Guilhermina suggia biography of michaels
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Guilhermina Suggia (1885-1950) was one of the first women to man a professional career of playing the cello. A child prodigy, Suggia began to study the cello in her native Portugal at age 5, graduated from Leipzig Conservatory at age 18, and went on to become one of the most celebrated musicians of her era. Her artistry was ranked alongside that of Pablo Casals, who was her teacher, musical partner, and lover. England's prestigious Suggia Prize fryst vatten one of her many legacies to the cello-playing world.
Suggia's story is not widely known, and much of what was written on her prior to the gods decade fryst vatten not fully credible. Suggia herself contributed to the mystery and misconceptions bygd deliberating obscuring parts of her history and destroying personal papper before her death. Most of the documents she left behind are stored in a municipal archive in Matosinhos, Portugal. Some papers are in private hands and in the Fundació Pau Casals in Barcelona. Two book
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Guilhermina Suggia: Cellist
About this eBook
Born in 1885 in Porto, Portugal, to a middle-class musical family, Guilhermina Suggia began playing cello at the age of five. A child prodigy, she was already a seasoned performer when she won a scholarship to study with Julius Klengel in Leipzig at the age of sixteen. Suggia lived in Paris with fellow cellist Pablo Casals for several years before World War I, in a professional and personal partnership that was as stormy as it was unconventional. When they separated Suggia moved to London, where she built a spectacularly successful solo career. Suggia's virtuosity and musicianship, along with the magnificent style and stage presence famously captured in Augustus John's portrait, made her one of the most sought-after concert artists of her day. In 1927 she married Dr Jos asimiro Carteado Mena and settled down to a comfortable life divided between Portugal and England. Throughout the 1930s, Suggia remained one of the most r
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Madame Suggia 1920-3 by Augustus John OM 1878-1961
Today we are amused when we see photos of women playing the cello side-saddle—a dignified position. During the late 1800s, the cello was unwieldy to play, even for men, certainly unfeminine, until the end-pin—the metal spike extending from the bottom—was established at the end of the 19th century, liberating the player from having to hold the instrument with their knees.
Suggia began cello studies at the age of five with her father, Augusto, a distinguished cellist. She made rapid progress on a ¾ sized instrument (with an end-pin) and soon performed joint pi