After an initial period of depression, Fleisher devoted his musical talent to other endeavors, including teaching and conducting. He became well accomplished in both, and then discovered a whole repertoire of pieces written for only the left hand. Fleisher augmented his career by performing such pieces, but always considered it someone of a gimmick. His dream remained to find a cure and perform two handed once again, something he managed well into his 60's thanks to Botox therapy.
Throughout the book, Fleisher takes us on musical interludes, describing in detail an artists perspective on pieces by the likes of Brahms, Beethoven and Mozart. Fleisher was a talent from childhood -- but unlike many savants who have talent but don't reflect on it, Fleisher is passionate about the interpretation of music and considers it the musician's responsibility to do full credit to the composer's intentions. Years of watching supremely talented athletes with no concept of the history or traditions of their trade has sort of jaded me when it comes to top-level performers. It is refreshing to hear that Fleisher (and his colleagues) work as hard as they do to achieve such amazing results.
My Nine Lives stands as an interesting story in its own right, emotional, passionate, tragic and triumphant -- themes anyone can identify with. If you're also a fan of classical music, then this should be on your required reading list.
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LibraryThing member sarahwriter
Even if you know nothing about music at all, you will be enlightened by Leon Fleisher's candid and intelligent memoir-cum-master class. Fleisher, a child piano prodigy, grew up to be one of the major American pianists before losing the use of one hand. After many years of work, he got it back.
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Fleisher talks about his life warts and all--he considers himself far more of a success as a pianist than as a father or husband--but the greatest delight of this book is Fleisher talking about music. He has spent much of his musical life as a teacher, and he talks passionately and splendidly about the music he has played. You'll never listen to music quite the same way again. Highly recommended. Show Less
LibraryThing member stevesmits
When looking at liner notes or reference works on classical music I am often struck by the short life spans of many great composers: Mozart - 35 years; Chopin - 39; Schubert - 31; Schumann - 46; Mendelssohn - 38. What music we've missed due to the early deaths of these musical giants. Would that
Leon Fleisher, thankfully, still lives on at age 82. This book is the story of his life in music; a story full of tragedy and loss, but also of renewal and inspiration. More than just an intriguing memoir, this book tells us much about the power and meaning of music.
Fleisher was a child prodigy who studied under the great Artur Schnabel. By his early adulthood, Fleisher was a widely known and highly regarded concert pianist who played with the great symphonies and was building a catalog of recorded works. At the height of his prime he was struck suddenly with a mysterious debilitating neurological condition that curled two fingers on his right hand up toward his palm. For a pianist the essential tools of his craft are his hands and feet (and ears). For such a consummate performing artist to be deprived of the use of his right hand seems incredibly cruel, on a level with Beethoven's hearing loss.
Fleisher sought all manner of treatments for his condition (some fairly whacky, but who could blame him), all to no avail. For over thirty years he held out hope that his hand would recover. Although no longer able to perform as he had, Fleisher moved in new directions that ultimately have had more impact on the musical world than if he had been spared his disability. He learned a repertoire of works written for the left hand (surprisingly large) and performed these across the world. He became a teacher, a conductor, a composer, and a mover and shaker on the musical scene. (He was artistic director at Tanglewood for many years.)
After more that thirty years without the use of his right hand on the keyboard, Fleisher found some treatments that vastly improved his condition. Combining "rolfing" techniques with periodic botox injections has restored his dexterity to the pointy where he again performs two-handed works.
On just this level his story would be remarkable, but the real power of this book lies in how his life emblemizes the power, passion and deep meaning of music. His insights into music draw us into the complexity and richness of the great musical works. His life's work, even through the tragedy of his loss, reminds us that truly appreciating and realizing the wonder of music is far from the technical aspects of hands and feet; it is the heart and mind that are most important.
The book has several sections that delve into specific works. Labeled "master classes" he gives us his understanding of the works. He has a great faculty for expressing in words the sublime elements of his favorite pieces. I wish he had given us more of this in the book. One can see how effective a teacher he must be. The afterword of the book references a website of the publisher where you can hear snippets of his performances of many of the works mentioned in the book. This is recommended.
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they had lived as long as Hayden (78).Leon Fleisher, thankfully, still lives on at age 82. This book is the story of his life in music; a story full of tragedy and loss, but also of renewal and inspiration. More than just an intriguing memoir, this book tells us much about the power and meaning of music.
Fleisher was a child prodigy who studied under the great Artur Schnabel. By his early adulthood, Fleisher was a widely known and highly regarded concert pianist who played with the great symphonies and was building a catalog of recorded works. At the height of his prime he was struck suddenly with a mysterious debilitating neurological condition that curled two fingers on his right hand up toward his palm. For a pianist the essential tools of his craft are his hands and feet (and ears). For such a consummate performing artist to be deprived of the use of his right hand seems incredibly cruel, on a level with Beethoven's hearing loss.
Fleisher sought all manner of treatments for his condition (some fairly whacky, but who could blame him), all to no avail. For over thirty years he held out hope that his hand would recover. Although no longer able to perform as he had, Fleisher moved in new directions that ultimately have had more impact on the musical world than if he had been spared his disability. He learned a repertoire of works written for the left hand (surprisingly large) and performed these across the world. He became a teacher, a conductor, a composer, and a mover and shaker on the musical scene. (He was artistic director at Tanglewood for many years.)
After more that thirty years without the use of his right hand on the keyboard, Fleisher found some treatments that vastly improved his condition. Combining "rolfing" techniques with periodic botox injections has restored his dexterity to the pointy where he again performs two-handed works.
On just this level his story would be remarkable, but the real power of this book lies in how his life emblemizes the power, passion and deep meaning of music. His insights into music draw us into the complexity and richness of the great musical works. His life's work, even through the tragedy of his loss, reminds us that truly appreciating and realizing the wonder of music is far from the technical aspects of hands and feet; it is the heart and mind that are most important.
The book has several sections that delve into specific works. Labeled "master classes" he gives us his understanding of the works. He has a great faculty for expressing in words the sublime elements of his favorite pieces. I wish he had given us more of this in the book. One can see how effective a teacher he must be. The afterword of the book references a website of the publisher where you can hear snippets of his performances of many of the works mentioned in the book. This is recommended.
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LibraryThing member pinklady60
Just at the peak of his career, Leon Fleisher lost mobility of two fingers on his right hand. So what does a brilliant concert pianist do when he can no longer play the piano? This book tells the story of how Fleisher reinvented himself several times over - - as a teacher, a conductor, a
But, more than that, this is a story about classical music and how important it is in Fleisher’s life. I loved the master class sections and his resplendent interpretations of specific musical works and passages. The excitement in his voice came through loud and clear as he delighted in a new concept or a new way of hearing a particular piece. It made me want to run out and buy a CD of his Brahms and Beethoven concerti, along with Piano Works for the Left Hand, which I don’t recall hearing before.
In my opinion, knowledge of and appreciation for classical music will greatly enhance the reader’s enjoyment of this book.
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left-handed pianist, co-founder of the Theater Chamber Players, and the artistic director of the prestigious Tanglewood Music Center - - all while trying to return to the stage as a two-handed pianist.But, more than that, this is a story about classical music and how important it is in Fleisher’s life. I loved the master class sections and his resplendent interpretations of specific musical works and passages. The excitement in his voice came through loud and clear as he delighted in a new concept or a new way of hearing a particular piece. It made me want to run out and buy a CD of his Brahms and Beethoven concerti, along with Piano Works for the Left Hand, which I don’t recall hearing before.
In my opinion, knowledge of and appreciation for classical music will greatly enhance the reader’s enjoyment of this book.
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LibraryThing member Rosareads
This is a Library Thing Early Reviewers book. First, I want to thank Doubleday/Random house for making this wonderful autobiography of an amazing musician available for early review.
Leon Fleisher is one of the great pianist/musicians that has made a difference. His performances, his teaching, his
This is a well written book: his collaboration with Anne Midgette served his book well. The authors flavored the book with five chapters entitled, "Master Class," that explored Fleisher's deep understanding of specific compositions by Brahms, Beethoven, Ravel, Mozart, and Shubert. These "mini-chapters" are fascinating: I've listened to the works explored with his exposition in hand and my appreciation has been enhanced. I intent to repeat the process and enrich my experience still more.
The book is candid: Fleisher did not live his life as an angel. He acknowledged his pursuit of women and his infidelities in two marriages. He revealed his failings as a father and his regrets. However, the book is also an in depth exploration of his musical life. Fleisher associated with great pianists, conductors, and composers and tells charming stories about his experiences. He also reveals his deep admiration for most of them. He "dishes" only on his later experiences with Sejie Ozawa who, according to Fleisher, misused his associations at Tanglewood.
This is a "good read." I recommend it to anyone interested in classical music, in performers, in honest, well written autobiography.
Leon Fleisher is one of the great pianist/musicians that has made a difference. His performances, his teaching, his
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mentorship have brought a great deal to the classical music world. At the top of his career Fleisher developed a sudden disability--the freezing closed of two fingers of his right hand--that changed his life. My awareness of his musicianship and his struggle to regain the use of his right hand made me eager to read his autobiography.This is a well written book: his collaboration with Anne Midgette served his book well. The authors flavored the book with five chapters entitled, "Master Class," that explored Fleisher's deep understanding of specific compositions by Brahms, Beethoven, Ravel, Mozart, and Shubert. These "mini-chapters" are fascinating: I've listened to the works explored with his exposition in hand and my appreciation has been enhanced. I intent to repeat the process and enrich my experience still more.
The book is candid: Fleisher did not live his life as an angel. He acknowledged his pursuit of women and his infidelities in two marriages. He revealed his failings as a father and his regrets. However, the book is also an in depth exploration of his musical life. Fleisher associated with great pianists, conductors, and composers and tells charming stories about his experiences. He also reveals his deep admiration for most of them. He "dishes" only on his later experiences with Sejie Ozawa who, according to Fleisher, misused his associations at Tanglewood.
This is a "good read." I recommend it to anyone interested in classical music, in performers, in honest, well written autobiography.
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LibraryThing member SeriousGrace
It took me a long time to get through this book. I would read five or six pages a day and never feel compelled to accomplish more. For me, it was definitely not a Cannot Put Down book. I found Fleisher long winded and didactic at times. Fleisher, for all his accomplishments, deserves to be wordy
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and authoritarian. To be fair, I am not musically inclined. To make matters worse I know even less about the world of classically trained musicians. I think this put me at a disadvantage for enjoying the book. There was little to the story outside music. To be fair, this definitely would be an interesting read for musicians, especially pianists and composers. Show Less
LibraryThing member datrappert
A very compelling autobiography that provides many insights into Fleisher's approach to music and certain pieces in particular, woven into his story of being first a child prodigy, then the student of the great Artur Schnabel, losing the use of the fourth and fifth fingers of his right hand just as
Fleisher also confronts his own infidelities and breakup of his first two marriages, though not in gruesome detail. This is the second pianist's autobiography I have read, the first being Rubinstein's "My Young Years", which although a superior book to this one, didn't provide nearly as many details about Rubinstein's approach to certain pieces.
Highly recommended--although it could use an index to make it easier to find specific comments again.
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his career was really in full bloom, his subsequent efforts to find a cure, and his career as a conductor and teacher. There are some great insights into piano playing here, although it isn't a technical book. But Fleisher has a way of seeing right into the heart of a piece of music. I recently observed a Master Class he gave and it was amazing how he could listen to a young pianist for a couple of minutes, then offer immediate insights that the pianist could apply to show a noticeable improvement.Fleisher also confronts his own infidelities and breakup of his first two marriages, though not in gruesome detail. This is the second pianist's autobiography I have read, the first being Rubinstein's "My Young Years", which although a superior book to this one, didn't provide nearly as many details about Rubinstein's approach to certain pieces.
Highly recommended--although it could use an index to make it easier to find specific comments again.
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LibraryThing member epivet
An interesting memoir from someone on the frontline of classical music for decades. The most fascinating bits are the Master Class chapters, where Fleisher leaves off the autobiography and talks about the musical pieces that have meant the most to him. Almost as enjoyable are the stories of great
Least appealing is Fleisher's descriptions of his family life. It is clear that music is primary to him and that people come a distant second. I have a hard time fully enjoying a book in which the 'hero' can toss off 2 marriages and 5 children with little chagrin, even when admitting that his own infidelity is to blame. He sadly lives up to the stereotype of the musician with the wandering eye.
While sometimes clunky or awkward, this book is a fast and engaging read.
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musicians and concerts.Least appealing is Fleisher's descriptions of his family life. It is clear that music is primary to him and that people come a distant second. I have a hard time fully enjoying a book in which the 'hero' can toss off 2 marriages and 5 children with little chagrin, even when admitting that his own infidelity is to blame. He sadly lives up to the stereotype of the musician with the wandering eye.
While sometimes clunky or awkward, this book is a fast and engaging read.
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LibraryThing member samfsmith
The memoir of the pianist Leon Fleisher, who can trace his teacher ancestry back to Beethoven through his teacher Schnabel. Fleisher was a child prodigy, full of promise, playing with the best orchestras and giving recitals in New York’s Carnegie Hall. That in itself is a compelling story, but
The memoir details that life-changing injury and Fleisher’s attempts to cope, as well as his three marriages, five children, and countless musician friends and colleagues. It is an informative, if not inspiring, read. The writing is low key and personal, as if Fleisher were sitting next to you, talking about his life. An added benefit for musicians are several “master classes” of important pieces of piano literature, in which Fleisher gives his personal views on interpretation.
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then tragedy struck, in the form of what we would call now a repetitive stress injury, or dystonia, or carpal tunnel syndrome. He lost the use of his right hand for playing the piano.The memoir details that life-changing injury and Fleisher’s attempts to cope, as well as his three marriages, five children, and countless musician friends and colleagues. It is an informative, if not inspiring, read. The writing is low key and personal, as if Fleisher were sitting next to you, talking about his life. An added benefit for musicians are several “master classes” of important pieces of piano literature, in which Fleisher gives his personal views on interpretation.
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LibraryThing member cenneidigh
Interesting and lots of music talk. The people he met and trained with or trained, were impressive. I love that he can trace his teacher back, through teachers, to Beethoven. He seemed to have the same problems many celebrities have with personal relationships, three marriages and two families of
It was a good book and fast to read, an interesting look at a music filled-life. Maybe not always the way he imagined, but music inspired and enjoyed all the same.
I won this on the giveaway section and received it in the mail today. Thank you Random House and Leon Fleisher for this experience. I'm going to give this to my children's piano teacher to enjoy next.(
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children(opus 1 and opus 2). As most celebrities he felt the need to share his political views at the end of the book. He is disgusted with the current president and his policies, I had to agree with him. Of course he was talking of President Bush and I'm talking about Obama.It was a good book and fast to read, an interesting look at a music filled-life. Maybe not always the way he imagined, but music inspired and enjoyed all the same.
I won this on the giveaway section and received it in the mail today. Thank you Random House and Leon Fleisher for this experience. I'm going to give this to my children's piano teacher to enjoy next.(
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LibraryThing member cvjacobs
Leon Fleisher and Anne Midgette have collaborated on the story of Fleisher’s life entitled My Nine Lives—A memoir of Many Careers in Music. This stunning account begins with Fleisher’s recollections of his childhood. It was the typical story of a child prodigy. Piano lessons at four, solo
In detailing his training and early career, Fleisher gives the reader an enticing glance into the world of a concert pianist. Practicing, camaraderie with other musicians, competitions, travelling , and performing compete with personal relationships . Spouses and children play second fiddle to the rigors of career. Fleisher presents us with the other side of fame in the classical music world. With refreshing frankness, he reveals the extra marital relationships and the faults that doomed his first two marriages, and shows us the remarkable personal growth that enabled him to succeed at a third marriage and to forge a closeness with children he had little time for in his earlier years.
At age thirty six, the right hand that helped vaunt him to dazzling success betrayed him. After years of practicing six to seven hours a day, Fleisher began to help a ‘sense of laziness’ in his index finger. Wrestling with a patio table resulted in slicing a bit of flesh out of his right thumb. Instead of tightening up while working, the muscles in his forearm seemed flabby. Finally, the last two fingers curled in to the palm. Consultations with doctors proved futile, and Fleisher scrambled to support his ex-wife and children with multiplying his career in music to embrace conducting, more teaching, and performing the left-handed repertoire for piano. He never gave up, and thirty years later, a combination of botox injections and rolfing restored his right hand. His story is inspiring for others with diseases or injuries. He does not white wash his behavior. He lets us hear his frustration, his inability to hold it in, his despair and anger.
Along the way we meet many legendary figures of classical music in the mid to late 20th century—Leonard Bernstein, George Szell, Zubin Mehta, Rudolf Serkin, Gary Graffman, and Jaime Laredo. They leap off the pages with at least some of their warts as well as their strengths.
For those who play or listen to piano masterworks, Fleisher includes several master classes that will enhance your enjoyment. Four of the five master classes are well known piano concertos, like the Brahms first or the Beethoven fourth, but the last is a work that gives us insight in Franz Schubert’s mind a few months before his death. Fleisher’s discussion of the B flat major sonata converys the ethereal, spiritual quality of this work, completed only about two months before Schubert died at age 31 of syphilis.
Fleisher took on the difficulties and succeeded despite the odds. The book is a masterpiece. It inspires and elevates as wells as it entertains. If you read only one biography this year, make it this one!
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recitals at age eight, appearances with the San Francisco Symphony orchestra at nine—all leading to lessons with Artur Schnabel. Schnabel exacted a high price for teaching him, no public performances. In detailing his training and early career, Fleisher gives the reader an enticing glance into the world of a concert pianist. Practicing, camaraderie with other musicians, competitions, travelling , and performing compete with personal relationships . Spouses and children play second fiddle to the rigors of career. Fleisher presents us with the other side of fame in the classical music world. With refreshing frankness, he reveals the extra marital relationships and the faults that doomed his first two marriages, and shows us the remarkable personal growth that enabled him to succeed at a third marriage and to forge a closeness with children he had little time for in his earlier years.
At age thirty six, the right hand that helped vaunt him to dazzling success betrayed him. After years of practicing six to seven hours a day, Fleisher began to help a ‘sense of laziness’ in his index finger. Wrestling with a patio table resulted in slicing a bit of flesh out of his right thumb. Instead of tightening up while working, the muscles in his forearm seemed flabby. Finally, the last two fingers curled in to the palm. Consultations with doctors proved futile, and Fleisher scrambled to support his ex-wife and children with multiplying his career in music to embrace conducting, more teaching, and performing the left-handed repertoire for piano. He never gave up, and thirty years later, a combination of botox injections and rolfing restored his right hand. His story is inspiring for others with diseases or injuries. He does not white wash his behavior. He lets us hear his frustration, his inability to hold it in, his despair and anger.
Along the way we meet many legendary figures of classical music in the mid to late 20th century—Leonard Bernstein, George Szell, Zubin Mehta, Rudolf Serkin, Gary Graffman, and Jaime Laredo. They leap off the pages with at least some of their warts as well as their strengths.
For those who play or listen to piano masterworks, Fleisher includes several master classes that will enhance your enjoyment. Four of the five master classes are well known piano concertos, like the Brahms first or the Beethoven fourth, but the last is a work that gives us insight in Franz Schubert’s mind a few months before his death. Fleisher’s discussion of the B flat major sonata converys the ethereal, spiritual quality of this work, completed only about two months before Schubert died at age 31 of syphilis.
Fleisher took on the difficulties and succeeded despite the odds. The book is a masterpiece. It inspires and elevates as wells as it entertains. If you read only one biography this year, make it this one!
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LibraryThing member SirRoger
For me, Leon Fleisher has always been just another name from the vast ocean that is the world of classical music. Over the years I've had my favorites, but Fleisher was only known to me from music catalogs and the occasional recording. In reading his story, I enjoyed the chance to get to know the
Fleisher begins his story with his childhood as a piano prodigy. He studied with Artur Schnabel in Italy and then in New York, and went on to win piano competitions and a successful career as a concerto soloist. At 36, the 4th and 5th fingers on his right hand began to have problems that would affect his playing for most of the rest of his life. Fleisher learned to deal with the loss, all the while searching for cures, and went on to new experiences in conducting, teaching, and performing left-hand repertoire, before eventually regaining much of the use of his right hand in his 60's.
A particular highlight are the "Master Classes," and other passages where Fleisher describes specific works that are important to him and played a central role in his musical development. For me, these sections are a perfect springboard for diving into some listening that I may not have had occasion to focus on before, such as the Brahms piano concerto #1, or the Beethoven piano concertos.
Fleisher is not a perfect man, but his story is ultimately one of triumph. He worked hard, felt deeply, and didn't give up. And though it seemed that his life's work might be taken from him, he continued to create, to inspire, and to grow.
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person behind the name. What I did not expect was just how engaging his story would be. My Nine Lives is a moving, insightful, humorous personal story of triumph that drew me right in. Fleisher and co-author Anne Midgette tell his story in a clear, readable style that is chock full of engaging anecdotes, but always seems to move forward at just the right pace. There's plenty of wry humor, but also substantial depth and introspection. Fleisher begins his story with his childhood as a piano prodigy. He studied with Artur Schnabel in Italy and then in New York, and went on to win piano competitions and a successful career as a concerto soloist. At 36, the 4th and 5th fingers on his right hand began to have problems that would affect his playing for most of the rest of his life. Fleisher learned to deal with the loss, all the while searching for cures, and went on to new experiences in conducting, teaching, and performing left-hand repertoire, before eventually regaining much of the use of his right hand in his 60's.
A particular highlight are the "Master Classes," and other passages where Fleisher describes specific works that are important to him and played a central role in his musical development. For me, these sections are a perfect springboard for diving into some listening that I may not have had occasion to focus on before, such as the Brahms piano concerto #1, or the Beethoven piano concertos.
Fleisher is not a perfect man, but his story is ultimately one of triumph. He worked hard, felt deeply, and didn't give up. And though it seemed that his life's work might be taken from him, he continued to create, to inspire, and to grow.
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LibraryThing member Jeanomario
I generally like reading memoirs about people who are anything other than musicians. As a professional musician, I have difficulty reading books like this, but I slogged through it and found things to which I related and other things that were casually interesting. The book is accessible and
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well-organized. As a teacher, I appreciated the master class section the most. I noted Fleisher's comments on left-handed playing with personal interest and shared the book with my left-hand only pianist friend. She suffered a stroke at age 28 and has gone on to a successful teaching and performing career, mastering the left-handed repertoire and adapting two-handed pieces into one. All in all, I am glad to have read this book. Show Less
LibraryThing member pennyshima
I once thought I would pursue a career in music. I once thought all paths as an adult were clearly marked. I do not know if this well written and interwoven memoir would have been appreciated by a 17 year old me, but reading it in my 30s enabled me to find comfort and understanding. While not
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perfect (who is?), Fleisher's strength and ability to adapt is inspiring. Show Less
LibraryThing member GrrlLovesBooks
Beautifully crafted story told with sensitivity. A must read for music lovers.
LibraryThing member Martha_Thayer
Not a great book, but very interesting if you knew part of Leon Fleisher's story and wanted to know more.
Language
Original language
English
Physical description
336 p.; 6.4 inches
ISBN
038552918X / 9780385529181