Ervin Nyiregyhazi

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Ervin Nyiregyházi (January 19, 1903, Budapest – Los Angeles, 1987) was a Hungarian-American pianist and composer.

He descended into relative anonymity after several years on the concert stage in the 1920s before reemerging in the 1970s.

His distinctive playing style, which has been viewed by some as a link to Franz Liszt's kind of Romantic pianism, has split critical opinion.

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Childhood and early career

Nyiregyházi was tracked by psychologist Géza Révész and was the subject of an article and a book published in 1911 and 1916, respectively, from ages six to twelve. Ignácz, Nyiregyházi's father, was a member of the Royal Opera Chorus in Budapest, but he died when Ervin was twelve years old; he was also very encouraging and caring. He shared several extraordinary things about his son before his death: Ervin began to play on a mouth organ before he was two; he played almost every song on a mouth organ before he was 21 years old; and could identify every note or chord that was played for him by the time he was seven. He was known for his musical ability as well as his technique. Ervin was rated a few years above average on general intelligence tests, not a genius, not a savant. Mária's mother, Mária, was a stage mother who attempted to discourage him from attending opera and symphonic music and pushed her son to study the classical piano repertoire in order to entertain and provide funds for their family. Ervin later told him that his mother sexually molested him.) Ervin eventually broke with his mother, who later expressed delight that she had been killed in a Nazi concentration camp.

Nyiregyházi studied with Ern Dohnányi and Frederic Lamond. He appeared in Liszt's Piano Concerto under Arthur Nikisch at age 15, and he performed with the Berlin Philharmonic under Arthur Nikisch. Nyiregyházi's "brilliant technical capabilities, exceptional arm and fingers, astonishing dexterity, and a keen sense of piano tone" were among his "most popular piano renditions "for the piano." Richard Aldrich of the New York Times wrote about his Carnegie Hall debut in 1920, but he was skeptical about his "most popular and misleading" theories. H. T. Finck of the Evening Post praised Nyiregyházi's "originality" but criticised his "arbitrary disregard of the apparent intentions of great composers." Nyiregyhazi was a "phenomenal performer" with "the white heat of sincerity, conviction, and faith," Olin Downes wrote in the Boston Post. Arnold Schoenberg wrote Nyiregyházi in a 1935 letter to Otto Klemperer:

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