Criticism
Huberman was a very individual and unique player, and while to some he represented music making at its most profound, others saw in his individuality an extravagant egoism. The ‘objective’ Carl Flesch disliked Huberman so much, that when he found Huberman and Schnabel had formed a quartet together, he broke off relations with Schnabel. As Hans Keller said, any strong personality that we don't identify with, will seem to us egotistical. Several of Keller's essays on Huberman and musical interpretation are included here.
Paul Frenkel
Paul Frenkel was Huberman’s pianist between 1917 and 1924. In this
short article from The Listener Speaks, he gives an excellent description
of Huberman’s interpretative style.
Henri Temianka
Temianka was a pupil of Huberman, and although his style of playing was
completely and utterly different to Huberman’s, he had a lot of respect
for his teacher. His description of Huberman tuning up reminds me of my
own teacher who saw Huberman play in the 1930s, and described it as “rough
as guts!”
Carl Flesch
Flesch is not kind to Huberman in these excerpts from his Memoirs.
Huberman for his part had no animosity to Flesch, and sent him many students
including Josef Hassid, who Flesch considered his greatest student.
Hans Keller
The Austrian/English music critic Hans Keller is the most interesting writer
on music that I have ever come across. Several of his articles on changing
attitudes to musical performance are included here, as well as a letter
to Huberman that Keller wrote at the age of 16.