treble


GINA BACHAUER The First HMV Recordings
APR5643
J.S.BACH/BUSONI Toccata, Adagio & Fugue in C, BWV564
LISZT Funérailles; LISZT Hungarian Rhapsody No.12
MOZART Piano Concerto No.26 in D K537 “Coronation” (with New London Orchestra/Sherman)
LISZT/BUSONI Rapsodie espagnole (with New London Orchestra/Sherman)

The Greek pianist Gina Bachauer was born in Athens in 1910. Unlike many of her female colleagues of the time, she was a renowned exponent of the great warhorses of the repertoire including concertos by Brahms and Rachmaninov and, as can be heard on this disc, Busoni's monumental solo transcriptions of Bach and Liszt. Like many of her generation, the launch of her international career was delayed by the Second World War (which she spent in the Middle East, giving some 600 concerts for the Allied Forces) and it was only at the end of the 1940s that she began to receive true recogition. HMV was quick to spot her brilliance and signed her to an exclusive contract and the fruits of her earliest recordings (1949-51) can be heard on this disc. It was unusual to encounter her in Mozart but she offers here a spirited performance of the Coronation Concerto where she is accompanied by the New London Orchestra with Alec Sherman (later to be her husband) on the podium.
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BARBIROLLI & CASADESUS Mozart, Weber & Franck
APR5601
Clarity and taste are his most impressive qualities.
Live recordings (1936 & 1938) from Carnegie Hall

MOZART Concerto 23
WEBER Konzertstück • FRANCK Symphonic Variations
(New York Philharmonic-Symphony Orchestra/John Barbirolli)

This collection provides important documentation from the earlier phase of his career, and APR deserves thanks for making it available. (IRR UK)
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SIMON BARERE at Carnegie Hall Vol.1: 1946
APR5621
Including LISZT Concerto 1 (New York Philharmonic-Symphony Orchestra/David Broekman)
JS BACH Chromatic Fantasy & Fugue • BEETHOVEN Sonata 31
Chopin • Glazunov • Liszt • Weber

If lightning finger-work and improvisational musicianship are your priorities, then Simon Barere live will prove a must. Gramophone (UK)
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SIMON BARERE at Carnegie Hall Vol.3: 11th November 1947
APR5623
Including CHOPIN Ballade 1 • Impromptu 1
LISZT Sonata • BALAKIREV Islamey
Weber • Godowsky • Blumenfeld • Scriabin • Rachmaninov

[Barere's Liszt Sonata] remains in a class by itself... one that captures the Romantic grand manner in a way that makes even such renowned Lisztians as Brendel and Howard seem depressingly literal-minded... If you don't know Barere, this is the best place to start. International Piano (UK)
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SIMON BARERE at Carnegie Hall Vol.4: 1949
APR5624
BEETHOVEN Piano Sonata 27 • SCHUMANN Carnaval
CHOPIN Andante spianato & Grande Polonaise brillante
Scherzo 3 • Waltz 5 • Etudes, Op.10/8, 4 & 5
LISZT Gnomenreigen

Though musically provocative, Barere's playing suggests in its freedom and daring the extravagant imaginative forays that Liszt and other Great Romantics indulged in as a matter of course. No one today, not even the likes of Kissin or Volodos, sound anything remotely like him, which makes APR's CD among the most significant 'great piano' releases of the last 10 years. (Gramophone)
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SIMON BARERE at Carnegie Hall Vol.5
APR5625
RACHMANINOV Piano Concerto No.2 (with unknown orchestra, cond. Antonia Brico)
Off Air recital:
SCARLATTI Sonata in A Kk113; CHOPIN Scherzo No.3 Op39; Impromptu No.1 Op29; Waltz No.5 Op42; LISZT La Leggierezza, Gnomenreigen; SCRIABIN Etude Op8/12
The 1929 Odeon recordings:
CHOPIN Etude Op10/8; Waltz No.5 Op42; LISZT Gnomenreigen RACHMANINOV Polka de W.R.
New Zealand radio interview September 1947

This is the final volume in our series of live Barere recordings from Carnegie Hall, however only the performance of the Rachmaninov 2nd Concerto actually originates there. Interestingly, the work is conducted by one of the earliest female conductors - Antonia Brico - who for a time ran her own orchestra. This is a truly passionate performance, perhaps similar to that result one might have expected had Barere's classmate, Horowitz, ever taken up the work.

Though appendices, the other recordings are also of great interest. The off-air recital probably dates from 1944-46 and shows Barere in a selection of his signature showpieces. The commercial Odeon recordings were recorded in Sweden in 1929 and are the earliest record we have of Barere's playing. Finally we have the unique chance to hear Barere speaking in an, admittedly banal, interview for New Zealand radio.

All the performances confirm that Barere was indeed, not only one of the greatest ever keyboard technicians, but a Romantic pianist in the grand tradition, fully worthy of his Russian pedigree.

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SIMON BARERE The complete HMV recordings (1934-36)
APR6002
2CDs
Compact Disc 1 (56.48)
LISZT La leggierezza Etude de concert No 2, S144; LISZT Petrarch Sonnet No 104 Années de Pèlerinage: Deuxième année, Italie, S161/5; LISZT Gnomenreigen Etude de concert No 2, S145 LISZT Réminiscences de Don Juan é Mozart S418; LISZT Valse oubliée No 1 S215; LISZT Rapsodie espagnole S254; CHOPIN Scherzo No 3 in C sharp minor Op 39; CHOPIN Mazurka No 38 in F sharp minor Op 59/3; CHOPIN Waltz No.5 in A flat Op 42
Compact Disc 2 (69.29)
BALAKIREV Islamey - Oriental fantasie; BLUMENFELD Etude for the left hand; GLAZUNOV Etude in C, Op.31/1; SCRIABIN Etude in C sharp minor, Op.2/1; SCRIABIN Etude in D sharp minor, Op.8/12; GODOWSKY Renaissance — No 12 Gigue in E (Loeillet); GODOWSKY Renaissance — No 6 Tambourin in E minor (Rameau); SCHUMANN Toccata in C, Op.7; LISZT Réminiscences de Don Juan — Mozart, S418 (alternative published take); SCRIABIN Etude in D sharp minor, Op.8/12 alternative published take; BALAKIREV Islamey — Oriental fantasie (alternative published take); SCHUMANN Toccata in C, Op.7 (alternative published take); CHOPIN Mazurka No 38 in F sharp minor, Op.59/3 (rogue take); SCHUMANN Toccata in C, Op.7 (rogue take)

This title was APR's very first release. It made a huge impact in the world of historic transfers and put both APR and Simon Barere on the map. Though eventually hailed in his own time as one of the greatest of all virtuosi, Barere's career began slowly, only taking off after he had escaped a poverty-stricken background in post-Revolution Russia. Tragically, just as he was beginning to enjoy real recognition, he suffered a fatal heart attack while playing the Grieg Concerto in Carnegie Hall. His short-lived fame was quickly forgotten by all but the most die-hard piano buffs until these recordings appeared in the 1980s. They comprise almost his complete studio recordings and for this reissue all the transfers have been completely remastered, greatly enhancing the sound.

Grand Prix, Liszt Society Budapest

No superlative is strong enough to convey adequately the quality of this playing ... His fingerwork is quite astonishing and his virtuosity almost in a class on its own ... This set is one to celebrate ... The Penguin Guide

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BARTLETT & ROBERTSON Selected recordings 1927-1947

APR6012
2CDs
Bartlett & Robertson Selected NGS, Homocord, HMV, & English/American Columbia Recordings

Compact Disc 1
(74.02)
1 BARTLETT(arr.) Elizabethan Suite (14.16)
2 BACH-MEDNIKOFF Little Fugue in G minor (3.13)
3 BACH-HORNE Jesu, Joy of Man’s Desiring (3.20)
4 BACH-HOWE Sheep may safely graze (4.30)
5-7 BACH Concerto in C major BWV1061 ORCHESTRA/BARBIROLLI (17.04)
8 SCHUMANN-DEBUSSY Étude Op 56 No 4 (3.38)
9 SCHUMANN Andante and variations Op 46 (12.24)
10 SAINT-SAËNS Variations on a theme of Beethoven (15.09)

Compact Disc 2  (78.44)
1 PAGANINI-LISZT-TAYLOR La Campanella (4.22)
2 LISZT-ROBERTSON Liebesträume No 3 (3.59)
3 ARENSKY Valse (from Suite for two pianos No 1) (4.11)
4 STRAUSS-PAVIA Die Fledermaus Fantasy (8.16)
5 GRANADOS-BARTLETT/ROBERTSON La maja y el ruiseñor (4.28)
6 INFANTE Gracia (El vito) (2.50)
7 FALLA-KOVACS Spanish Dance No 1 (2.38)
8 LECUONA-NASH Malagueña (2.47)
9-11 DEBUSSY En blanc et noir (14.43)
12 BAX Moy Mell (8.07)
13-15 BAX Sonata for two pianos (18.43)
16 BAX Hardanger (2.56)

ETHEL BARTLETT (1896–1978) and RAE ROBERTSON (1893–1956) both studied at the RAM with Matthay in the 1910s. They were married in 1921 and a few years later established a two-piano duo which quickly became the first such team to achieve truly international fame. From the 1930s they based themselves in the USA where they gave important American premieres of works by Poulenc and Stravinsky amongst others. They made first recordings of much of the standard two-piano repertoire and also inspired many new works and arrangements. Bax wrote four works specifically for them and their NGS recordings of two of these made shortly after their premieres (The sonata and Hardanger. Moy Mell was dedicated to two other Matthay pupils - Scharrer and Hess) are therefore of great documentary importance.
It is thus hugely surprising that this important legacy has been completely neglected since the 1950s and this issue is the first CD release ever devoted to their recordings.

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HAROLD BAUER The Complete Recordings

Harold Bauer
3CDs
Compact Disc 1 The 1924-1928 Victor Recordings (79.30)
SCHUBERT Impromptu in A flat major D899/4;  ANTON RUBINSTEIN Kamennoi-Ostrov Op 10/22
BAUER Tunes from the 18th Century: Barberini’s Minuet, Motley & Flourish
J S BACH/BAUER Jesu, Joy of Man’s Desiring;  GLUCK/SAINT-SAËNS Caprice sur les Airs de Ballet d’Alceste
BEETHOVEN/BAUER Gavotte in F major;  BEETHOVEN Piano Sonata in C sharp minor (‘Moonlight’) Op 27/2
BEETHOVEN Piano Sonata in F minor (‘Appassionata’) Op 57
CHOPIN Impromptu in A flat major Op 29;  CHOPIN Fantasie-Impromptu in C sharp minor Op 66
SCHUMANN Fantasiestücke Op 12/5 ‘In der Nacht’;  LISZT Étude in D flat major ‘Un sospiro’
SCHÜTT À la bien-aimée, Valse Op 59/2;  DURAND Waltz in E flat major Op 83

Compact Disc 2 The 1929 Victor & 1939 Schirmer Recordings (78.51)
SCHUMANN Novelette in D major Op 21/2;  BRAHMS Capriccio in B minor Op 76/2
GRIEG Album Leaf in A major Op 28/3;  DEBUSSY Suite bergamasque: iii Clair de Lune
BRAHMS Piano Sonata No 3 in F minor Op 5;  J S BACH Prelude and Fugue No 3 in C sharp major BWV848
HANDEL Air & Variations ‘The Harmonious Blacksmith’;  D SCARLATTI Sonata in A major Kk113
F COUPERIN Le Carillon de Cithére;  SCHUBERT Moment musical No 3 in F minor D780
MENDELSSOHN Charakterstück in A major Op 7/4;  CHOPIN Berceuse in D flat major Op 57


Compact Disc 3 The 1935 HMV & 1942 Victor Recordings (74.50)
SCHUMANN Fantasiestücke Op 12;  SCHUMANN Fantasiestücke Op 12/5 ‘In der Nacht’
SCHUMANN Novellette in D major Op 21/2;  LISZT Étude in D flat major ‘Un sospiro’
LISZT Waldesrauschen;  GRIEG Norwegian Bridal Procession Op 19/2;  GRIEG Album Leaf [EG109]
GRIEG Album Leaf in A major Op 28/3;  GRIEG Album Leaf in A flat major Op 28/1
GRIEG Lyric Pieces: Op 43/1 Papillon; Op 43/6 To Spring; Op 54/4 Notturno; Op 47/1 Valse-Impromptu
GRIEG Humoresque Op 6/3;  GRIEG Lyric Piece Op 38/1


English born pianist Harold Bauer originally hoped to make his career as violinist but his piano playing so impressed Paderewski that he subsequntly focussed on that instrument. He had huge success in the USA and as a result became a US citizen in 1917. Bauer was not a crowd-pleasing virtuoso firebrand but rather a true musician; there is always a wonderful poetry to his art and he excelled in miniatures, such as the Grieg presented here, though his legendary recording of the Brahms f minor sonata (still a benchmark) shows he had the requisite virtuosity when needed. These new transfers by Ward Marston are the only ones currently available of Bauer’s legacy.

 


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BLISS PREMIERES Volume 1: Piano Concerto (Solomon) & Adam Zero (Lambert)
APR5627
Concerto for piano and orchestra in B flat
Solomon/New York Philharmonic-Symphony Orchestra/Sir Adrian Boult
New York: 10 June 1939 (World première performance)
Adam Zero
including Fanfare Overture • Dance of Spring • Awakening of Love
Bridal Ceremony • Dance of Summer • Approach of Autumn
Night Club Scene • Destruction of Adam's world
Dance with Death • Finale
Royal Opera House Orchestra, Covent Garden/Constant Lambert
London: 9 May 1946 (World première broadcast)
(Issued in conjunction with the Bliss Trust)

To have this treasurable recording of the world première [of the concerto] issued commercially is an incredibly exciting find... Solomon is dazzling - a colossal virtuoso in the Horowitz class on this showing... What a pianist! IRR (UK). Bliss's zestful, unjustly neglected inspiration [Adam Zero] positively glows in the safe hands of its dedicatee. So, a fascinating, hugely enterprising release. Gramophone (UK)
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JORGE BOLET His Earliest Recordings

APR6009

2CDs
Compact Disc 1
(70.05)

Boston Records LP B301 Recorded 1952

1 SAINT-SAËNS: Etude en form de valse Op 52 No 6 (5:43)

2 MOSZKOWSKI: En Automne Op 36 No 4 (2:23)

3 MENDELSSOHN: Hunting Song (Song Without Words Op 19 No 3) (2.20)

4 MENDELSSOHN: Rondo Capriccioso Op 14 (7:02)

5 LISZT: Funérailles (Harmonies poétiques et religieuses No 7) (11:27)

6 BEETHOVEN : Andante Favori in F WoO 57 (9:13)

Boston Records LP B300 Recorded 1952

7 LECUONA: …y la Negra Bailaba (2:14)
8 LECUONA: Danza de los Ñañigos (2:20)

9 GRANADOS:: Andaluza (Playera) (4:30) 
10 DE FALLA: Andaluza (3:53) 
11 DE FALLA: Cubana (4:05)

12 ALBENIZ: Prelude (5:19) 
13 ALBENIZ: Malaguena (3:22) 
14 ALBENIZ: Cordoba (5:13)

Compact Disc 2 (68.12)

Remington LP 199-182 Recorded 1953

1-4 PROKOFIEV: Piano Concerto No 2 in G minor Op 16

i) Andantino/Allegretto (10:41); ii) Scherzo: Vivace (2:21); iii) Intermezzo: Allegro assai (5:46)

iv) Finale: Allegro Tempestoso (10:59) (TT 29:59)

with Cincinnati Symphony Orchestra, conductor Thor Johnson

Remington LP 199-191 Recorded 1953

5 CHOPIN: Scherzo No 1 in B minor Op 20 (9:21)
6 CHOPIN: Scherzo No 2 in B flat minor Op 31 (10:13)

7 CHOPIN: Scherzo No 3 in C sharp minor Op39 (7:20)
8 CHOPIN: Scherzo No 4 in E major Op 54 (10:53)


From the mid 1970’s until his death, Cuban born Jorge Bolet emerged as one of the world’s truly great pianists and one of the last representatives, along with the likes of Cherkassky, Horowitz and Earl Wild, of the great Romantic tradition of pianism. His pedigree was marvellous - a student of Godowsky-disciple David Saperton at the Curtis Institute, there he was also able to play for Godowsky himself and Josef Hofmann. He won the Naumburg competition in 1937 and looked set for a great career, but the war interrupted the flow of things and he struggled through the 1950s & 60s, mainly playing in the USA and not quite making the international ‘big-time’. His big break came with an RCA contract and the release on LP of a stunning live Carnegie Hall concert in 1974. Shortly after, he was signed to Decca and went on to make many award winning discs. But what of the early years? There’s not much, but here, for the first time on CD, we have the four LPs he made in the 1950s. His very first disc was of Latin-American repertoire that he was never to record again. Here also is the first ever recording of Prokofiev’s Second Piano Concerto in a performance that is still up there with the best.

These almost unknown discs are sure to fascinate, and fill an important gap in the mystery of Bolet’s early career.


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YORK BOWEN The complete 78rpm solo recordings
APR6007
2CDs
Compact Disc 1 (62.23)
BEETHOVEN Piano Concerto No 4 in G major Op 58  with AEOLIAN ORCHESTRA conducted by STANLEY CHAPPLE

BACH Partita No 2 in C minor BWV826: Capriccio
BEETHOVEN Piano Sonata No 13 in E flat major Op 27 No 1: I.Andante;
Piano Sonata No 24 in F sharp major Op 78
SCHUMANN Faschingsschwank aus Wien Op 26: Allegro
LISZT Années de pèlerinage, première année – Suisse S160: Eglogue

MOSCHELES Etude Op 70 No 5
COCHRANE Le Ruisseau
BRAHMS Capriccio in B minor Op 76 No 2 
MENDELSSOHN Scherzo in E minor Op 16 No 2 

SCHÜTT Etude Mignonne in D major Op 16 No 1 

Compact Disc 2 (58.58)

CHOPIN Ballade No 3 in A flat major Op 47; Scherzo No 2 in B flat minor Op 31; Waltz in A flat major Op 34 No 1; Polonaise in C sharp minor Op 26 No 1; Etude in E minor Op 25 No 5; Twenty-Four Preludes Op 28: Nos.23, 20 & 3
RACHMANINOV Prelude Op 23 No 5 G minor; Polichinelle Op 3 No 4
DEBUSSY Estampes: Jardins sous la pluie; Arabesque No 2 in G major
GARDINER Five Pieces: III. London Bridge; V. Gavotte

BOWEN Suite No 2 Op 30: Finale ‘A Romp’; The Way to Polden, An Ambling Tune, Op 76; Arabesque Op 20 No 1; Fragments from Hans Andersen Op 58: Thumbelina; The Windmill  (with spoken introductions)


In recent years York Bowen, the composer, has enjoyed a spectacular revival, but until now his talents as pianist (barring a late recording of his own music for Lyrita) have not been heard since the days of 78s. At the height of his success, in the first decades of the 20th century, Bowen was as much known as pianist as composer and frequently performed at the Proms amongst other things.
His first recording, a very rare disc on the Marathon label, was released in 1915, but the bulk of his work was done for Vocalion; after they went bankrupt in 1927 he appears to have made no further 78s. Pride of place must go to Bowen’s Beethoven 4th Piano Concerto. This was the very first recording of the work and its neglect has been due to the fact that it was one of the last recordings to be made under the old acoustic process which was superseded the year the work was issued. Bowen’s pianism is extremely fluent and he plays his own cadenzas! Through all the featured works we hear a pianist who plays in the ‘grand manner’ and that, and his preference for romantic repertoire, reveal him as somewhat atypical of the English pianist of his time. Perhaps his nickname ‘the English Rachmaninov’ did indeed hit the nail on the head.

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ALEXANDER BRAILOWSKY The 1938 London recordings
APR5501
A tonal colourist supreme
CHOPIN Sonata 3 • Berceuse • Ecossaises • Waltz 1
VIVALDI - BACH Concerto • SCARLATTI - TAUSIG Pastorale & Capriccio
BEETHOVEN Rage over a lost penny

This will be a revelation to those who remember Brailowsky from his post-war recordings... Here preserved in excellent transfers, he shows himself a first-rank artist... Spontaneity and subtlety permeate this excellent release. Classical Pulse
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BUSCH-SERKIN DUO Vol.2: Schumann, Brahms & Reger
APR5542
Volume 2
BRAHMS Violin Sonatas 1 & 2
SCHUMANN Violin Sonata 1 • REGER Allegretto

These recordings were made in 1931-37, and the producers have exercised great care in getting the finest sound from them... I think most listeners would not be aware of the 78 rpm origins of these records ARG (USA)
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BUSCH-SERKIN DUO Vol.3: Vivaldi, J.S. Bach, Mozart & Schubert
APR5543
Volume 3
J.S.BACH Sonata BWV.1021
MOZART Sonata 25 • SCHUBERT Fantasie
Geminiani and previously unpublished Bach titles

Here is baroque playing to gladden the heart... Busch and Serkin illustrate time and again what interpretative integrity is possible when great artists are committed to each other. Classic CD (UK)
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HARRIET COHEN The Complete Solo Studio Recordings
APR7304
3CDs
Compact Disc 1 (77’21)
1-3 J. S. BACH Keyboard Concerto No 1 in D minor BWV1052 Orchestra conducted by Sir Henry Wood (24.16) (1924)
4-21 J. S. BACH The Well-Tempered Clavier Book I: Preludes & Fugues Nos. 1-9 BWV846 - BWV854(1928)
22 BACH/RUMMEL Sanctify us by thy goodness, from Cantata No 22 (2’41) (1928)
23 BACH/COHEN Beloved Jesus, we are here BWV731 (2.37) (1928)
Compact Disc 2 (76’13)
1-3 J. S. BACH Keyboard Concerto No 1 in D minor BWV1052 Philharmonia Orchestra conducted by Walter Susskind (24.44)(1946)
4-5 J. S. BACH Prelude & Fugue No 4 BWV849 from WTC Book 1 (7.39)(1947).
6-8 BACH/COHEN Sanctify us by thy goodness (2.39); Beloved Jesus, we are here (2.41); Up! Arouse thee! (4.03)(1935)
9 BACH/PETRI Fantasia (Praeludium) in C minor BWV921 (3.21) (1935)
10-12 MOZART Piano Sonata No 10 in C major K330 (15.32) (1932)
13-16 CHOPIN Nocturne Op 15 No 1 (5.00); .Nouvelles Études Nos. 1 & 3 (4.12) (1943); Étude Op 25 No 7 (5.50) (1928)
Compact Disc 3 (78’41)
1-2 BRAHMS Ballade in D minor Op 10 No 1 (4.24); Intermezzo in B flat major Op 76 No 4 (2.30) (1930)
3-4 DEBUSSY Clair de lune (4.26); La cathédrale engloutie, No 10 from Préludes Book I (4.52) (1948)
5-7 DE FALLA Andaluza (4.18);. The Fisherman’s Tale (2.12); The Miller’s Dance (2.19) (1943)
8-10 KABALEVSKY Sonatina in C major Op 13 No 1 (6.52) (1943)
11 SHOSTAKOVICH Prelude in E flat minor Op 34 No 14 (2.33) (1943)
12 GIBBONS Ayre – Alman – Toy – Coranto – Mr Sanders His Delight (4.19) (1947)
13 GIBBONS/VAUGHAN WILLIAMS Hymn Tune Prelude on Song 13 (4.20) (1947)
14-16 BAX Paean (3.47) (1938); A Hill Tune (4.53) (1942); A Mountain Mood (4.42) (1942)
17 BAX Morning Song (Maytime in Sussex) Orchestra cond. Dr Malcolm Sargent (8.25) (1947)
18 BAX The Oliver Theme from the film Oliver Twist Philharmonia Orchestra cond. Muir Mathieson (7.46) (1948)
19 BATH Cornish Rhapsody from the film Love Story London Symphony Orchestra cond. Hubert Bath (6.11) (1944)

The Matthay School Volume 2
Certainly the most glamerous of the Matthay students, Harriet Cohen was also the most extrovert and to the general public was known as a socialite as much as a pianist. Her friends included George Bernard Shaw and Ramsay MacDonald and she became notorious as the lover of the married Arnold Bax. Behind this apparently superficial exterior lay a surprising intellect and her repertoire favoured Bach and earlier music or contemporary music (much of it dedicated to her) rather than the more popular, and frequently played, romantic repertoire.
Few of her recordings have been reissued on CD so this will be an eagerly awaited set. It includes the first ever (acoustic) recording of Bach’s D minor concerto, and the later post-war remake, and also several of the works Bax wrote for her.

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ALFRED CORTOT The Late Recordings Vol.1: 1947
APR5571
SCHUMANN Kinderszenen, Op.15 · DEBUSSY Childen's Corner
CHOPIN Nocturnes15 &16 · 3 Nouvelles études
Prelude 25 · Polonaise-Fantaisie

Several of the items [here] show the pianist in visionary form... The transfers are excellent... Definitely recommended for Cortot buffs. Fanfare (USA)
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ALFRED CORTOT The Late Recordings Vol.2: 1948 & 1949

APR5572
1948 ‘Encores’

BACH arr Cortot “Aria” (Concerto in F minor, BWV1056 - Adagio);PURCELL arr Cortot “Minuet” (Harpsichord Suites 1 & 8 - Minuets); SCHUBERT arr Cortot Litanie; SCHUMANN Vogel als Prophet, Op.82/7; CHOPIN Nocturne in F sharp, Op.15/2; BRAHMS arr Cortot Wiegenlied
1947
FRANCK Prélude, Aria et Final (Previously Unpublished)
1949
DEBUSSY Préludes Book One
Appendix: 1948 ‘encores’ in LP version
BACH arr Cortot “Aria” (Concerto in F minor, BWV1056 - Adagio); PURCELL arr Cortot “Minuet” (Harpsichord Suites1 & 8 - Minuets); SCHUMANN Vogel als Prophet, Op.82/7


Although he was universally regarded as one of the greatest pianists of the last century, Cortot’s later recordings have had a bit of a bad press. Though he had a virtuoso technique it was fallible and the careless slips he was renowned for became more pronounced as he became older. It’s true that some embarrasing recordings exist and and a Beethoven sonata cycle went so badly it has never seen the light of day but in the right repertoire these aspects of his playing are not an issue and in recordings such as those presented here we can enjoy Cortot’s wonderful musicality without the need to make any allowance for a faltering technique The major work here is the complete first book of Debussy Préludes. This set, recorded in the last days of 78s, had only a limited life as LP technology arrived within a year and brought with it improved recording quality. The set was reissued as an LP in 1953, from a technical point of view already out of date, but of course nowadays this is of no consequence when we have the glory of Cortot’s playing to consider.

The Franck Prélude, Aria et Final from 1947 has not been previously issued though passed by Cortot himself. Only one set of test pressings is known to exist, and it is missing the second of six sides, so to make a complete performance we have dubbed in the second side of Cortot’s earlier 1932 recording of the work. Perhaps the gems of this collection are the series of ‘Encores’ which Cortot recorded in 1948. These works present the essence of Cortot’s style, his instantly recognizable singing line, his wonderful voicing of chords and the nobility of it all.It appears that when some of these titles were reissued on LP different takes, recorded on tape, were used so these versions are included as an appendix.


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ALFRED CORTOT The Late Recordings Vol.3: 1949-1951

APR5573
1949-51 CHOPIN

Nocturne No 2 in E flat major Op.9/2; Nocturne No 4 in F major Op 15/1; Nocturne No 7 in C sharp minor Op 27/1; Etude in E major Op 10/3; Etude in C sharp minor Op 10/4; Etude in F minor Op 25/2; Trois Nouvelles Etudes; Barcarolle in F sharp minor Op 60; Prelude No 15 in D flat major Op 28 (Raindrop); Prelude No 25 in C sharp minor Op 45; Berceuse in D flat major Op 57; Waltz No 3 in A minor Op 34/2; Waltz No 6 in D flat major Op 64/1 (Minute); Waltz No 9 in A flat major Op 69/1; Waltz No 9 in A flat major Op 69/1; Waltz No 11 in G flat major Op 70/1; Waltz No 12 in F minor Op 70/2

1950 MENDELSSOHN

Variations sérieuses in D minor Op 54


This third volume of Cortot’s late recordings once again shows that their neglect has been unjustified. Chopin has always been the composer with whom Cortot was most identified and here we have a wonderful selection of mainly popular works which show off the pianist’s trademark lyrical playing to the full. Of particular interest to collectors are the Chopin titles from 1951 which have generally not yet appeared on any CD transfer; six of these titles were issued in the UK only as 78’s or 45rpm discs, both formats that did not last, another five were only issued in the USA on a RCA Victor LP, but as the relationship between EMI and RCA ceased shortly after these too had a very short life in the catalogue. The CD is completed with a fine performance of the Mendelssohn Variations sérieuses, another Cortot favorite.


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ALFRED CORTOT The Late Recordings Vol.4: 1951, 1953-54
APR5574
SCHUBERT
Moment musical in F minor D780/3 1954
12 Deutsche Ländler D790  1951
Litanie (arr. Cortot) 1953
LISZT
Hungarian Rhapsody No 11 in A minor S244/11 1953

SCHUMANN

Carnaval Op 9  1953

CHOPIN

Nocturne No 5 in F sharp major Op 15/2 1954

Etude in G flat Op 10/5 1954

Etude in F minor Op 25/2 1954

Etude in G flat Op 25/9 1954

Sonata No 2 in B flat minor Op 35 - Marche funèbre 1953

Tarantelle in A flat Op 43 1954

Sonata No 3 in B minor Op 58 - Largo 1954

Waltz No 7 in C# minor Op 64/2 1954


This fourth volume of late Cortot completes APR’s survey of the post-war recordings which the pianist made for EMI in the UK. We are now entering the era of tape recording, and apart from the Deutsche Ländler of 1951, all the other titles, which date from 1953-54, were recorded in this new medium. This gave the artist new freedom, as he was not restriced to the length of a 78rpm side for each take, and Cortot tackled much of his ‘big’ repertoire again. Sadly, by this time his failing health meant that many works remained unissued as they did not meet the standards of his earlier magnificent versions, however some old warehorses did stand the test of time, as can be heard in the Carnaval featured here. His playing may have become technically more fallible but the performances fully support the claim of the late Thomas Manshardt, one of Cortot's last pupils, that this period of Cortot's career "is his greatest in thought and warmth and mastery’.

The booklet contains a discography of all Cortot’s HMV sessions from 1953 to 1955.


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ERNST VON DOHNANYI The complete HMV solo piano recordings 1929-56
APR7038
2CDs
Compact Disc 1 (mono)
Budapest - November 1929
Pastorale • Waltz ("Coppélia": Delibes)
London - February 1931
Schatzwalzer ("Zigeunerbaron": J.Strauss) • Du und Du ("Fledermaus": J.Strauss)
London - November 1946
Six Piano Pieces Op.41 (previously unpublished)
London - August & September 1956
Winterreigen (10 Bagatelles) Op.10 • Variations on a Hungarian Folk Song Op.29

Compact Disc 2 (mono & stereo*)
Pastorale • Intermezzo in F minor Op.2/3 • Ruralia Hungarica No.6 Op.32/A
Gavotte and Musette in B flat* • Pavane with Variations Op.17/3*
Suite nach altem Stil (Suite in the Olden Style) Op.24*
Six Piano Pieces Op.41* • Burletta Op.44/1* • Nocturne (Cats on the roof) Op.44/2*
Valses nobles D.969 (Schubert)*


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KATHLEEN FERRIER Brahms Alto Rhapsody & Mahler Das Lied von der Erde
APR5579
Her unique voice never ceases to impact on the listener
MAHLER Das Lied von der Erde
Richard Lewis/Hallé Orchestra/Sir John Barbirolli (Manchester 1952)
BRAHMS Rhapsody for contralto, male chorus and orchestra, Op.53
Oslo Philharmonic Orchestra/ Erik Tuxen (Oslo 1949)

[This] account of Das Lied von der Erde is one of greatest importance because it is only one of two collaborations on disc with Barbirolli, who admired the singer so much, and because it is the only record, in both senses, of Barbirolli's interpretation... Ferrier recorded the Alto Rhapsody for Decca in 1947 with Clemens Krauss; this Norwegian broadcast of two years later is to be preferred. Gramophone (UK)
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FIORENTINO EDITION VI Schumann Fantaisie, Sonata 2 etc.
APR5560
Edition VI SCHUMANN
Fantasie • Romanze 2
Sonata 2 • Arabeske • Novellette 1
Arr. Fiorentino: Die Lotosblume • Widmung

In a survey of more than 60 versions of Schumann’s Fantasie for IPQ, Ates Orga wrote of this version: Benefiting from a fabulously voiced instrument, [this is] an overwhelming experience, outstandingly recorded in a golden acoustic. Remarkable... My recommendations, chronologically, are Backhaus, Gieseking, de Lara, Arrau (1959), Sofronitzky (1959), Richter (1960), Argerich (1966), Richter (1979), Bolet, Hough, Perl, Fiorentino (1996). Pushed to choose just one, it’d have to be Fiorentino. IPQ (UK)
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FIORENTINO EDITION IX Franck Prélude, Chorale & Fugue etc.
APR5563
Edition IX FRANCK
Prélude, Fugue & Variation op.18 (transc. Bauer);
Prélude, Choral et Fugue; Danse Lente; Prélude, Aria et Final

That the Italian pianist Sergio Fiorentino is now recognised as one of the great pianists of the 20th century is due almost entirely to his championing by APR in the last decade of his life. Sadly it was not always so. His career started well enough (he won the acclaimed Geneva competition, amongst others, in 1948) but after a near fatal plane crash Fiorentino withdrew for a time from playing in public and he never managed to re-establish himself at the level he deserved. Throughout the 50's and 60's he made many recordings for a variety of small British budget labels (Concert Artist, Fidelio & Saga), unfortunately though, these labels sold on the basis of their low price, the performances were not highly promoted and few at the time seemed to notice the exceptional quality of the playing. Through the 70?s & 80?s Fiorentino settled to a life of teaching but with the arrival of 90?s the pianist began to concertize again and finally the critics gave him his due. Also at this time (between 1994 and 1997) Fiorentino began recording again, this time for APR, and 10 CDs were made of which this is the ninth to be released. These discs, together with reissues of some of his earlier recordings, have been greeted with superlatives, winning several Diapason's d'Or, and two Grand Prix du disque Liszt. His Schumann Fantasy was also chosen by International Piano Quarterly as the best ever recording.

This new CD brings us all Cesar Franck's mature piano music in performances which take us to the heart of these spiritual works.

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SERGIO FIORENTINO The Early Recordings 1 - The Contemplative Liszt
APR5581
Volume 1
"Weinen, Klagen, Sorgen, Zagen Präludium • Consolations 1- 6
Nuage gris • La lugubre gondola (1st & 2nd versions) • R.W. - Venezia
4 Kleine Klavierstücke • Elegie No.2 • Dem Andenken Petöfis
Schlafos! Frage und Antwort • Unstern! Sinistre, disastro?

This memorable disc forms a moving and retrospective tribute to Sergio Fiorentino... and suggests throughout a timeless veracity and compliance between creator and re-creator, between composer and pianist. [The] refurbishment has done wonders for the sound and the performances are of the rarest inwardness and delicacy. IPQ (UK)
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SERGIO FIORENTINO The Early Recordings 6 - Schumann
APR5586
SCHUMANN
Carnaval Op 9; Kinderszenen Op 15;  Arabeske Op18; Symphonic Etudes Op13

THE ITALIAN PIANIST Sergio Fiorentino excelled in many areas of the repertory, but he enjoyed a particularly close affinity with the music of Schumann. His effortless blend of a seemingly unimpeachable technique, a wonderful ability to sing a line, and a sense of strong but never overbearing characterization made him a natural for Schumann’s highly strung emotionalism. The four works included here, recorded over a mere two days in August 1965, show him equally at home in a work as outwardly modest as the Arabeske, and in the virtuosic Études symphoniques and Carnaval.


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EDWIN FISCHER The first Beethoven Sonata recordings
APR5502
BEETHOVEN Sonatas Op13 'Pathétique', Op57 'Appassionata' & Op110
HANDEL Chaconne in G • Suite No.3 (extracts)

Here in excellent sound, are his versions of the Appassionata and Pathétique sonatas, together with the Sonata Op.110... For beauty of thought and utterance it is hard to beat. Classic CD (UK)
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EDWIN FISCHER - MOZART CONCERTOS: The Complete 78rpm Studio Recordings
APR7303
3CDs

Compact Disc 1 (71’16)

Piano Concerto No 20 in D minor K466 (29’23) Recorded in London on 24 November 1933

LONDON PHILHARMONIC ORCHESTRA conducted from the piano by EDWIN FISCHER

Piano Concerto No 22 in E flat major K482 (31’34) Recorded in London on 6 June 1935

UNNAMED ORCHESTRA conducted by JOHN BARBIROLLI

Rondo for piano and orchestra in D major K382 (7’19) Recorded in Berlin on 13 October & 30 November 1936

EDWIN FISCHER CHAMBER ORCHESTRA conducted from the piano by EDWIN FISCHER

Minuet in G major K1, arranged by Edwin Fischer (2’41) Recorded in London on 25 November 1933


Compact Disc 2 (75’09)

Piano Concerto No 17 in G major K453 (25’12) Recorded in Berlin on 7 May 1937

EDWIN FISCHER CHAMBER ORCHESTRA conducted from the piano by EDWIN FISCHER

Piano Concerto No 24 in C minor K491 (27’46) Recorded in London on 3 March 1937

LONDON PHILHARMONIC ORCHESTRA conducted by LAWRANCE COLLINGWOOD

Fantasia in C minor K396 (7’50) Recorded in London on 28 August 1934

Piano Sonata No 11 in A major K331 (14’09) Recorded in London on 28 April 1933


Compact Disc 3 (75’07)

Piano Concerto No 25 in C major K503 (30’43) Recorded in London on 10 October 1947

PHILHARMONIA ORCHESTRA conducted by JOSEF KRIPS

Piano Sonata No 10 in C major K330 (12’02) Recorded in London on 6 March 1937

Fantasia in C minor K475 (10’53) Recorded in Berlin on 29 May 1941

Romance in A flat major KAnh205 (3’38) Recorded in Berlin 29 May 1941

HAYDN Concerto in D major Hob XVIII:11 (17’10) Recorded in Vienna circa 19–22 October 1942

VIENNA PHILHARMONIC ORCHESTRA conducted from the piano by EDWIN FISCHER


Along with Schnabel, in the first half of the 20th century Edwin Fischer was generally regarded as the greatest interpreter of the Germanic classics - Bach, Mozart, Beethoven, Schubert and Brahms. This was the period when recording came of age, and many first recorded performances, regarded as definitive in their time and still thought amongst the greatest even today, were set down by Fischer. Supreme among them were the first complete recording of Bach’s Well-Tempered Clavier and the Mozart concertos presented here. These are the only Mozart concerto recordings Fischer was to make commercially except for a LP remake of the D minor in 1954. Their status is such that they should never be out of the catalogue, and we are delighted therefore to reissue these APR transfers (previously on APR5523, 5524 & 5525) as a budget priced 3CD set. Also included are most of Fisher’s solo recordings of Mozart and his only recording of a Haydn concerto.


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The Russian Piano Tradition - YAKOV FLIER
APR5665
FRÉDÉRIC CHOPIN (1810–1849)
Sonata No 2 in B flat minor Op 35
recorded in Moscow c1956
SERGEI RACHMANINOV (1873–1943)
Prelude in C sharp minor Op 3 No 2
Prelude in G minor Op 23 No 5
recorded in Moscow c1952
DMITRI KABALEVSKY (1904–1987)
24 Preludes Op 38
recorded in Moscow c1955

We continue our comprehensive survey of the many great pianists who worked in Russia in the Soviet era with the first two discs in the Igumnov School. The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. Igumnov was the oldest of the thre great teachers we are considering.

Flier arrived at the Moscow Conservatiore a prodigy and rapidly went on to become one of the greatest of Igumnov's many pupils. He had a friendly rivalry with Emil Gilels, beating him in competition in 1935, only for the roles to be reversed in the Queen Elizabeth Competition of 1938.  In many ways his career mimicked that of his teacher Igumnov, as Flier also taught at the Moscow Conservatiore from an early age until his death and produced many illustrious pupils, though perhaps his own fame, at least internationally, suffered as a result.
Flier had a large repertoire and specialized particularly in the great works of the Romantic period which suited his all-encompassing, but undemonstrative, technique. Unfortunately he made surprisingly few recordings though all we have are very fine. Of particular interest here is the world premiere recording of Kabalevsky's 24 Preludes Op.34, a work Flier also premiered in concert. These and all the other material included, are new to CD.


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ANDOR FOLDES The Tono recordings (1950-51)
APR5580
The Tono recordings (1950-51)
BEETHOVEN Sonatas 8 (Pathètique), 24 & 25
SCHUMANN Abegg Variations & Papillons
Chopin & Brahms

You can hear how he enjoys performing Beethoven. Listen to the 'Pathétique', and it's like hearing it for the first time, and his Schumann sparkles with fresh thoughts... In a time where the past is looked upon with veneration by only a selected few, we must be grateful to APR for bringing back an hour of piano-playing simmering with joy, beauty and that good old-fashioned word: dignity. Pianist (UK)
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WALTER GIESEKING The first Concerto recordings Vol.2: Beethoven 4 & 5
APR5512
Volume 2
BEETHOVEN
Concerto 4 (Saxon State Orchestra/Karl Böhm)
Concerto 5 ("Emperor") (Vienna Philharmonic Orchestra/Bruno Walter)

[In the Emperor] Gieseking offers felicitous insights into this marvellous score. His understated manner makes the elegaic slow movement the most memorable I've heard, while the finale is excitingly projected. Classic CD (UK)
[In the Fourth], the first movement is as light-textured and delicately turned as chamber music, with more light (sunlight) than shade...The sound throughout is even better than on some post-war concerto recordings, and the transfers seem immaculate. Gramophone (UK)

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WALTER GIESEKING The Complete Homocord Recordings and other Rarities
APR6013
2CDs
Compact Disc 1 (80.01) Homocord Recordings 1923 - 1927
1-4 BACH Partita No 1 BWV825 (abridged) (4.53)
5 SCHUBERT Impromptu Op 142/3 (7.17)
6 CHOPIN Nocturne Op 9/3 (4.44)
7 CHOPIN Nocturne Op 15/2 (3.08)
8-9 CHOPIN Etudes Op 25/1 & 2 (3.49)
10 CHOPIN Polonaise Op 53 (5.41)
11 LISZT Hungarian Rhapsody No 12 in C sharp minor S244/12 (7.44)
12 BRAHMS Rhapsody in G minor Op 79/2 (3.32)
13 GRIEG Wedding Day at Troldhaugen Op 65/6 (4.49)
14 GRIEG To the Spring Op 43/6 (2.27)
15 GRIEG Butterfly Op 43/1 (1.28)
16-17 DEBUSSY Deux arabesques (5.47) (1923)
18 DEBUSSY Refects dans l’eau (3.57)
19 DEBUSSY Golliwog’s Cakewalk (2.29)
20 DEBUSSY Minstrels (2.29) (1923-5)
21 RAVEL Jeux d’eau (3.56) (1923)
22-24 POULENC Mouvements perpétuels (3.54)
25-26 DEBUSSY Deux arabesques (6.16) (1927)

Compact Disc 2 (79.18) Homocord, Brunswick, Columbia & Electrola Recordings 1925 - 1956
1 GRIEG Wedding Day at Troldhaugen Op 65/6 (4.33) (Homocord 1927)
2 GRIEG To the Spring Op 43/6 (2.22) (Homocord 1927)
3 GRIEG Butterfly Op 43/1 (1.23) (1927) (Homocord 1927)
4 STRAUSS/GIESEKING Ständchen Op 17/2 (2.38) (Homocord 1927)
5 STRAUSS/GIESEKING Freundliche Vision Op 48/1 (2.50) (Homocord 1927)
6-7 BACH Prelude & Fugue in C sharp major WTC book 1 BWV848 (3.09) (Homocord 1925 unissued)
8 SCARLATTI Sonata in D minor Kk9 (2.11) (Homocord 1925 unissued)
9 SCARLATTI Sonata in E major Kk380 (2.33) (Homocord 1925 unissued)
10 NIEMANN The Silver Cascade Op 92/6 (4.17) (Brunswick 1928)
11 DEBUSSY La plus que lent (3.37) (Brunswick 1928)
12-19 GIESEKING Variations on a theme by Grieg for Flute and Piano (with L. Callimahos)(17.21) (US Columbia 1937 unissued)
20-22 GIESEKING Sonatine for flute and piano (with G. Scheck)(13.06) (German Columbia 1937)
23-24 ROUSSEL Aria (1.56); M de la Péjaudie (6.56) (both with G Scheck - flute) (German Columbia 1937)
25-27 MOZART Sonata in D major K576 (13.20) (Electrola ca.1940-42 unissued)
28 TANSMAN Blues (2.18) (English Columbia 1956 unissued)

Walter Gieseking is known as one of the greatest 20th-century pianists, and his playing of Debussy and Ravel in particular is often regarded as definitive. For most of his recording career he recorded for Columbia, and many of these recordings have been frequently reissued, but his earliest recordings were made in the 1920s for the German label Homocord and these are hardly known. This set brings together all of them in their first complete CD transfer, and sheds new light on Gieseking’s playing. We hear him in composers such as Chopin and Liszt who he did not feature much in his later years, as well as his earliest takes on the repertoire for which he was to become best known.
The set is completed with other rarities: his single Brunswick disc and various previously unissued recordings from a variety of labels. Of particular interest are two major works for flute and piano where we find Gieseking in his much less well known role of composer.

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The Russian Piano Tradition - EMIL GILELS
APR5663
SCARLATTI Sonata in C major L104 (Kk159); Sonata in G major L487 (Kk125)
recorded in Moscow in 1955 
LOEILLET–GODOWSKY Gigue; SCHUMANN–TAUSIG Der Kontrabandiste
recorded in Moscow in 1935
SCHUMANN Toccata in C major Op 7
recorded in Moscow in 1935
SCHUMANN Traumes Wirren Op 12 No 7
recorded in Moscow in 1937
LISZT Paganini Étude No 5 ‘La Chasse’; Hungarian Rhapsody No 6 in D flat
recorded in Moscow in 1940 
LISZT Hungarian Rhapsody No 9 in E flat major
recorded in Moscow in 1951
BEETHOVEN Piano Sonata No 3 in C major Op 2 No 3
recorded in Moscow in 1952
PROKOFIEV Piano Sonata No 2 in D minor Op 14
recorded in Moscow in 1951

These four titles are the first in a comprehensive survey of the many great pianists who worked in Russia in the Soviet era. The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. We begin with perhaps the greatest of these - Neuhaus, and two of his pupils - Emil Gilels & Yakov Zak.

Along with Sviatoslav Richter (to feature later) Emil Gilels was regarded as the greatest of the Soviet pianists and, as he was allowed to travel to the west, he become know as one of the supreme pianists of the 20th century. Latterly he became known as a great player of Beethoven & Brahms. Here, in a selection of his earliest recordings, we see a different side to his talent as he reveals an astonishing virtuosity in such warhorses as the Liszt Hungarian Rhapsodies and the Schumann Toccata. Balancing the recital we also present the earliest of what were to be many Beethoven recordings and a performance of Prokofiev’s 2nd Sonata which reminds us why he was the dedicatee of that composer’s 8th, and greatest, Sonata.    


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The Russian Piano Tradition - EMIL GILELS & YAKOV ZAK

APR5664
WOLFGANG AMADEUS MOZART (1756–1791)
arranged by FERRUCCIO BUSONI (1866–1924)
Overture ‘The Magic Flute’ for two pianos (K620)
Fantasia in F minor for two pianos (Fantasie für eine Orgelwalze after K608) 
Duettino Concertante for two pianos (after Concerto K459 finale)
WOLFGANG AMADEUS MOZART (1756–1791)
Fugue in C minor for two pianos, K426 
Concerto for two pianos and orchestra in E flat K365
(with USSR STATE ORCHESTRA / KYRILL KONDRASHIN)
CAMILLE SAINT-SAËNS (1835–1921)
Variations for two pianos on a theme of Beethoven Op 35


These four titles are the first in a comprehensive survey of the many great pianists who worked in Russia in the Soviet era. The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. We begin with perhaps the greatest of these - Neuhaus, and two of his pupils - Emil Gilels & Yakov Zak.

That Gilels and Zak began performing together is perhaps not surprising as they both grew up in Odessa and then moved to Moscow to study with Neuhaus, however it was probably the Second World War, and their confinement to the Soviet Union where there was a need for morale boosting concerts, which brought the duo together in a partnership which lasted about ten years. With the exception of a performance of Carnival of the Animals their complete recordings are featured here, and a fascinating selection they are. Gilels was one of the few Russian pianists who played Mozart successfully and these recordings, either as original works, or transcribed by Busoni, present both pianists revelling in an easy virtuosity and joie-de-vivre. The disc is completed with Saint-Saëns’ masterly ‘Variations on a theme of Beethoven’, a work less well known than it should be - or would be, were it not written for two pianos. Perhaps surprisingly, its very French brilliance seems particularly suited to these two Russians


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The Russian Piano Tradition - GRIGORY GINZBURG
APR5667
GRIGORY GINZBURG - His Early Recordings 1
BEETHOVEN/RUBINSTEIN
Turkish March ('The Ruins of Athens')  rec. Moscow c.1930
LISZT
Hungarian Rhapsody No 10 in E major S244 rec. Moscow c.1940
Hungarian Rhapsody No 11 in A minor S244 rec. Moscow c.1942 
'Les cloches de Genève' (Année de Pèlerinage I) S160 rec. Moscow c.1942
Paganini Etudes No 3 in A minor 'La Campanella'; No 4 in E major 'Arpeggio'; No 5 in E major 'La chasse'  S140 rec. Moscow 1951
'Gondoliera' & 'Tarantella' from 'Venezia e Napoli' (Supplement to Année de Pèlerinage II) S162 rec. Moscow 1948
VERDI/LISZT
Paraphrase on 'Rigoletto' S 434 rec. Moscow 1951
LISZT/BUSONI
Fantasia on two themes from 'Le Nozze di Figaro' by Mozart S697 rec. Moscow 1948
ROSSINI/GINZBURG
'Largo al factotum' from 'Il Barbiere di Seviglia' rec. Moscow 1951
BALAKIREV
Islamey - oriental fantasy rec. Moscow c.1942

Grigory Ginzburg (1904-1961) was perhaps the most astounding virtuoso to emerge in Soviet Russia and it is a tragedy that he was never allowed to travel to the west after the mid 1930’s. He focussed his repertoire very much on the 19th century Romantic period and, above all, in Liszt, and his prolific recordings include many of Liszt’s virtuosic opera paraphrases that had fallen into neglect. This CD is the first of two devoted to his earliest 78rpm recordings mainly dating from the 1940s. These discs are extremely rare and many of the performances included will be unknown to even the most ardent collectors. The disc finishes with the most astounding performance of the greatest virtuoso warhorse of the 19th century – Balakirev’s Islamey. Ginzburg’s supremely elegant performance shows total control in even the thorniest passages, for him it appears no more difficult than a Haydn sonata, and the result is that we hear so much more in the music than is normally the case.
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The Russian Piano Tradition - GRIGORY GINZBURG II
APR5672
GRIGORY GINZBURG - His Early Recordings - Volume 2

BACH/BUSONI
Toccata and Fugue in D minor BWV565, recorded in Moscow c1953
WEBER
Rondo brillante in E flat major J252 ‘La gaité’, Recorded in Moscow in 1951

SCHUMANN
Paganini Études Op 3: No 2 in E major; No 4 in B flat major, recorded in Moscow c1948

Theme and variations on the name ‘Abegg’ Op 1, recorded in Moscow in 1952

CHOPIN
Impromptu No 1 in A flat major Op 29; Impromptu No 2 in F sharp major Op 36;

Impromptu No 3 in G flat major Op 51; Fantasy Impromptu in C sharp minor Op 66

recorded in Moscow c1948/9
Polonaise in B flat major Op 71 No 2, recorded in Moscow c1950

Polonaise in A flat major Op 53 ‘Heroic’, recorded in Moscow in 1950
STRAUSS–SCHULZ-EVLER
Concert Arabesques on ‘The Blue Danube’, recorded in Moscow in 1950

STRAUSS–GRÜNFELD
Frühlingsstimmen Op 410, recorded in Moscow c1948


Grigory Ginzburg (1904-1961) was perhaps the most astounding virtuoso to emerge in Soviet Russia and it is a tragedy that he was never allowed to travel to the west after the mid 1930’s. He focussed his repertoire very much on the 19th century Romantic period and, above all, in Liszt, and his prolific recordings include many of Liszt’s virtuosic opera paraphrases that had fallen into neglect. This CD is the second of two devoted to his earliest 78rpm recordings mainly dating from around 1950. These discs are extremely rare and many of the performances included will be unknown to even the most ardent collectors. Of particular interest to pianophiles will be his supremely elegant Strauss transcriptions and the Schumann arrangements of Paganini Caprices.


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The Russian Piano Tradition - ALEXANDER GOLDENWEISER
APR5661
TCHAIKOVSKY Album for the Young, Op.39 [23.03]
1. Morning prayer  2. Winter morning  3. Little horseman  4. Mother  5. The toy soldiers' march 6. The sick doll  7. The doll's funeral  8 Waltz  9. The new doll 10. Mazurka 11. Russian song 12. The peasant plays the accordion 13. Kamarinskaya 14. Polka 15. Italian song 16. Old French song 17. German song 18. Neapolitan song 19. Nyanya's tale 20. The witch 21. Sweet dreams 22. Song of the skylark 23. The organ-grinder's song 24. At church 
recorded in Moscow c1952 
GRIEG
Lyric Pieces Book VII, Op.62 [15.01]
I Sylphe II Gratitude III French serenade IV Brooklet V Phantom VI Homeward 
recorded in Moscow c1953
from Lyric Pieces Book VIII, Op.65 [16.28]
I From days of youth II Peasants' song V In ballad style VI Wedding-day at Troldhaugen   
recorded in Moscow c1953
Lyric Pieces Book IX, Op.68 [16.47]
I Sailor's song II Grandmother's Minuet III At your feet IV Evening in the mountains V Lullaby VI Valse mélancholique 
recorded in Moscow c1954

These three titles inaugurate the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era. Along with Goldenweiser himself we start with Nikolayeva and Ginzburg. The bulk of the issues in THE RUSSIAN PIANO TRADITION will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils.

Alexander Goldenweiser was born in 1875 and studied at the Moscow Conservatoire with the great generation that included Rachmaninov, Scriabin and Medtner. Though a fine pianist, he quickly gravitated towards teaching and had an astonishing 55 year reign at his alma mater until his death in 1961. During this period he twice acted as the Conservatoire’s Director – from 1922-24 (as the first post-revolution director) and between 1939 and1942. Goldenweiser was to exert a profound influence upon more than 200 pianists among whom the most celebrated are Grigory Ginzburg, Samuil Feinberg, Rosa Tamarkina and Tatiana Nikolayeva (all of whom will be represented in this series) as well as Lazar Berman, Dmitri Bashkirov, Isabella Vengerova, Oxana Yablonskaya and Dmitri Paperno. 
During the last 15 years of his life Goldenweiser recorded quite prolifically but most of this work was for the radio and only released subsequent to his death. For LP he recorded all Rachmaninov’s two-piano music with his pupil Ginzburg, a fair bit of Russian chamber music and, as a solo player, amongst other things, the first complete recording of Grieg’s Lyric Pieces, some of which are included here.


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ARTHUR DE GREEF Solo & Concerto Recordings
APR7401
4CDs
Compact Disc 1 (62.57)
Acoustic HMV solo and concerto recordings, 1917–1923
1. GRÉTRY/GREEF Danse en rond No 3 of Danses villageoises (1.29)
2. GRÉTRY/GREEF Entr’acte No 5 of Danses villageoises (1.17)
3. SCHUMANN Arabeske in C Op 18 (3.41)
4. SCHUMANN Finale from Faschingsschwank aus Wien, Op 26 (3.57)
5. CHOPIN Nocturne in F sharp major Op 15 No 2 (3.36)
6. LISZT Hungarian Rhapsody in C sharp minor S244/12 (8.23)
7. RUBINSTEIN Melody in F Op 3 No 1 (4.17)
8. GRIEG Album Leaf in A major Op 28 No 3 (3.20)
9. GRIEG March of the Dwarfs Op 54 No 5 (3.30)
10. GRIEG Tempo di Menuetto Op 6 No 2 (2.50)
11. GRIEG Puck Op 71 No 3 (2.06)
12. MOSZKOWSKI Serenata Op 15 No 1 (1.58)
13. MOSZKOWSKI Étude in G major Op 18 No 3 (1.44)
14. ALBÉNIZ Seguidillas No 5 of Chants d’Espagne, Op 232 (3.03)
15. RONALD Pensée musicale (3.00)
16. FRANCK Variations symphoniques (14.41)
ROYAL ALBERT HALL ORCHESTRA / LANDON RONALD 

Compact Disc 2 (72.25)
Acoustic and Electric HMV Liszt concerto and solo recordings, 1922–1930
LISZT Piano Concerto No 1 in E flat major S124
ROYAL ALBERT HALL ORCHESTRA / LANDON RONALD
1. Allegro maestoso: Tempo giusto (5.59)
2. Quasi adagio (4.24)
3. Allegretto vivace – Allegro animato (4.22)
4. Allegro marziale animato (4.44)
LISZT Piano Concerto No 2 in A major S125
LONDON SYMPHONY ORCHESTRA / LANDON RONALD
5. Adagio sostenuto assai – Allegro agitato assai (7.05)
6. Allegro moderato (5.28)
7. Allegro deciso – Marziale un poco meno allegro (4.39)
8. Allegro animato (2.03)
9. LISZT Fantasia on Hungarian Folk Themes S123 (16.12)
ROYAL ALBERT HALL ORCHESTRA / LANDON RONALD
10. LISZT Polonaise in E major S223/2 (8.51)
11. LISZT Hungarian Rhapsody in C sharp minor S244/12 (8.37)

Compact Disc 3 (56.16)
Electric HMV solo recordings, 1925–1931
1. SCHUBERT/LISZT Soirée de Vienne in A minor S427/6 (4.42)
CHOPIN Piano Sonata No 2 in B flat minor Op 35
2. Grave – Doppio movimento (7.25)
3. Scherzo (5.09)
4. Marche funèbre (6.47)
5. Presto (1.48)
6. CHOPIN Nocturne in F sharp major Op 15 No 2 (3.41)
7. CHOPIN Waltz in E flat major Op 18 (4.14)
8. CHOPIN Waltz in A flat major Op 42 (4.09)
9. CHOPIN Waltz in G flat major Op 70 No 1 (1.58)
10. CHOPIN Waltz in D flat major Op 64 No 1 (1.48)
11. RAFF La Fileuse Op 157 No 2 (4.10)
12. MOSZKOWSKI Serenata Op 15 No 1 (2.01)
13. MOSZKOWSKI Étude in G major Op 18 No 3 (1.42)
14. MOSZKOWSKI Valse Op 34 No 1 (6.38)

Compact Disc 4 (73.14)
Electric HMV concerto and solo recordings, 1927–1931
SAINT-SAËNS Piano Concerto No 2 in G minor Op22
NEW SYMPHONY ORCHESTRA / LANDON RONALD
1. Andante sostenuto (10.52)
2. Allegro scherzando (6.10)
3. Presto (7.17)
GRIEG Piano Concerto in A minor Op 16
ROYAL ALBERT HALL ORCHESTRA / LANDON RONALD
4. Allegro molto moderato (12.10)
5. Adagio (5.40)
6. Allegro moderato molto e marcato – Andante maestoso (9.41)
7. GRIEG Arietta Op 12 No 1 (1.06)
8. GRIEG To the Spring Op 43 No 6 (3.15)
9. GRIEG Album Leaf in A major Op 28 No 3 (2.26)
10. GRIEG Butterfly Op 43 No 1 (1.48)
11. GRIEG Norwegian Bridal Procession Op 19 No 2 (3.52)
12. GRIEG Wedding Day at Troldhaugen Op 65 No 6 (5.40)
13. PROKOFIEV Gavotte from Classical Symphony, Op 25 (1.41)
14. GRÉTRY/GREEF Danse en rond No 3 of Danses villageoises (1.35)

Belgian pianist Arthur de Greef studied with Franz Liszt and also became a close friend of Grieg, who strongly admired his playing. He was a main-stay of the HMV catalogue in the 1920s and this set brings together for the first time his complete recordings, save for acoustic versions of concertante works he subsequently recorded electrically (the Liszt Hungarian Fantasia and abridged versions of the Saint-Saëns and Grieg concertos) and two electric chamber recordings with violinist Isolde Menges. Given his associations, his recordings of the Liszt concertos and Hungarian Fantasy must be considered important stylistic documents, but perhaps most important of all is his recording of the Grieg concerto. He initially studied this with his teacher Brassin at the time when the latter gave the Belgian premiere of the work. He subsequently worked on it, and gave performances with, Grieg, who said of him ‘De Greef is the best interpreter of my music I have met with. It is surprising how he understands my meaning… He is a real Master’.
This is the first time that the bulk of de Greef’s recordings have been released together and they show that a serious reappraisal of a pianist from the earliest generation to record substantially, is overdue.

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COR DE GROOT Collection 2: The Early Recordings (Schumann & Beethoven)
APR5612
SCHUMANN Papillons (Odeon recording 1942)
BEETHOVEN Sonata 23 (Appassionata) (Private recording 1937)
BEETHOVEN Piano Concerto 5 (Emperor)
(with Concertgebouw Orchestra/Willem Mengelberg 1942)

APR's second Cor de Groot volume resurrects another wartime date with the Concertgebouw, this time under Willem Mengelberg, who gives his young soloist his head in a mellow, well though-out reading of the Emperor Concerto... The sound is certainly good enough to enjoy this 1942 treasure... .Schumann's Papillons [is a] delightfully turned account... Beethoven's Appassionata..is very much a heart-on-sleeve, hectic affair... but absolutely riveting all the same. Classical Express (UK)
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MARK HAMBOURG The Liszt Hungarian Rhapsody Recordings
/APR7040
2CDs
Compact Disc 1
Hungarian Rhapsodies 1 - 11 (recorded between 1927 & 1934)
Compact Disc 2
Hungarian Rhapsodies 12 - 14 (1930, 1934 & 1933 recordings)
Marche de Rákóczy (1927 recording)
Hungarian Rhapsody No2 (1926 recording)
Hungarian Rhapsody No14 (1929 recording)
Concerto pathétique in E minor (two pianos - with Michal Hambourg) (1934 recording)

Mark Hambourg has become a somewhat forgotten figure today but from his first recording in 1909 until the mid 1930’s he was a mainstay of the HMV catalogue and one of the most prolific recording artists of the time. Hambourg was born in Russia and studied there and with the great teacher Leschetitzky in Vienna but when still a teenager his family moved to London and Hambourg made England his home for the rest of his life.

He was a pianist of the old school and this is exemplified in these performances of the Liszt Hungarian Rhapsodies, the first such cycle to be committed to disc. This is about as far away from ‘urtext’ playing as one can get; indeed often it sounds as if the performances are being improvised, but who’s to say this is not nearer the style the composer would have expected.
It was only after Hambourg had recorded a few of the most popular Rhapsodies that it was decided to make a complete cycle and three of these earlier recordings were remade. We have included the first recordings here as an appendix though in the event the later recording of the Rákóczy March was never issued so only the first exists. There is a further mystery about Rhapsodies 1 & 3. These also were not issued and the masters subsequently destroyed, however there are single copies of each held at the International Piano Archives at the University of Maryland and we are very happy to present them here. Finally, by way of a filler, we have included the first commercial recording of Liszt’s Concerto pathétique for two pianos where Hambourg is joined by his daughter Michal.

None of these titles has been reissued since their first appearance on 78’s so this makes for a truly collectable set which is sure to be snapped up by pianophiles.

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MYRA HESS Historic Broadcast Recordings
SCHUMANN Carnaval Op.9
BBC Studio Recital, Broadcasting House, London, 13th October 1950
BRAHMS Piano Quintet in f minor Op.34
(with the Griller String Quartet)
National Gallery Concert, London 25th August 1942

APR5646
Although Myra Hess made many commercial recordings over her life-time, resulting in some magnificent interpretations, she was not fond of the recording studio and much preferred the spontaneity of live performance. We are therefore delighted to present her here in two recordings which originated in radio broadcasts for the BBC. The Schumann Carnaval was a studio recording made without an audience, but at the time it was made, almost certainly recorded in one take without editing - a true performance as opposed to her earlier HMV set of 78rpm discs, and an interpretation which certainly improves on that slightly disappointing set.
Of even greater importance is the previously unissued Brahms Piano Quintet. During World War II, when conventional evening concerts had been stopped, Myra Hess established, and ran, a series of lunch-time concerts at London’s National Gallery which became legendary and stretched to a total of 1,698! This is thought to be the only concert of which there is a surviving recording and what better to represent that magnificent series than Myra Hess herself alongside the foremost English string quartet of the time - the Griller - in one of the greatest works of the chamber repertoire. As an added bonus this work is completely new to the Hess discography.

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MYRA HESS Live at the University of Illinois 1949
APR7306
3CDs
Compact Disc 1 (69.39)
1. CHOPIN Fantasy in F minor Op 49 (12.48) 
2. SCHUBERT Piano Sonata in B flat major D960 (33.44)
6. SCHUBERT Dances for piano (14.00) 
9. BRAHMS Intermezzo in C major Op 119/3 (1.30)
10. SCARLATTI Sonata in G major Kk14 (2.43) 
11. CHOPIN Waltz in E flat major Op 18 (4.06)
Compact Disc 2 (66.53) 
1. MOZART Piano Concerto No 21 in C major K467 (34.43) 
6. MOZART Piano Concerto No 9 in E flat major ‘Jeunehomme’ K271 (31.30)  UNIVERSITY OF ILLINOIS SINFONIETTA / JOHN M KUYPERS
Compact Disc 3 (68.51) 
1. BACH Partita No 4 in D major BWV828 (28.09) 
8. BEETHOVEN Piano Sonata in D minor ‘Tempest’ Op 31 No 2 (21.26) 
FORD SUNDAY EVENING HOUR BROADCAST 1937 
11. GRIEG Piano Concerto in A minor Op 16 1st movement Allegro molto moderato (11.39) DETROIT SYMPHONY ORCH. / VICTOR KOLAR
12. CHOPIN Études Op 25 No l in A flat major (2.46) & No 3 in F major (1.55) 
14. BACH French Suite No 5 in G major BWV816 7th movement Gigue (2.17)

These three discs devoted to Myra Hess in concert feature two complete recitals recorded at Illinois University on 17 and 18 March 1949 and are the only live recital recordings by the pianist known to exist. Each evening featured solo works followed by a concerto and also included various encores, but as the programmes are each too long to fit on a single CD we have instead coupled the concertos together and arranged the solo works into musical groupings (sadly it proved impossible to locate a copy of the Beethoven ‘Tempest’ Sonata which was not shorn of the final three bars of the central Adagio or the opening phrase of the finale). As an appendix we include some off-air recordings, in this instance taken from the Ford Sunday Evening Hour which was regularly broadcast coast to coast in the USA during the 1930s and early 1940s via the Columbia Broadcasting System. Significantly, almost all the works included in this programme are further additions to the Myra Hess discography. Previously issued on APR5520, APR5539 & APR5549
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MYRA HESS The Complete Solo & Concerto Studio Recordings
APR7504
5CDs
Compact Disc 1 The American Columbia Recordings, 1928–1931 (78.51)
1. BACH/HESS Jesu, joy of man’s desiring 17 January 1928 (3.18)
2. BACH Gigue from French Suite No 5 in G, BWV816 17 January 1928  (3.20)
3. BACH Prelude & Fugue in C sharp BWV848 from WTC I 23 April 1929 (3.21)
4. BACH Allegro from Toccata in G major, BWV916 23 April 1929 (1.58)
5. SCARLATTI Sonata in C minor L352 (Kk11) 14 March 1928 (1.58)
6. SCARLATTI Sonata in C major L104 (Kk159)  14 March 1928 (1.40)
SCHUBERT Sonata in A major D664, 16/17 February 1928
7. Allegro moderato  (7.49)
8. Andante (5.21)
9. Finale: Allegro (5.13)
10. SCHUBERT/GANZ Ballet music from ‘Rosamunde’ 17 February 1928 (3.52)
11. BEETHOVEN Bagatelle in B flat major Op 119 No 11 14 March 1928 (1.59)
12. BRAHMS Intermezzo in C major Op 119 No 3  " (1.43)
13. BRAHMS Capriccio in B minor Op 76 No 2 26 April 1929 (3.25)
14. SCHUMANN Vogel als Prophet Op 82 No 7 23 March 1931 (3.35)
15. MENDELSSOHN Song without Words Op 38 No 6 ‘Duetto’ 3 May 1929 (2.43)
16. MENDELSSOHN Song without Words Op 67 No 4 ‘Spinning Song’  " (1.46)
17. PALMGREN 'Cradle song' from Preludes Op 17, No 9, 26 April 1929 (3.24)
18. RAVEL Pavane pour une infante défunte 19 January 1928 (5.52)
19. DEBUSSY Poissons d’or Images, Book 2 No 3, 17 February 1928 (3.49)
20. DEBUSSY La fille aux cheveux de linPréludes I, No 8, 17 February 1928 (2.21)
21. DEBUSSY Minstrels Préludes I, No 12  " (2.07)
22. GRIFFES The white peacock Op 7 No 1 3 May 1929 (4.34)
23. FALLA Ritual fire dance from ‘El amor brujo’ 3 May 1929 (3.42)

Compact Disc 2 The English Columbia Recordings, 1933 (80.43)
1. FIELD Nocturne No 4 in A major 17 October 1933 (3.39)
2. CHOPIN Nocturne in F sharp major Op 15 No 2 17 October 1933 (3.34)
3. MACDOWELL AD MDCXX Op 55 No 3 17 October 1933 (2.51)
4. DVORÁK Slavonic DanceOp 46 No 1 (duet with Hamilton Harty) 17 October 1933 (3.28)
The HMV 78-rpm recordings, 1937–1949
5. PURCELL/HESS Saraband; Minuet; Air 1 February 1943 (4.43)
6. SCARLATTI Sonata in G major L387 (Kk14) 9 January 1940 (2.53)
7. BACH/HESS Jesu, joy of man’s desiring 9 January 1940 (3.31)
8. BACH/HESS Adagio from BWV564 17 November 1949 (4.29)
9. BACH Prelude in D major BWV936 17 November 1949 (2.29)
HAYDN Sonata in D major Hob XVI:37 12 January 1945; unpublished on 78 rpm
10. Allegro con brio (4.25)
MOZART Piano Concerto No 21 in C major K467 HALLÉ ORCHESTRA/LESLIE HEWARD
 2 & 4 March 1942; unpublished on 78 rpm
11. Allegro maestoso (14.06)
12. Andante matrices (8.12)
13. Allegro vivace assai (Cadenzas: Denis Matthews) (6.35)
14. BRAHMS Capriccio in B minor Op 76 No 2 29 April 1941 (3.28)
15. BRAHMS Intermezzo in A flat major Op 76 No 3 29 April 1941 (3.16)
16. BRAHMS Intermezzo in E flat major Op 117 No 1 8 April 1941 (4.56)
17. BRAHMS Intermezzo in C major Op 119 No 3 8 April 1941 (1.42)
18. BRAHMS Capriccio in D minor Op 116 No 7  " (2.25)

Compact Disc 3 The HMV 78-rpm recordings, 1937–1949(continued) (79.39)
SCHUMANN Carnaval Op 9 25 April & 3 May 1938
1. Préambule  (2.25)
2. Pierrot  (1.16)
3. Arlequin (0.43)
4. Valse noble (1.24)
5. Eusebius (1.59)
6. Florestan (1.00)
7. Coquette (1.06)
8. Réplique (0.29)
9. Papillons (0.45)
10. A.S.C.H. – S.C.H.A. (Lettres dansantes) (0.38)
11. Chiarina (1.09)
12. Chopin (1.39)
13. Estrella (0.32)
14. Reconnaissance (1.35)
15. Pantalon et Colombine (0.55)
16. Valse allemande (0.52)
17. Paganini: Intermezzo (1.10)
18. Aveu (1.04)
19. Promenade (1.49)
20. Pause (0.20)
21. Marche des Davidsbündler contre les Philistins (3.55)
SCHUMANN Piano Concerto in A minor Op 54 ORCHESTRA/WALTER GOEHR 5 October 1937
22. Allegro affettuoso (15.43)
23. Intermezzo: Andantino grazioso –   (5.04)
24. Allegro vivace (11.01)
25. FRANCK Variations symphoniques CITY OF BIRMINGHAM ORCHESTRA/BASIL CAMERON
24 June 1941 (15.30)
26. MATTHAY Album leaf Op 22 8 June 1938 (3.27)
27. MATTHAY Elves Op 17 25 April 1938 (2.08)

Compact Disc 4 The HMV 78-rpm recordings, 1937–1949(continued) (78.07)
1. HOWARD FERGUSON Five Bagatelles Op 9 12 January 1945 (7.19)
HOWARD FERGUSON Piano Sonata in F minor Op 8 19 November 1942
2. Lento – Allegro inquieto (8.21)
3. Poco adagio (6.38)
4. Allegro non troppo – Allegro molto ma non presto – Lento (6.49)
The HMV LPs 1952–1957
BEETHOVEN Piano Sonata in E major Op 109 17–19 November 1953
5. Vivace, ma non troppo – Adagio espressivo  (4.07)
6. Prestissimo (2.28)
7. Tema (Andante molto cantabile ed espressivo) – Variations I-VI (14.58)
BEETHOVEN Piano Sonata in A flat major Op 110 1–2 October 1953
8. Moderato cantabile, molto espressivo (6.33)
9. Allegro molto – Coda (Poco più mosso) (2.18)
10. Adagio, ma non troppo (3.43)
11. Fuga (Allegro, ma non troppo) (7.26)
12. BEETHOVEN Klavierstück in A minor ‘Für Elise’ 12 October 1957 (3.15)
13. BEETHOVEN Bagatelle in E flat major Op 126 No 3  " (3.05)
14. MENDELSSOHN Song without Words in A major Op 102 No 5  " (1.06)

Compact Disc 5 The HMV LPs, 1952–1957(continued) (79.30)
SCHUMANN Piano Concerto in A minor Op 54 PHILHARMONIA ORCHESTRA/RUDOLF SCHWARZ
 22 December 1952
1. Allegro affettuoso (15.41)
2. Intermezzo: Andantino grazioso – (5.30)
3. Allegro vivace (11.30)
SCHUMANN Études symphoniques Op 13 22–23 October 1953
4. Thema: Andante (1.27)
5. Variation 1: Un poco più vivo (1.19)
6. Variation 2 (3.37)
7. Étude 3: Vivace (1.24)
8. Variation 3 (0.58)
9. Variation 4 (1.18)
10. Variation 5 (1.08)
11. Variation 6: Allegro molto (0.54)
12. Variation 7 (2.19)
13. Étude 9: Presto possibile (0.45)
14. Variation 8 (1.26)
15. Variation 9 (3.37)
16. Finale: Allegro brillante (6.41)
17. SCARLATTI Sonata in C minor L352 (Kk11) 12 October 1957 (3.24)
18. SCARLATTI Sonata in G major L387 (Kk14)  " (2.47)
19. GRANADOS 'The Maiden and the Nightingale' from Goyescas  " (6.38)
20. BRAHMS Waltz in A flat Op 39 No 15  " (1.33)
21. BRAHMS Intermezzo in C major Op 119 No 3  " (1.48)
22. BACH/HESS Jesu, joy of man’s desiring  " (3.42)

The Matthay School Volume 4
MYRA HESS, undoubtedly the most important Matthay pupil, and the one most closely associated with him, became a household name on both sides of the Atlantic. In her youth, she played a wide repertoire including much contemporary music, but in her latter years she became best known for her playing of the great classics of the Germanic repertoire and particularly Beethoven, Brahms,Mozart and Schumann. During World War Two she established the National Gallery Concerts which became central to London life and ran to 1698 events, at many of which she played herself.
This set contains, for the first time, all the studio recordings she made (with the exception of her various chamber music projects)from her first visit to the studio in 1928 to her final LP of 1957. Though Hess professed to hate recording (much preferring to play live) she did set down many wonderful performances, none greater than those of Beethoven’s late sonatas Op.109 and Op.110 - truly classics of the gramophone.

APR7504  
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VLADIMIR HOROWITZ - The Complete European Solo Recordings 1930-36

APR6004
2CDs
Compact Disc 1 (68.39)
CHOPIN Étude in C sharp minor Op 10 No 4;  Étude in G flat major ‘Black key’ Op 10 No 5; Étude in F major Op 10 No 8; Étude in F major Op 25 No 3; Mazurka in F minor Op 7 No 3; Mazurka in E minor Op 41 No 2; Mazurka in C sharp minor Op 50 No 3; Scherzo No 4 in E major Op 54; Sonata No 2 in B flat minor Op 35 First movement; LISZT Funérailles Harmonies poétiques et réligieuses, S173 No 7; Sonata in B minor S178
Compact Disc 2 (70.55)
D SCARLATTI Sonata in B minor Kk87; Sonata in G major Kk125; BACH–BUSONI Nun freut euch, lieben Christen gmein BWV734; HAYDN Sonata in E flat major Hob XVI/52; BEETHOVEN 32 Variations on an original theme in C minor WoO80; SCHUMANN Presto passionato in G minor;  Arabeske in C major Op 18; Traumes Wirren (Fantasiestücke), Op 12 No 7; Toccata in C major Op 7; DEBUSSY Étude XI: Pour les arpèges composés; POULENC Pastourelle; Toccata (Trois pièces pour piano, No 2); RIMSKY-KORSAKOV/RACHMANINOV The Flight of the Bumble-bee;  STRAVINSKY Danse Russe (Petrushka); RACHMANINOV Prelude in G minor Op 23 No 5; PROKOFIEV Toccata in C major Op 11


These two CDs contain some of the most impressive piano playing ever commited to disc and are a must for every pianophile’s collection. They capture the young Horowitz just after his sensational arrival in the west and, apart from a few 78s made in the previous two years in the US, they are his earliest solo recordings. Though most of the chosen pieces were short enough to fit onto a 78rpm side Horowitz did record the Liszt Sonata, a performance which quickly achieved a legendary status.
Unique to APR is the originally unissued performance of the the first movement of Chopin’s Sonata in B flat minor, all the remains of a projected recording of the complete work. The Prokofiev Toccata was also originally unissued and is not otherwise currently available.

Self-respecting pianophiles will already have most of these seminal recordings. But, compared with earlier issues, APR reveal a fuller, richer piano sound where every nuance is crystal clear and in a judiciously-enhanced ambience...APR's presentation,as usual, leaves its peers standing, fully worthy of the great artist enshrined in these magical recordings. Classic CD


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HOROWITZ/BARBIROLLI Tchaikovsky 1 & Rachmaninov 3 Concertos
APR5519
Horowitz in Concert
TCHAIKOVSKY Piano Concerto No.1 (r.1940)
RACHMANINOV Piano Concerto No.3 (r.1941)
(New York Philharmonic-Symphony/John Barbirolli)

(Historic record of the year - Classic CD)
Yes, the pundits were right. This is the Rachmaninov Third to end all Rachmaninov Thirds, a performance of such super-human pianistic aplomb, pace and virtuosity that it makes all comparisons, save with Horowitz himself...a study in irrelevance...The ultimate wizard of the keyboard is in expansive mood in the Tchaikovsky...The perfomance ends in what I can only describe as a scream of octaves and an outburst by an audience driven near to hysteria. Gramophone (UK)

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BRONISLAW HUBERMANN Beethoven Violin Concerto & Lalo Symphonie espagnole
APR5506
One of the great violinists in an era of great violinists.
The George Szell/Vienna Philharmonic Recordings
BEETHOVEN Violin Concerto
LALO Symphonie espagnole

Of all the fine transfers that have come my way over the last ten years or so, none as much as approaches the astonishing faithfulness of Appian's Signature CD... The unique tension of Huberman's performance...is related with a degree of realism that quite defies belief. If I had to choose just one violin disc for my desert island, this would be it. Gramophone (UK)
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The Russian Piano Tradition - KONSTANTIN IGUMNOV

APR5662

FRÉDÉRIC CHOPIN
Mazurka No 33 in B major Op 56 No 1
recorded in Moscow in 1935
ALEXANDER SCRIABIN
Poème in F sharp major Op 32 No 1
recorded in Moscow in 1935
ROBERT SCHUMANN
Kreisleriana Op 16
recorded in Moscow in 1941
PETER TCHAIKOVSKY
The Months Op 37b
recorded in Moscow in 1947


We continue our comprehensive survey of the many great pianists who worked in Russia in the Soviet era with the first two discs in the Igumnov School. The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. Igumnov was the oldest of the three great teachers we are considering.


Though less well known than the first of our great Russian pedagogues (Heinrich Neuhaus on APR5560), Konstantin Igumnov had an equally illustrious career as pianist and teacher. An exact contemporary of Rachmaninov, he studied with the same teachers and the two were good friends, Igumnov championed much contemporary music by his Russian compatriots and gave the premiers of Rachmaninov's first piano sonata and Glazunov's first piano concerto to name but two examples.
He taught from an early age and was appointed to the Moscow Conservatoire in 1899 where he remained until his death in 1948; between 1924 and 1929 he was appointed principal. Among his over 600 pupils were Alexandrov, Oborin, Flier, Davidovich, Tamarkina and Grinberg.
Sadly he recorded very little and what there is comes from near the end of his life. A live recital taped the year before his death, when he was suffering from flu, does not do him justice and is not represented here, but much of the rest of his recorded output is included and reveals him to be a true romantic whose playing is passionate and focused on the singing line but perhaps larger in scale than the Neuhaus style. Few of his recordings have ever been easily available and this CD fills an important gap in the history of Russian pianism.


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JOSE ITURBI The Victor & HMV solo recordings
APR7307
3CDs
Compact Disc 1 (73’15)
1-2 SCARLATTI Sonatas in B minor, Kk27 & C major, Kk159 
3 J S BACH Fantasia in C minor, BWV906 
4 PARADIES Toccata 
5-10 MOZART Piano Sonatas in A major, K331 & F major, K332 
11-12 BEETHOVEN Andante favori in F major; Für Elise 
13-14 SCHUMANN Arabesque, Op 18; Romance, Op 28/2 
15-16 LISZT Liebesträume No 3; Les jeux d’eaux à la Villa d’Este 

Compact Disc 2 (72’35)
1-9 CHOPIN Polonaise, Op 53; Fantasy Impromptu, Op 66; Waltzes, Op 64/1 & Op 64/2 Mazurka, Op 7/1; Nocturne, Op 32/1; Preludes, Op 28/9 & 10; Étude, Op 10/12 
10-11 TCHAIKOVSKY June & November from ‘The Seasons’
12 RACHMANINOV Prelude, Op 3/2
13 PADEREWSKI Minuet in G major 
14 LAZAR Marche funebre
15 SAINT-SAËNS Allegro appassionato, Op 70 
16-20 DEBUSSY Clair de lune; Rêverie; 2 Arabesques; Jardins sous la pluie 

Compact Disc 3 (65’56)
1-2 DEBUSSY 2 Arabesques 
3-5 ALBÉNIZ Sevilla; Córdoba; Malagueña 
6-9 GRANADOS The Maiden and the Nightingale; Spanish Dances Nos 2, 5 & 10 
10 LÓPEZ-CHAVARRI The Old Moorish Castle
12-13 FALLA Dance of Terror & Ritual Fire Dance 
14 INFANTE Sevillañas
15-16 ITURBI Canción de cuna; Pequeña Danza Española 
17-18 GOULD Blues; Boogie Woogie Etude 

All titles recorded between 1933 & 1952

Spanish pianist José Iturbi was a pupil of Landowska and Victor Staub at the Paris Conservatoire and after graduation in 1913 he began a successful career in Europe, however after a sensational US debut in 1929 he worked more and more in the USA where he relocated. While continuing as a successful pianist he started a parallel career as a conductor and directed many American orchestras over the next 40 years. Perhaps his greatest claim to popular fame was his appearances in several Hollywood films, which has however tarnished his posthumous reputation, leading him to be dismissed as a ‘cross-over’ artist, however this is to do him a disservice as his music making retained the highest standards of craftsmanship. He made comparatively few solo recordings considering his wide repertoire but he excelled at the Spanish and French repertoire, both of which are well represented in these recordings.
APR7307  
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WILHELM KEMPFF Late Beethoven Sonatas - Polydor recordings 1925-36
APR6018
2CDs

Compact Disc 1 (76.02)

LUDWIG van BEETHOVEN

1-2. Sonata No 24 in F sharp major Op 78 Recorded in 1932 (Polydor 90193)

3-5. Sonata No 26 in E flat major ‘Les adieux’ Op 81a Recorded in 1928 (Polydor 66687/8)

6-7. Sonata No 27 in E minor Op 90 Recorded in 1928 (Polydor 62639 & 66712)

8-10. Sonata No 29 in B flat major ‘Hammerklavier’ Op 106 Recorded on 7 & 25 January 1936 (Polydor 67077/81)

 

Compact Disc 2 (71.26)

LUDWIG van BEETHOVEN

1-4. Sonata No 28 in A major Op 101 Acoustic recording, 1925 (Polydor 66178/9)

5-7. Sonata No 30 in E major Op 109 Recorded on 29 July 1936 (Polydor 67091/2)

8-10. Sonata No 31 in A flat major Op 110 Recorded on 29 July 1936 (Polydor 67088/90)

11-12. Sonata No 32 in C minor Op 111 Recorded on 31 July 1936 (Polydor 67093/5)


Wilhelm Kempff had such a long life, and recorded so prolifically in the LP era, that we tend to forget that he began his recording career in 1920 in the acoustic period, and recorded 24 of the 32 Beethoven sonatas on 78’s. Indeed, in the pre-war period he was second only to Schnabel (whose complete cycle was done in the 1930’s) in the amount of Beethoven he recorded, and he made the first ever recordings of the sonatas Op81a, Op90 & Op101, included in this set. Kempff went on to record two complete sonata cycles in the 1950’s and 1960’s but he has always been regarded as a poetic and lyrical player and his Beethoven is therefore more closely allied to Mozart than the more barnstorming approach of others. The ‘first thoughts’ included here are perhaps the freest of all his recordings and have an almost improvisatory feel. Perhaps the impossibility of editing at this period captured Kempff more naturally than in his later efforts. None of the recordings included here are currently available elsewhere and Op90 and Op101 have never been reissued since their original release on 78s. The acoustic Op101 is a particularly rare item barely known to collectors.
APR6018  
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WILHELM KEMPFF Beethoven Piano Concertos - the 78rpm recordings
APR6019
2CDs

Compact Disc 1 (75.34)

LUDWIG van BEETHOVEN

1-3. Piano Concerto No 1 in C major Op 15 BERLIN STATE OPERA ORCHESTRA Recorded in September 1925

4. Bagatelle in C major Op 33 No 5 Recorded in 1920? [Kempff’s 1st recording]

5. Six Ecossaises in E flat major WoO83 Recorded in 1920?

6-8. Piano Concerto No 3 in C minor Op 37 DRESDEN PHILHARMONIC ORCHESTRA / PAUL VAN KEMPEN Recorded on 11 June 1942


Compact Disc 2 (77.38)

LUDWIG van BEETHOVEN

1-3. Piano Concerto No 4 in G major Op 58 GERMAN OPERA HOUSE ORCHESTRA, BERLIN / PAUL VAN KEMPEN Recorded on 19 March 1940

4-6. Piano Concerto No 5 in E flat major ‘Emperor’ Op 73 BERLIN PHILHARMONIC ORCHESTRA / PETER RAABE Recorded on 6 January 1936

7. Rondo a capriccio in G major ‘Rage over a lost penny’ Op 129 Recorded on 24 September 1937


Wilhelm Kempff had such a long life, and recorded so prolifically in the LP era, that we tend to forget that he began his recording career in 1920 in the acoustic period, and recorded much of Beethoven’s piano output, including four of the five concertos, on Polydor 78’s. This set is a companion to the recently issued set of late sonatas (APR6018) and includes what was the first ever recording of Beethoven’s 1st Piano Concerto – a late acoustic recording from 1925 which shows the young Kempff was much more sprightly in this work than he later became. In spite of the primitive recording, the energy of the outer movements and the poetry of the slow movement are not compromised. Concertos 3 to 5, in better sound and featuring the greatest German orchestras of the period, reflect ‘state of the art’ Beethoven interpretation at this time and are a worthy alternative, if less well known, to the Schnabel cycle. The set is filled out with the first ever CD issue of Kempff’s first recording, of a Beethoven Bagatelle and Eccossaises, and a wonderfully extrovert performance of the ‘Rage over a lost penny’ Rondo.
APR6019  
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LOUIS KENTNER The pioneering Liszt recordings (1937-41)
APR5514
If only more pianists today could make the instrument sing like Kentner.
The pioneering Liszt recordings (1937-41)

Ballade 2 • Scherzo & March • Berceuse • Polonaise 1
Bénédiction de Dieu • Hungarian Rhapsodies 2 & 9

This glorious recital is a timely reminder of Louis Kentner's greatness, his richness and enterprise during his heyday. Here is playing which in its life-affirming sweep and opulence makes accusations concerning Liszt's theatricality doubly misleading... These performances show a patrician ease that makes you...sit back and marvel. Gramophone (UK)
APR5514  
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LOUIS KENTNER - The Pioneering Liszt Recordings 2
APR5614

SCHUBERT/LISZT Soirée de Vienne 6 S427; recorded on 17 July 1939

Grandes Études de Paganini S141:

No 2 Octave; recorded on 27 January 1942

No 3 La campanella; No 5 La chasse; recorded on 9 & 13 September 1946

La leggierezza S144/2; recorded on 10 July 1939

Gnomenreigen S145/2; recorded on 3 September 1941

Liebestraüm No 3 S54; recorded on 3 September 1941

Feux-follets S139/5 (Transcendental Etude No 5); recorded on 23 March 1937

Venezia e Napoli S162 Année de pèlerinage 2 supplement:

Gondoliera; Tarantella;  recorded on 30 March 1938

R.W.-Venezia S201; recorded on 10 November 1951

En reve—nocturne S207; recorded on 10 November 1951

Czárdás macabre S224; recorded on 10 November 1951

MEYERBEER/LISZT Illustrations du Prophète: No 2 Les Patineurs—scherzo S414/2

recorded on 7 March 1939


Though Hungarian by birth, and having studied at the Franz Liszt Academy in Budapest, Louis Kentner, like so many others of Jewish origin, immigrated to London in the mid 1930s, aware that central Europe was not the best place to be at that time for someone of his race. He was to remain in London for the rest of his life, becoming very much part of British musical life both as pianist and, later, as teacher.
His somewhat sensational London debut took place in the Aeolian Hall in October 1936 where he gave an all Liszt recital. As a direct result he was signed up by HMV and over the next fifteen years, in addition to much other repertoire, he made a large number of Liszt recordings which featured not only the often recorded etudes and Hungarian Rhapsodies but also premiere recordings of many of Liszt's more important, but then less well known, larger works. Our first APR title (APR5514) featured such unusual works as the Scherzo & March, the Berceuse and the first Polonaise; on the current disc, in addition to a number of the well known aforementioned etudes, we find a group of late pieces, including the bizarre Czárdás Macabre, which was only published in the year of its recording, and the Meyerbeer/Liszt 'Les Patineurs' scherzo. This later piece is one of Liszt's most brilliant operatic transcriptions, but is strangely little known. It is perhaps Kentner's most stunning recording and a fitting way to end this fascinating recital.


APR5614  
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LOUIS KENTNER plays Balakirev, Lyapunov and the Liszt sonata
APR6020
2CDs

The complete Balakirev & Lyapunov recordings and the Liszt Sonata

 

Compact Disc 1 (70.41)

MILI BALAKIREV

1-4.Piano Sonata in B flat minor (24.08) recorded on 2 June 1949

5.  Rêverie (4.50) recorded on 15 June 1944

6.  Mazurka No 6 in A flat major (4.39) recorded on 14 April 1944

7.  Islamey (Fantaisie orientale) (9.05) recorded on 14 June 1944

FRANZ LISZT

8.  Piano Sonata in B minor S178 (27.57) recorded on 28 May & 4 June 1948

 

Compact Disc 2 (72.19)

SERGEY LYAPUNOV

12 Études d’exécution transcendante Op 11

1. Etude 1 Berceuse Andantino (first recording) (4.27) recorded on 7 March 1939

2-13. Etudes 1 – 12 (complete recording) (67.52) recorded on 13–15, 20 & 29 December 1949

 


Though born in what was then the Austro-Hungarian Empire and having studied and launched his career in Budapest, Louis Kentner decided to relocate to London in the 1930’s, and for the next 50 years remained a part of the British musical establishment. He was a mainstay of the Columbia catalogue throughout the 1930’s and 40s where he recorded a wide range of repertoire including the ‘Hammerklavier’ sonata and many premiere recordings of major Liszt works. APR has already devoted two CDs to the latter (APR5514 & APR5614). In the 1950s he went on to record for HMV, both as soloist and as duo partner to Menuhin, whose brother-in-law he had become through marriage. Almost all the recordings on this set date from the end of the 78rpm era and have been unjustly neglected as a result. Two major works of the late romantic Russian repertoire, the Balakirev Sonata and the Lyapunov Transcendental Studies, here received their premier recordings, and to many listeners, they have yet to be surpassed. Kentner had an invincible Lisztian technique; there was no one better to tackle Lyapunov’s homage to Liszt’s own ‘Transcendentals’. He was also able to take complete command of that other virtuoso warhorse – Islamey. Of particular interest is Kentner’s only recording of the Liszt sonata, and a magnificent one it turns out to be. Issued on 78s in 1951 when most other labels had switched to LP, this recording had a very short life and has never previously been reissued. It is a major addition to the available discography of Liszt sonatas and to Kentner’s legacy.
APR6020  
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EDWARD KILENYI The Pathé recordings 1937-39: Chopin & Liszt
APR7037
2CDs
His Paris-based recordings evinces a special musical candour and generosity of spirit
LISZT Totentanz • Hungarian Fantasia • Wanderer Fantasy (Schubert)
(orchestra conducted by Selmar Meyrowitz)
Gondoliera & Tarantella • Hungarian Rhapsodies 8 & 15 • Mephisto Waltz 1
CHOPIN 12 Etudes, Op.10 • Sonata 2 • Mazurka 13

A fabulously rewarding 2-CD set... Kilenyi's was the first inscription of Liszt's Totentanz in 1937, in the edition by Eugen d'Albert. These Pathés also bring us a singularly swaggering Hungarian Rhapsody No.8... and the prodigious 12 Etudes Op.10 of Chopin, which show off a technique reminiscent of Petri. Musical moments like those afforded by Liszt's blazing Venezia e Napoli make us eager for more. disCDigest (USA)
APR7037  
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ANATOLE KITAIN The Complete Columbia Recordings 1936-1939
APR6017 
2CDs
Compact Disc 1 (69.51)
CHOPIN
1. Rondo in E flat Op 16; 2. Mazurka in A minor Op 17/4; 3. Ballade No 2 Op 38; 4. Ballade No 3 Op 47; 5. Scherzo No 1 Op 20; 6. Étude in G flat Op 10/5; 7. Étude in E flat minor Op 10/6; 8. Étude in C Op 10/7; 9. Étude in F Op 10/8; 10. Étude in C minor Op 10/12
LISZT
11. Waldesrauschen S145/1; 12. Vallée d’Obermann S160/6; 13. Sonetto 47 del Petrarca S161/4; 14. Sonetto 123 del Petrarca S161/6;  15. Feux follets S139/5

 Compact Disc 2 (52.47)

1. SCHUMANN Toccata in C Op 7

2. BRAHMS Ballade in D minor Op 10/1; 3. Waltzes Op 39

19. SCRIABIN Étude in C sharp minor Op 2/1; 20. Prélude in A minor Op 11/2; 21. Mazurka in E minor Op 25/3

22. RACHMANINOV Élégie in E flat minor Op 3/1; 23. Étude-tableau in F minor Op 33/1; 24. Prelude in G sharp minor Op 32/12
25. STRAUSS/GODOWSKY Die Fledermaus
26. RIMSKY-KORSAKOV/STRIMER The Flight of the Bumble-Bee


ANATOLE KITAIN (1903–1980) was an exact contemporary and fellow pupil of Vladimir Horowitz in Kiev, where he studied, as did the slightly older Simon Barere, with Felix Blumenfeld. All three developed fabulous techniques and were romantic pianists in the grand manner, and each fled Russia after the Revolution to make their way in the West. That Kitain is the least known can only be put down to misfortune as these pre-War European recordings attest to a pianist of fabulous talent. Sadly he failed to ‘make it’ after his Wartime emigration to the USA and slowly faded from view, giving his last New York concert in1963.

CRITIC’S CHOICE (American Record Guide 1996)

‘I would put this important release into my "Top Fifty All-time Great Piano Recordings", without a doubt’ (Classic CD)

Previously issued on APR7029


APR6017  
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FREDERIC LAMOND The complete HMV Liszt recordings 1919-36
APR5504
One of Liszt's last pupils...a majestic approach.
The complete Liszt recordings 1919-36
17 titles including Tarantella (Venezia e Napoli) • Feux follets • Gnomenreigen
Tarantella di bravura (Auber) • Cujus animam (Rossini)
also 4 versions of Un sospiro and 2 versions of Erlkönig

The most dramatically potent account of the Schubert - Liszt Erlkönig that I have ever heard. Gramophone (UK)
APR5504  
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WANDA LANDOWSKA The complete piano recordings

APR7306

3CDs

Compact Disc 1 (78.28)

The HMV 78s

WOLFGANG AMADEUS MOZART

1-3 Piano Concerto No 26 in D major K537 ‘Coronation’ (30.43)

CHAMBER ORCHESTRA / WALTER GOEHR Recorded on 25 March 1937

4. Fantaisie in D minor K397 Recorded on 25 March 1937 (4.43)
5–7 Piano Sonata in F major K332 Recorded on 10/11 January & 14 April 1938, Unissued on 78-rpm (26.08)

8–10 Piano Sonata in D major K576 Recorded on 12 & 14 January 1938, Unissued on 78-rpm (16.23)

 

Compact Disc 2 (77.04)

WOLFGANG AMADEUS MOZART

1-3 Piano Sonata in D major K311 (incomplete) Recorded on 14 January 1938, Unissued on 78-rpm (8.39)

The RCA Victor LPs

WOLFGANG AMADEUS MOZART

4-6 Piano Sonata in E flat major K282 Recorded in May 1956 (17.00)

7-9 Piano Sonata in G major K283 Recorded in May 1956 (18.30)
10-12 Piano Sonata in D major K311 Recorded in May 1956 (19.20)
13 Rondo in A minor K511 Recorded in May 1956 (10.20)

14 MOZART/LANDOWSKA Country Dances K606 Recorded in May 1956 (3.13)

 

Compact Disc 3 (77.21)

WOLFGANG AMADEUS MOZART

1-3 Piano Sonata in B flat major K333 Recorded in May 1956 (29.29)

JOSEPH HAYDN

4 Andante and variations in F minor Hob XVII:6 Recorded on 11 November 1957 (14.28)
5-7 Piano Sonata in E minor Hob XVI:34 Recorded on 14 February 1958 (9.45)

8-10 Piano Sonata in E flat major Hob XVI:49 Recorded in December 1957 (23.38)


 

Wanda Landowska has achieved such fame for her 20th-century revival of the harpsichord that it is sometimes forgotten that she was a very fine pianist and continued to play music of the classical period on modern piano. This set brings together, for the first time, all her recordings on that instrument. In their understanding of period style, ornamentation and appropriate instrumental colour, and above all in their ability to get to the emotional heart of the matter, these recordings reveal Landowska’s playing to be as valid now, in our historically informed time, as it ever was.


APR7305  
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MOURA LYMPANY The complete HMV recordings 1947-1952
APR6011
2CDs
Compact Disc 1 (79.10)
1 CHOPIN Fantasy Impromptu Op 66 (4.53)
2-14 SCHUMANN Études Symphoniques Op 13 (19.47)
15 SCHUMANN Vogel als Prophet Op 82 No 7 (3.23)
16 BRAHMS Variations on a theme by Paganini Op 35, Book II (9.37)
17 BRAHMS Intermezzo in B flat minor Op 117 No 2 (4.51)
18 LISZT Feux follets S139 No 5 (3.55)
19 LISZT Les Jeux d’eaux à la Villa d’Este S163 No 4 (7.54)
20 LISZT Polonaise No 2 in E S223 No 2 (8.16)
21 LISZT Mephisto Waltz No 1 S514 (10.56)
22 DEBUSSY Clair de lune (4.48)

Compact Disc 2  (79.05)
1 RAVELToccata from Le Tombeau de Couperin (3.49)
2 GRANADOS The Maiden and the Nightingale (5.57)
3 ALBÉNIZ-GODOWSKY Tango in D Op 165 No 2 (3.07)
4 PROKOFIEV Toccata Op 11 (4.16)
5-7 SHOSTAKOVICH Three Fantastic Dances Op 5 (3.20)
8-10 MENDELSSOHN Piano Concerto No 1 in G minor Op 25, (18.23)
PHILHARMONIA ORCHESTRA/RAFAEL KUBELIK
11 MENDELSSOHN Rondo brillant in E flat Op 29, (8.28)
LONDON SYMPHONY ORCHESTRA/HERBERT MENGES
12 FRANCK Variations symphoniques, (15.36)
PHILHARMONIA ORCHESTRA/WALTER SUSSKIND
13 TURINA Rapsodia sinfónica, (8.24)
PHILHARMONIA ORCHESTRA/WALTER SUSSKIND
14 LITOLFF Scherzo from Concerto symphonique No 4, (6.56)
PHILHARMONIA ORCHESTRA/WALTER SUSSKIND


The Matthay School Volume 5
MOURA LYMPANY (1916–2005) was the last of the major Matthay pupils and she started working with him in 1937 when he was already 79. In 1938 she shot to international fame when she came second to Emil Gilels in the Queen Elisabeth competition. A brilliant technician, she followed in the footsteps of Scharrer and Joyce, though was perhaps temperamentally cooler that either. Initially, she specialised in major works of the romantic and Russian repertoire and made the first complete recording of the Rachmaninov preludes (for Decca) in the 1940’s. She also gave the western premiere of Khachaturian's piano concerto and subsequently recorded it; along with the Rachmaninov 2nd and 3rd concertos it become one of her signature works.
The HMV recordings presented here, made before she returned to recording for Decca again in the later 1950’s, emphasize her virtuoso credentials and feature many of the piano’s most fearsome warhorses. This is repertoire she excelled in and her performances of, for example, Feux follets, or the toccatas of Ravel and Prokofiev, have rarely been equalled.

APR6011  
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A MATTHAY MISCELLANY Rare and unpublished recordings by Matthay and his pupils
APR6014
2CDs
Compact Disc 1 (77.21)
Tobias Matthay
MATTHAY Studies in the form of a Suite Op 16
1. No 1 Prelude (2.09)
2. No 8 Bravura (2.11)
MATTHAY On Surrey Hills Op 30
3. No 1 Twilight Hills (1.34)
4. No 4 Wind-Sprites (1.56)
Columbia DX 444; recorded on 16 November 1932
Irene Scharrer
SCHUMANN Piano Sonata No 2 in G minor Op 22
5. I So rasch wie möglich (4.47)
6. III Scherzo: Sehr rasch und markiert (1.33)
7. IV Rondo: Presto (beginning) (2.14)
HMV (previously unissued); recorded on 4 March 1924
8. CHOPIN Prelude No 23 in F major Op 28 (0.54)
HMV (previously unissued) recorded on 28 October 1925
9. SCHUBERT Impromptu in A flat major Op 90 No 4 (D899) (5.50)
Columbia (previously unissued)  recorded on 12 May 1930
Raie Da Costa
10. VERDI/LISZT Rigoletto de Verdi – Paraphrase de Concert S434 (6.37)
HMV C 1967 recorded on 13 June 1930
11. J STRAUSS II/GRÜNFELD Soirée de Vienne Op 56  (5.20)
HMV B 3500 recorded on 13 June 1930
Ethel Bartlett
12. BACH/RUMMEL Beloved Jesus, we are here BWV731  (3.30)
NGS 152 recorded on 23 December 1929
Denise Lassimonne
13-27 BACH 15 Two-Part Inventions BWV772–786 (16'45)
 Decca (previously unissued); recorded on 23 September 1941 (1.03)
28. MOZART Prelude and Fugue in C major K394 (K383a)  (8.24)
Decca K 1008; recorded on 13 June 1941
Ernest Lush
29. GRIEG Halling, No 4 of Norwegian peasant dances, Op 72 (3.02)
HMS 101; recorded on 25 October 1955
Adolph Hallis
DEBUSSY Douze Études
30. No 9 Pour les notes répétées (3.00)
31. No 10 Pour les sonorités opposées (3.56)
Decca K 895; recorded on 3–5 February 1938
Harriet Cohen
32. TURINA Danza de la seducción No 2 of Danses gitanes, Op 55 (2.35)
British Forces Broadcasting Service; recorded on 16 July 1945

Compact Disc 2 (79.55)
Eunice Norton
1. HONEGGER Concertino for piano and orchestra  (8.58)
MINNEAPOLIS SYMPHONY ORCHESTRA / EUGENE ORMANDY
Victor 8765; recorded on 15 January 1935
Nina Milkina
2. SCARLATTI Sonata in G major Kk125 (L487)   (2.28)
3. SCARLATTI Sonata in A major Kk208 (L238)  (3.26)
4. SCARLATTI Sonata in D minor Kk396 (L110)  (3.50)
5. SCARLATTI Sonata in D major Kk29 (L461)  (5.27)
Westminster XWN 18697; issued in June 1958
Bruce Simonds
6. SCHUBERT Impromptu in B flat major Op 142 No 3 (D935)  (9.30)
Carillon Records (unnumbered private issue) recorded in the 1950s
Ray Lev
7. SCHUMANN Novellette in F sharp minor Op 21 No 8  (9.46)
Concert Hall CHS-1102; issued in 1952
Egerton Tidmarsh
8. BACH Preambulumfrom Partita No 5 in G major, BWV829    (2.10)
AFMC 2043; recorded in July/August 1923
9. MOSCHELES Etude in E major Op 70 No 4 (2.20)
AFMC 2044; recorded in July/August 1923
Desirée MacEwan
10. BRAHMS Waltz in A flat major Op 39 No 15 (1.43)
11. BACH Gigue in G minor from English Suite No 3, BWV808 (1.17)
AFMC 2021; recorded in March 1923
Rae Robertson
12. PURCELL Prelude in C major from Suite V, Z666 (0.58)
13. HAYDN Allegro con briofrom Sonata in D major, Hob XVI:37 (2.48)
14. JENSEN Sehnsucht No 5 of Romantische Studien, Op 8 (2.07)
AFMC 2060; recorded in 1925
Dorothy Howell
15. HANDEL Courantefrom Suite No 4 in E minor, HWV429 (1.07)
16. BUCK Prelude in C minor ‘Marnic’ (2.07)
17. HELLER Prelude in C sharp minor Op 81 No 10 (1.27)
AFMC 2072; recorded in 1925
Margaret Portch
18. HELLER Study in C minor Op 46 No 5 (abridged)  (0.52)
19. BREWER The lonely stranger No 2 of Three sketches  (2.10)
AFMC 2033; recorded in July/August 1923
Hilda Dederich
20. MOZART Fantaisie in D minor K397   (3.54)
AFMC 2066; recorded in 1925
21. BORODIN Au couvent, No 1 of Petite suite    (2.56)
AFMC 2041; recorded in July/August 1923
22. SCHUMANN Glückes genug, No 5 of Kinderszenen, Op 15 (0.49)
23. SWINSTEAD Valse gracieuse, No 4 of Fancy Free (1.31)
AFMC 2066; recorded in 1925
Tobias Matthay
24. MATTHAY Prelude No 1 of Studies in the form of a Suite, Op 16  (2.18)
25. MATTHAY Six Monothemes Op 13 No 5 (1.22)
26. MATTHAY Six Monothemes Op 13 No 6 (2.33)
AFMC 2022; recorded in April 1923

This final volume of ‘The Matthay Pupils’ presents most of his remaining students who left recordings, as well as the few discs Matthay himself made. Of particular interest is a selection from the almost unknown AFMC label which was affiliated to Matthay's school and featured many of its staff. Also included are recently discovered unpublished Irene Scharrer recordings which add considerably to her discography.
APR6014  
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NICOLAS MEDTNER The complete solo recordings Vol.2
APR5547
Volume 2 The 1936 & 1946 HMV recordings
MEDTNER Märchen (Skazka/Fairy Tales) in e, Op.14/2; in b, Op.20/2; in A, Op.51/3; in b flat, Op.20/1; in E flat, Op.26/2; in f, Op.26/3; in a, Op.51/2, in e, Op.34/2; in a, Op.34/3. Novelle in G, Op.17/1; Danza festiva, Op.38/3; Arabesque in g, Op.7/3. Danza jubilosa, Op.40/4; Improvisation, Op.31/1
also previously unpublished recording of Violin Sonata 1 (with Cecilia Hansen)

...Medtner’s wonderful pianism. How at ease he seems in the studio, producing a deep, burnished tone in playing of great linear clarity. With the highest standards of presentation [and] transfers this is an obvious five-star issue. Classic CD (UK)
APR5547  
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NICOLAS MEDTNER The complete solo recordings Vol.3
APR5548
Volume 3 The 1947 HMV recordings
MEDTNER Canzona matinata Op 39/4; Sonata Tragica Op 39/5; Arabesque Op 7/2
Sonata Ballada Op 27; Hymn in Praise of Toil Op 49/1*; Novelle Op 17/2*
Skazka Op 51/1; Skazka Op 26/3; Primavera Op 38/3*
*previously unpublished


APR5548  
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The Russian Piano Tradition - VICTOR MERZHANOV
APR5671

CHOPIN 24 Preludes Op.28; recorded Moscow c.1955
LISZT 6 Grandes Études de Paganini, S141; recorded Moscow 1951 & 1955

SCRIABIN Piano Sonata No.5, Op.53; recorded Moscow c.1956


This title continues the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era. The bulk of the issues in THE RUSSIAN PIANO TRADITION will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils.

One of the youngest pianists to be featured in this series, Victor Merzhanov is more a grand-pupil of Goldenweiser than a pupil, as his major professor was Samuil Feinberg. It seems certain though, that while studying with one of Goldenweiser's most illustrious pupils he would also have had contact with the great man. Merzhanov graduated from the Moscow conservatory in 1942 and, after war service, shared first prize in the 1945 All-Union piano competition with Sviatoslav Richter. He began teaching at the Moscow Conservatoire in 1947 and, at the age of 90, continues to teach and serve on competition juries today. Merzhanov quickly became renowned as a Rachmaninov interpreter and his recording of the Third Concerto is one of the greatest, he also made the first recording of Prokofiev's Sixth Sonata. He was most prolific in the recording studio in the 1950's and his performances are characterised by peerless technique (witness the Liszt 'Paganini' Studies included here) and a generous, but never self-serving, emotional involvement with the music. Once again the quality of the playing revealed here shows that our view of who are the 'greats' of Soviet pianism has been very much dictated by those performers who had careers in the west. As this series of CDs has shown, Gilels and Richter were not isolated peaks; the likes of Oborin, Zak, and here, Merzhanov, were certainly their musical equals.


APR5671  
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BENNO MOISEIWITSCH The Complete Rachmaninov Recordings 1937-43

 

RACHMANINOV

Piano Concerto No 2 in C minor Op 18 recorded 24 November and 13 December 1937

1 Moderato (10.03); 2 Adagio sostenuto (10.38); 3 Allegro scherzando (11.17)

London Philharmonic Orchestra/Walter Goehr

4 MENDELSSOHN/RACHMANINOV Scherzo from ‘A Midsummer Night’s Dream’ (4.10) 17 March 1939

RACHMANINOV

5 Prelude in C sharp minor Op 3 No 2 (3.45) 2 August 1940

6 Prelude in G minor Op 23 No 5 (3.45) 2 August 1940

7 Prelude in G major Op 32 No 2 (2.16) 19 October 1943

8 Prelude in B minor Op 32 No 10 (4.41) 3 October 1940

9 Prelude in G sharp minor Op 32 No 12 (2.05) 19 October 1943

10 Moment Musical Op 16 No 4 (2.50) 19 October 1943

11 Rhapsody on a theme of Paganini Op 43 (21.42) 5 December 1938

London Philharmonic Orchestra/Basil Cameron


 

Benno Moiseiwitsch was one of the many great Russian pianists born in Odessa. A prodigy, he finished his studies in Vienna under the great teacher Leschetitzky and commenced his international career in London in 1908. He recorded prolifically from 1916 until just before his death and was particularly highly regarded for his Chopin, Schumann and Rachmaninov. His playing was characterised by effortless technique, great colour and an always present lyricism. Moiseiwitsch met Rachmaninov as his American debut in 1919 and the two immediately became great friends. The composer (of course also a great pianist) praised Moiseiwitsch’s interpretations of his works and even claimed the recording of the Second Concerto presented here was superior to his own.

All these recordings present Moisiewitsch at the height of his powers but special mention must be made of the legendary Mendelssohn/Rachmaninov Scherzo which has long been regarded as one of the greatest of all piano recordings.


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KARL MUCK The complete Wagner orchestral recordings 1927-29
APR5521
A master of every phase of the conductor's art, and an interpeter of supreme attainments.
The HMV/Electrola Wagner Orchestral Recordings 1927-29

Overtures to Die Meistersinger • Tannhäuser • Flying Dutchman
Götterdämerung Prologue & Trauermusik Act 3
Parsifal Act 1, Tristan und Isolde Act 1 & Lohengrin Act 3 Preludes
(Berlin State Opera Orchestra)

These are valuable historical documents, but also distinctive and convincing performances in their own right, the likes of which are not often to be heard today....The sound is more vivid than on the Centaur CD and, in the Parsifal Prelude, vastly preferable to Opal's edition. Fi (USA)
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TO MUSIC Isobel Baillie & Kathleen Ferrier
APR5544
Solos & Duets from their recordings 1941-46
Purcell, Handel, Arne, M.Greene, Gluck & Elgar
Schubert, Grieg, Brahms, Scott & Mendelsssohn

Here's a real find! These selections... include eight solos by Ferrier (four of them previously unpublished), 11 by Baillie, and five duets... The two voices blend very well, Ferrier's darker and warmer set off to advantage by her partner's pure and intense singing; it's a marvelous combination. Gerald Moore is, as always, a splendid partner. ARG (USA)
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The Russian Piano Tradition - HEINRICH NEUHAUS
APR5660
LUDWIG VAN BEETHOVEN (1770–1827)
Piano Sonata No 17 in D minor ‘Tempest’ Op 31 No 2
recorded in Moscow in 1946
ALEXANDER SCRIABIN (1872–1915)
Preludes Op 11/2,5,8,11 & 12
recorded in Moscow in 1948
FRÉDÉRIC CHOPIN (1810–1849)
Mazurka in A minor Op 7 No 2; Mazurka in C sharp minor Op 41 No 1
recorded in Moscow circa 1938
FRÉDÉRIC CHOPIN (1810–1849)
Piano Concerto No 1 in E minor Op 11
with MOSCOW RADIO ORCHESTRA / ALEXANDER GAUK
recorded in Moscow in 1951

These four titles are the first in a comprehensive survey of the many great pianists who worked in Russia in the Soviet era. The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. We begin with perhaps the greatest of these - Neuhaus, and two of his pupils - Emil Gilels & Yakov Zak.

Heinrich Neuhaus was born in the Ukraine to a German father and Polish mother. His parents were music teachers and he took to music from an early age making his debut aged fourteen, from then on he rapidly made a name for himself both as a performer and teacher. Always an erratic, nervous performer in public, teaching gradually took precedence over his concert activities and he gave his Farewell Recital in Moscow in 1949. He was the leading piano professor at the Moscow Conservatoire from 1922 to 1964, and Director there between 1935 and 1937.
Neuhaus is now best remembered for his incredible list of pupils; Gilels, Richter, Zak , his son Stanislav, as well as Bakst, Brumberg, Goldfarb, Krainev, Kvapil, Lupu, Naumov, Nasedkin, Slobodyanik, Vedernikov, Versaladze, and Zhukov to name a few, however he also made a great many recordings, very few of which have been issued in the west.
They reveal a most poetic pianist, ideally attuned to Chopin or to the smaller scale Scriabin presented here. His Beethoven reveals a musical integrity which takes us to the heart of the composer. Above all Neuhaus reveals the musical value of a work rather than its superficial effect and it is no doubt this spiritual response to music which he was able to impart to his pupils, making him such an inspiring and successful teacher.


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The Russian Piano Tradition - TATIANA NIKOLAYEVA
APR5666
TCHAIKOVSKY
Piano Concerto 2 in G major Op.44 (46.27)
USSR STATE SYMPHONY ORCHESTRA
conducted by NIKOLAI ANOSOV
 recorded in Moscow c.1951

Concert Fantasy in G major Op.56 (29.29)
USSR STATE SYMPHONY ORCHESTRA
conducted by KYRILL KONDRASHIN
recorded in Moscow c.1950

Today Nikolayeva (1924-1993) is remembered mainly as a Bach player and also as the definitive performer of Shostakovich’s 24 Preludes & Fugues, which were inspired by and written for the pianist after the composer heard her play Bach in the 1950 Leipzig Bach competition (which she won). However, to limit Nikolayeva’s reputation to these two composers would be doing her a great disservice. She had a vast repertoire and her recordings include concertos by Bartok, Medtner, Prokofiev Stravinsky and several Soviet composers - including her own concerto, as she was also a composer!  Further, she recorded the complete Beethoven sonatas and much other standard repertoire from the 19th century.
This CD presents two recording premieres – the first ever recording of the Tchaikovsky Concert Fantasy Op56 and the first recording of the original version of Tchaikovsky’s 2nd Piano Concerto. At the time of its premiere the latter work had been deemed too long and until relatively recently had generally been performed in a drastically cut revision by the pianist Alexander Siloti. Here Nikolayeva reveals that not only was she an intellectual pianist but also a virtuoso who could ‘barnstorm’ with the best of them.

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GUIOMAR NOVAES The complete published 78rpm recordings

APR6015

2CDs

Compact Disc 1

Victor Talking Machine Company CAMDEN, NEW JERSEY, 1919–1927 (73.02)

1 GOTTSCHALK Grande fantaisie triomphale sur l’hymne national brésilien Op 69 (1923 version)

2 GLUCK/FRIEDMAN The Dance of the Blessed Spirits · 3 GLUCK/BRAHMS Gavotte in A

4 BEETHOVEN/RUBINSTEIN Turkish March · 5 RUBINSTEIN Nocturne in G Op 75 No 8

6 MOSZKOWSKI Guitarre Op 45 No 2 · 7 La Jongleuse Op 52 No 4 · 8 PADEREWSKI Nocturne in B flat Op 16 No 4

9 CHOPIN Mazurka in D Op 33 No 2 · 10 MENDELSSOHN Song Without Words Op 62 No 6 (Spring Song)

11 LISZT Gnomenreigen S145 No 2 · 12 Waldesrauschen S145 No 1

13 MacDOWELL Hexentanz Op 17 No 2 · 14 ISIDOR PHILIPP Feux-Follets Op 24 No 3 15 · ALEXANDRE LEVY Tango Brasileiro ·

16 ALBÉNIZ/GODOWSKY Tango in D Op 165 No 2 · 17 STRAUSS/GODOWSKY Ständchen Op 17 No 2 ·

18 VILLA-LOBOS O Polichinelo · 19 IBERT The Little White Donkey

20 GOTTSCHALK Grande fantaisie triomphale sur l’hymne national brésilien Op 69 (1927 version)

Compact Disc 2

Columbia Recording Corporation NEW YORK, 1940–1947 (76.40)

1 ISIDOR PHILIPP Feux-Follets Op 24 No 3 · 2 MOMPOU Jeunes filles au jardin

3 SCARLATTI Sonata in G minor Kk450 (L338) · 4 Sonata in G major Kk125 (L487)

5 FRANÇOIS COUPERIN La tendre Nanette · 6 LOUIS-CLAUDE DAQUIN L’Hirondelle

7 BACH Toccata in D major BWV912 · 8 MOZART Rondo in A minor K511

9 CHOPIN Ballade No 3 in A flat major Op 47 · 10 GLUCK/SAINT-SAËNS Caprice sur les airs de ballet d’Alceste

11-19 VILLA-LOBOS/NOVAES Popular Brazilian Children’s Songs

20-22 VILLA-LOBOS As três Marias · 23-25 Prole do Bebê Book 1—excerpts

26-30 OCTAVIO PINTO Scenas Infantis · 31 CAMARGO GUARNIERI Toccata · 32 ALBÉNIZ Evocación · 33 Triana


 

South America has a knack of producing a particular breed of fiery woman pianist with technique to burn – from Theresa Carreño in the 19th century to Martha Argerich today – perhaps it’s their passionate Latin temperament. The wonderful Brazilian Guiomar Novaes certainly fitted this mould. Described by her teacher Isidore Philipp as ‘by far the best pupil he had ever nursed to the concert stage’ Novaes shot to fame as a teenager and immediately became a star pianist, particularly in the USA where she settled. She recorded well into the LP era but by common consent her greatest recordings are considered to be the 78-rpm discs she made in her youth. Here, for the first time, all are reissued together. As befits 78s, many are encore style pieces, which incidentally perfectly suit Novaes’ gifts, but there is also a good selection of her compatriot’s music, much of it written for her


APR6015  
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The Russian Piano Tradition - LEV OBORIN
APR5668
LUDWIG VAN BEETHOVEN
6 Ecossaises WoO 83
recorded Moscow c.1930
Sonata No 2 in A major Op 2/2

recorded in Moscow c1957

FRÉDÉRIC CHOPIN
Etudes Op 25 Nos.2, 3 & 5

recorded in Moscow c.1943

Mazurka No 30 in G major Op 50/1

recorded Moscow c.1951

Sonata No 3 in B minor Op 58

recorded Moscow 1951

FRANZ LISZT

Hungarian Rhapsody No 2 in C sharp minor S 244/2

recorded Moscow c.1942

PETER TCHAIKOVSKY
The Months Op 37b

June (Barcarolle); November (Troïka); December (Christmas)

recorded Moscow c.1952


We have already featured Lev Oborin (on APR6005) playing Rachmaninov's second and third Concertos, and that he was entrusted with the first ever Soviet recordings of these works shows the status he held at that time. He studied with Igumnov at the Moscow Conservatory from the age of 14 and in 1927, at the age of 19, he won the first Chopin competition. From this time on until his death he was central to Russian musical life both as performer and teacher (he taught Vladimir Ashkenazy amongst many others).

Oborin was the 'complete' pianist. He had a magnificent technique and seemed to be able to play any style of repertoire convincingly. He was also equally at home as soloist or chamber player, indeed in the West he is still perhaps better known as accompanist to the great violinist David Oistrakh due to the recordings they made together.

The present CD presents Oborin as classicist in Beethoven, as the great Chopin interpreter, as virtuoso in the Liszt Rhapsody and as Russian lyricist in the Tchaikovsky. He is magnificent in all.


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IGNACY JAN PADEREWSKI His Final Recordings
APR5636

The complete HMV Recordings 1937 & 1938

HAYDN Variations in F minor Hob XVII:6 recorded on 29 January 1937

MOZART Rondo in A minor K511 recorded on 30 January 1937

BEETHOVEN Piano Sonata No 14 in C sharp minor ‘Moonlight’ Op 27/2 recorded on 30 January 1937

SCHUBERT Moment musical No 2 in A flat major D780 recorded on 15 November 1938

CHOPIN Nocturne No 5 in F sharp major Op 15/2 recorded on 30 January 1937

CHOPIN Nocturne No 17 in B major Op 62/1 recorded on 15 November 1938

CHOPIN Waltz No 7 in C sharp minor Op 64/2 recorded on 15 November 1938

CHOPIN Mazurka No 38 in F sharp minor Op 59/3 recorded on 15 November 1938

CHOPIN Polonaise No 6 in A flat major Op 53 recorded on 30 January 1937

WAGNER/LISZT Tristan und Isolde: Liebestod S447 recorded on 15 November 1938

PADEREWSKI Chants du voyageur Op 8 - No 3 Mélodie recorded on 15 November 1938

PADEREWSKI Humoresques de concert Op 14 - No 1 Minuet célèbre recorded on 30 January 1937


A year ago we issued, to great critical acclaim, a double album of Paderewski’s first recordings, made in Europe in 1911-12 (APR6006). Between 1914 and 1931 the pianist recorded for Victor in the US but in 1937, after it appeared Paderewski had retired from the studio, he was persuaded to return to the HMV studios in London to make a final series of recordings. At first the plan was to record the repertoire which featured in the film ‘Moonlight Sonata’, a huge blockbuster success at the time which featured Paderewski playing himself, but in addition to this repertoire Paderewski went on to record works by Haydn and Mozart which were new to his discography. It has often been said that in later life Paderewski’s technique was not what it had been, and to an extent the is undoubtedly true, but this is not an issue in the classical works featured here, and the Haydn, Mozart and Beethoven in particular reveal the extreme poetry that had mesmerised audiences for fifty years and had made Paderewski the most famous pianist of his generation.

This is the first time all Paderewski’s 1930’s HMV recordings have been assembled together and two unissued tracks from the 1938 sessions are also included.


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IGNACY JAN PADEREWSKI His Earliest Recordings
APR6006
2CDs
The complete European Recordings 1911-12
Compact Disc 1
CHOPIN Waltz in A flat Op 34 No 1; CHOPIN Nocturne in F sharp Op 15 No 2; CHOPIN Waltz in C sharp minor Op 64 No 2; STOJOWSKI Chant d’amour Op 26 No 3; SCHUBERT–LISZT Hark! Hark! The Lark!; SCHUMANN Nachtstück in F Op 23 No 4; CHOPIN Polonaise in A Op 40 No 1; CHOPIN Nocturne in E Op 62 No 2; CHOPIN Etude in G flat Op 25 No 9; CHOPIN Etude in F Op 25 No 3;
CHOPIN Mazurka in A minor Op 17 No 4; CHOPIN Nocturne in F Op 15 No 1; PADEREWSKI Minuet in G Op 14 No 1; PADEREWSKI Nocturne in B flat Op 16 No 4; MENDELSSOHN Songs Without Words Op 53 No 4 & Op 19 No 3; DEBUSSY Reflets dans l’eau; PAGANINI–LISZT La Campanella; PADEREWSKI Cracovienne fantastique Op 14 No 6; CHOPIN Nocturne in F sharp Op 15 No 2
Compact Disc 2
CHOPIN Etude in C minor Op 10 No 12; Etude in C Op 10 No 7; Etude in A flat Op 25 No 1; Etude in F minor Op 25 No 2; Etude in E Op 10 No 3; PADEREWSKI Cracovienne fantastique Op 14 No 6; SCHUBERT–LISZT Hark! Hark! The Lark!; SCHUMANN Des Abends Op 12 No 1;  Aufschwung Op 12 No 2;  Warum? Op 12 No 3; CHOPIN Waltz in A flat Op 34 No 1; CHOPIN Mazurka in A minor Op 17 No 4; CHOPIN–LISZT The Maiden’s Wish; CHOPIN Etude in C sharp minor Op 25 No 7; PAGANINI–LISZT La Campanella; STOJOWSKI Chant d’amour Op 26 No 3; LISZT Etude de concert No 2 in F minor; CHOPIN–LISZT The Maiden’s Wish; CHOPIN Berceuse in D flat Op 57; MENDELSSOHN Song Without Words Op 19 No 3; RUBINSTEIN Valse-Caprice in E flat

Paderewski was perhaps the most famous, and certainly the most highly paid, pianist who ever lived. In the years between 1890 and the First World War his fame reached levels now only reserved for the biggest pop stars and when he became prime-minister of Poland after the end of the war his deification was complete. He resumed his career in the 1920’s and continued to perform until his death. Unfortunately most of his recordings were made later in life and do not capture his playing in its prime, a fact which has somewhat damaged his posthumous reputation,  so it is particularly important that these earliest recordings, which can redress the balance, are made available complete for the first time.  This is playing very different in style from that which we are used to today, but aside from its historic importance, taken on its own terms it is quite clear what a great communicator Padereswki was.  And it’s good to be reminded in works like Liszt’s La Leggierezza study that at this point in his career there was nothing lacking in technique either.
Several titles included are taken from Paderewski’s own test pressings of unissued discs held at the International Piano Archive, University of Maryland, and this is their first release. A must for collectors!

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IGNACY JAN PADEREWSKI The complete US Victor recordings
APR7505
5CDs

COMPACT DISC 1 The Acoustic Recordings (65.00)
recorded on 29 April 1914, Camden
1. COUPERIN La Bandoline (Rondeau) Pièces de clavecin, 5e Ordre No 8, matrix C 14773-2 (88491) (3.00)
2. COUPERIN Le Carillon de Cythère Pièces de clavecin, 14e Ordre No 6,matrix C 14774-1 (88492) (3.54)
recorded on 30 April 1914, Camden
3. SCHUMANN Warum? Fantasiestücke, Op 12 No 3, matrix C 14778-3 (88494) (2.57)
recorded on 14 May 1917, New York
4. CHOPIN Nocturne in F sharp major Op 15 No 2, matrix C 19781-1 (74529) (3.53)
recorded on 23 May 1917, New York
5. CHOPIN Polonaise in A major Op 40 No 1, matrix C 19943-2 (74530) (4.11)
6. PADEREWSKI Minuet in G major Op 14 No 1, matrix C 19783-3 (74533) (4.21)
7. CHOPIN Nocturne in F major Op 15 No 1, matrix C 19941-2 (74545) (4.12)
8. CHOPIN Waltz in C sharp minor Op 64 No 2, matrix C 19923-2 (74539) (3.28)
recorded on 6 June 1917, New York
9. PADEREWSKI Cracovienne fantastique Op 14 No 6, matrix C 19944-2 (74535) (3.17)
recorded on 18 June 1917, New York
10. CHOPIN Étude in G flat major Op 25 No 9, matrix B 19782-6 (64706) (1.18)
recorded on 1 June 1922, New York
11. CHOPIN Berceuse in D flat major Op 57, matrix C 26398-1 (6428-B) (3.56)
12. PADEREWSKI Nocturne in B flat major Op 16 No 4, matrix C 26600-1 (74765) (4.47)
recorded on 26 June 1922, Camden
13. CHOPIN/LISZT My Joys Chant Polonais No 5, Op 74 No 12, matrix C 26392-4 (6428-A) (4.35)
14. CHOPIN Waltz in A flat major Op 42, matrix C 26397-4 (74796) (3.51)
15. LISZT Hungarian Rhapsody No 10 S244/10, matrix C 26399-2 (74788) (4.52)
16. LISZT Hungarian Rhapsody No 2 S244/2, matrix C 26554-1 & C 26603-2 (74805/6) (8.27)


COMPACT DISC 2 The Acoustic Recordings continued (75.37)
recorded on 26 June 1922, Camden
1. PADEREWSKI Cracovienne fantastique Op 14 No 6, matrix C 19944-6 (74535) (3.20)
recorded on 27 June 1922, Camden
2. CHOPIN/LISZT The Maiden’s Wish Chant Polonais No 1, Op 74 No 1, matrix C 26602-6 (74777) (4.25)
3. MENDELSSOHN Spinning Song Songs without words, Op 67 No 4, matrix B 26393-5 (66150) (1.54)
recorded on 4 May 1923, Camden
4. PADEREWSKI Melodie Chants du voyageur, Op 8 No 3, matrix B 27914-1 (66160) (2.54)
5. PADEREWSKI Cracovienne fantastique Op 14 No 6, matrix C 19944-8 (6230-A) (3.14)
6. CHOPIN Sonata No 2 in B flat minor Op 35 Marche funèbre: Lento, matrix C 27917-1 (6470-A) (4.35)
7. CHOPIN Étude in G sharp minor Op 25 No 6, matrix B 27918-1 (66161) (2.15)
8. CHOPIN Étude in C sharp minor Op 25 No 7, matrix C 27919-1 (6448-A) (4.24)
9. LISZT La leggierezza Études de Concert, No 2 in F minor, S144/2, matrix C 27921-2 (6438-B) (5.01)
10. CHOPIN Étude in A minor Op 25 No 11, matrix C 27923-1 (6438-A) (3.36)
11. MENDELSSOHN Spinning Song Songs without words, Op 67 No 4, matrix B 26393-6 (66150) (1.54)
recorded on 5 May 1923, Camden
12. CHOPIN Mazurka in A minor Op 17 No 4, matrix C 27920-2 (6448-B) (3.26)
13. PADEREWSKI Minuet in G major Op 14 No 1, matrix C 19783-10 (74533) (3.54)
recorded on 12 May 1924, New York
14. SCHUBERT Impromptu in B flat major Op 142 No 3, matrix C 29984-2 & C 29985-2 (6482-A/B) (9.04)
15. DEBUSSY Reflets dans l’eau Images Book I No 1, matrix C 29986-1 (6538-B) (4.27)
16. SCHUBERT/LISZT Hark! Hark! The Lark S558/9, matrix C 19979-3 (6470-B) (3.19)
17. CHOPIN Étude in D flat major Op 25 No 8, matrix B 29989-1 (unissued) (1.20)
18. CHOPIN Étude in G flat major Op 25 No 9, matrix B 29989-1 (unissued) (1.20)
19. CHOPIN Mazurka in A flat major Op 59 No 2, matrix B 29990-2 (1027-B) (2.38)
20. CHOPIN Mazurka in F sharp minor Op 59 No 3, matrix B 29991-1 (1027-A) (3.31)
21. WAGNER/LISZT Spinning Chorus The Flying Dutchman, S440, matrix C 29992-1 (6538-A) (5.02)

COMPACT DISC 3
The Electric Recordings (65.39)
recorded on 20 May 1926, New York
1. SCHELLING Nocturne à Raguze, matrix CVE 35619-2 & CVE 35620-1 (6700-A/B) (5.47)
2. PADEREWSKI Minuet in G major Op 14 No 1, matrix CVE 19783-11 (6690-A) (3.53)
3. PADEREWSKI Minuet in G major Op 14 No 1, matrix CVE 19783-12 (6690-A) (3.53)
recorded on 11 December 1926, New York
4. STOJOWSKI Chant d’amour Op 26 No 3, matrix CVE 37121-2 (6633-B) (4.16)
5. STOJOWSKI By the Brookside Esquisses, Op 30 No 3, matrix BVE 37122-3 (1426-B) (2.36)
6. DEBUSSY Reflets dans l’eau Images Book I No 1, matrix CVE 29986-3 (6633-A) (4.24)
recorded on 13 December 1926, New York
7. CHOPIN Prelude in D flat major Op 28 No 15, matrix CVE 27915-6 (6847-A) (4.18)
8. CHOPIN Étude in E major Op 10 No 3, matrix CVE 37126-2 (6628-B) (4.32)
recorded on 14 December 1926, New York
9. SCHUMANN Vogel als Prophet Waldszenen, Op 82 No 7, matrix BVE 37128-3 (1426-A) (3.46)
10. PAGANINI/LISZT La campanella Grandes Études de Paganini, S141/3, matrix CVE 37123-2 (6825-A) (4.49)
recorded on 16 December 1926, New York
11. SCHUBERT Impromptu in A flat major Op 142 No 2, matrix CVE 27913-9 (6628-A) (5.02)
12. SCHUBERT Impromptu in A flat major Op 142 No 2, matrix CVE 27913-10 (6628-A) (4.41)
13. BEETHOVEN Sonata No 14 in C sharp minor ‘Moonlight’ Op 27/2 Adagio   CVE 37140-1 (6690-B) (4.59)
recorded on 18 August 1927, New York
14. CHOPIN Nocturne in F sharp major Op 15 No 2, matrix CVE 19781-5 (6825-B) (3.39)
15. PAGANINI/LISZT La campanella Grandes Études de Paganini, S141/3, matrix CVE 37123-3 (6825-A) (5.02)

COMPACT DISC 4 The Electric Recordings continued (62.06)
recorded on 18 August 1927, New York
1. CHOPIN Étude in E major Op 10 No 3, matrix CVE 37126-6 (6628-B) (4.08)
recorded on 22 May 1928, New York
2. CHOPIN Prelude in D flat major Op 28 No 15, matrix CVE 27915-13 (6847-A) (4.15)
3. CHOPIN Prelude in A flat major Op 28 No 17, matrix CVE 37125-8 (6847-B) (4.08)
4. CHOPIN Waltz in E flat major Op 18, matrix CVE 45509-2 (6877-A) (5.02)
5. CHOPIN Étude in C minor Op 10 No 12, matrix BVE 45510-2 (1387-A) (2.42)
6. RUBINSTEIN Valse-caprice in E flat major, matrix CVE 27922-9 (6877-B) (4.48)
recorded on 24 May 1928, New York
7. SCHUMANN Nachtstück in F major Op 23 No 4, matrix CVE 45514-1 (unissued) (4.34)
CHOPIN Sonata No 2 in B flat minor Op 35
8. III Marche funèbre: Lento, matrix CVE 45515-1 & CVE 45516-2 (unissued) (5.41)
9. IV Presto, matrix CVE 45516-2 (unissued) (1.42)
10. CHOPIN Étude in G flat major Op 10 No 5, matrix BVE 37127-10 (1387-B) (2.06)
recorded on 13 October 1930, New York
11. DEBUSSY Danseuses de Delphes Preludes Book I No 1, matrix BVE 64325-1 (1531-A) (2.41)
12. DEBUSSY Le Vent dans la plaine Preludes Book I No 3, matrix BVE 64327-4 (1499-B) (2.30)
13. DEBUSSY Minstrels Preludes Book I No 12, matrix BVE 64328-2 (1499-A) (2.34)
14. RACHMANINOFF Prelude in C sharp minor Op 3 No 2, matrix BVE 64329-1 (unissued) (2.51)
15. RACHMANINOFF Prelude in G sharp minor Op 32 No 12, matrix BVE 64330-2 (unissued) (2.16)
16. CHOPIN Mazurka in D major Op 33 No 2, matrix BVE 63162-1 (1541-B) (2.31)
recorded on 14 October 1930, New York
17. WAGNER/SCHELLING Tristan und Isolde Prelude to Act I,  matrix CVE 64331-2 & CVE 64332-3 (7324-A/B) (7.36)

COMPACT DISC 5 The Electric Recordings continued (62.50)
recorded on 14 October 1930, New York
1. BRAHMS Hungarian Dance No 6 in D flat major WoO 1/6, matrix BVE 64334-2 (1529-B) (3.29)
2. CHOPIN Mazurka in C sharp minor Op 63 No 3 matrix CVE 64333-1R (dubbed from BVE 64333-3) (7416-B) (2.09)
recorded on 14 and *16 October 1930, New York
3. J. STRAUSS/TAUSIG Man lebt nur einmal, matrix *CVE 64339-2 & CVE 64340-1 (unissued) (7.14)
recorded on 16 October 1930, New York
4. CHOPIN Polonaise in E flat minor Op 26 No 2, matrix CVE 64344-1 & CVE 64345-2 (7391-A/B) (7.12)
recorded on 23 December 1930, New York
5. DEBUSSY Voiles Preludes Book I No 2, matrix BVE 64326-3 (1531-B) (3.23)
6. DEBUSSY Minstrels Preludes Book I No 12, matrix BVE 64328-6 (1499-A) (2.37)
7. CHOPIN Nocturne in E flat major Op 9 No 2, matrix CVE 64343-3 (7416-A) (3.52)
8. CHOPIN Mazurka in A flat major Op 59 No 2, matrix BVE 64336-3 (1541-A) (2.38)
9. BRAHMS Hungarian Dance No 7 in A major WoO 1/7, matrix BVE 64335-4 (1529-A) (2.01)
10. J. STRAUSS/TAUSIG Man lebt nur einmal, matrix CVE 64339-3 & CVE 64340-4 (unissued) (7.41)
recorded *23 December 1930 and 13 May 1931, New York
11. WAGNER/LISZT SpinningChorus TheFlyingDutchman, S440, matrix BVE 64341-5 & *BVE 64342-3 (1549-A/B) (6.07)
recorded on 13 May 1931, New York
12. SCHUBERT Moment Musical in A flat major Op 94 No 2, matrix CVE 69611-1 & CVE 69612-2 (7508-A/B) (7.10)
The Spoken Word Recordings
recorded 31 January 1941, New York
Address on the observance of the Golden Anniversary of his American Debut
13. My dear friends..., matrix CS 060450-1 & CS 060451-1 (unissued) (3.47)
14. My dear American friends..., matrix CS 060450-1 & CS 060451-1 (unissued) (2.06)

IGNACY JAN PADEREWSKI (1860–1941) must be counted as one of the most famous pianists who ever lived, and he was certainly the most financially successful, yet his recorded legacy has always been something of a puzzle. Paderewski was from a generation before these recorded pianists, such as Cortot, Hofmann, Rachmaninov & Schnabel, we now tend to think of as ‘historical’ and his playing style really does take us back to the 19th century. This indispensable set makes available for the first time every surviving matrix from his most prolific recording contract– that with the US Victor company. In conjunction with APR’s earlier releases ‘Paderewski – his earliest recordings’ (APR6006) and ‘Paderewski– his final recordings’ (APR5636) there is now, at last, a complete Paderewski recorded edition. Audio Restoration Engineer: Mark Obert-Thorn.
APR7505  
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EGON PETRI The Complete Columbia & Electrola Solo and Concerto Recordings
APR7701
7CDs
THE COMPLETE COLUMBIA & ELECTROLA SOLO AND CONCERTO RECORDINGS 1928 - 1951
BEETHOVEN Sonatas Op 10/2; Op 27/2; Op 78; Op 90; Op 106; Op 111 
BRAHMS Handel Variations; Paganini Variations 3 Rhapsodies; 4 Ballades Op 10†; 6 Piano Pieces Op 118† 
BUSONI Fantasia after J S Bach; Indian Diary; 2 Sonatinas All’ Italia; Serenade; Albumblatt No 3; Giga, bolero e variazione 
BACH/BUSONI Chaconne; 4 Chorale Preludes; LISZT/BUSONI Rhapsodie Espagnole (Minneapolis Symphony Orchestra / Mitropoulos)
CHOPIN Preludes Op 28; Polonaise Op 53; Waltz Op 42 
FRANCK Prelude, choral et fugue 
LISZT Piano Concerto No 2; Fantasia on Beethoven’s ‘Ruins of Athens’ (London Philharmonic Orchestra / Heward)
5 Etudes; Transcriptions including: 6 Schubert songs; Soirée de Vienne No 6 (Schubert); Adelaïde (Beethoven); Faust Waltz (Gounod) Rigoletto Paraphrase (Verdi); Spinning Chorus (Wagner) 
BACH/PETRI Minuet; GLUCK/SGAMBATI Mélodie; SCHUBERT/TAUSIG Andantino & Variations 
TCHAIKOVSKY Piano Concerto No 1 (London Philharmonic Orchestra / Goehr)
† previously unissued recordings
  

EGON PETRI studied with Busoni and was perhaps his greatest disciple. In his fusion of intellect with an astonishing virtuoso technique he echoed his master and gives us today the clearest idea of Busoni’s own legendary pianism. Petri began recording quite late in his career (he was already 47 in 1928) and this set contains everything he did apart from a few chamber works, until his final recordings for Columbia in 1951. He subsequently made further recordings for other labels but the best of his work is contained here. Highlights include perhaps the most spectacular Brahms Paganini Variations even committed to disc, the uniquely important Busoni recordings and a broad selection of Liszt including very impressive performances of some of the Schubert song transcriptions. Finally, we are delighted to present recordings of Brahms’ Op 10 and Op 118 pieces made for Columbia in 1945 but not previously released. Some of this material was previously available on APR but is now remastered, and in some cases where better source material was obtained (e.g. the Chopin Preludes), re-transferred.
APR7701  
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THE PIANO G&Ts Vol.1: Pachmann, Michalowski & Ronald
APR5531
Vladimir De Pachmann - 9 titles (1907 London)
CHOPIN Etude in G flat Op.25/9 • Waltzes in D flat & c sharp Op.64
Barcarolle • Nocturne in G Op.37/2 • Mazurka in A flat Op.50/2
Preludes in g & F, Op.28/22&23
RAFF La Fileuse
also 4 titles (1909 London)
CHOPIN Etude in c Op.10/12 • MENDELSSOHN Rondo Op.14
RAFF La Fileuse • LISZT-VERDI Rigoletto paraphrase

Aleksander Michalowski - 10 titles (1905 Warsaw)
CHOPIN Etude in G flat Op.10/5 • Polonaise in A Op.40/1
Waltz in c sharp Op.64/2 • Preludes in A & c Op.28/7&20
CHOPIN-MICHALOWSKI Waltz in D flat Op.64/1 (2 versions)
LISZT-CHOPIN My Joys • LISZT Soiree de Vienne 6
MENDELSSOHN Song without words in A Op.19/3
also 2 titles (1912 Warsaw)
CHOPIN Waltz in c sharp Op.64/2 • Etude in E flat Op.10/11

Landon Ronald - 5 titles (1900 London)
WAGNER Die Meistersinger Overture • GRIEG Dance caprice
LISZT Hungarian Rhapsody 2 • CHOPIN Polonaise in A Op.40/1
MENDELSSOHN Song without words in C Op.67/4


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THE PIANO G&Ts Vol.2: Grünfeld, Pugno & Janotha
APR5532
Raoul Pugno - 13 titles (1903 Paris)
HANDEL Gavotte & variations • SCARLATTI Sonata in A L.495
PUGNO Impromptu valse • Valse lente
CHOPIN Waltz in A flat Op.34/1 • Nocturne in F sharp Op.15/2
Impromptu in A flat Op.29 • Berceuse • Marche funèbre
MENDELSSOHN Scherzo in e Op.16/2 • Song without words Op.67/4
MASSENET Valse folle • CHABRIER Scherzo-valse

Natalia Janotha - 4 titles (1904 London)
CHOPIN Fugue • MENDELSSOHN Song without words Op.67/4
JANOTHA Polish carillon • Gavotte impériale

Alfred Grünfeld - 11 titles (1905 Vienna)
GRUNFELD Serenade in B Op.32 • Etude à la tarantella Op.47/3
Mazurka à la Viennoise Op.51 • Ungarische Fantasie Op.55
Valse mignonne Op.51/4 • Romance in D flat Op.42
CHOPIN Mazurka in b Op.33/4
SCHUBERT Rosamunde Ballettmusik (arr Fischoff)
Wohin? & Die Forelle (arr Grunfeld)
J.STRAUSS Frühlingsstimmenwalzer Op.410 (arr Grünfeld)

Gramophone and Typewriter (G&T) piano records have attained legendary status on account of their extreme rarity and the historical importance of most of the artists involved...These two volumes are the first of a very promising series. Transfers are superb in every respect, whilst documentation is thorough, with detailed discographies and informative biographical sketches. IPQ (UK)
APR5532  
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THE PIANO G&Ts Vol.3: Chaminade & Saint-Saëns
APR5533
Cécile Chaminade - 7 titles (1901 London)
CHAMINADE Air de Ballet Op.30 • Pas des Écharpes (Callirhoe Op.37)
Courante (Danse ancienne Op.95/3) • Les Sylvains Op.60 • Danse Créole Op.94
L’Enjoleuse Op.50 • Pierrette Op.41

Camille Saint-Saëns - 9 titles (1904 Paris)
SAINT-SAENS Improvised cadenza on Afrique Op.89
Valse mignonne Op.104 • Valse nonchalante Op.110
extracts from Piano Concerto No.2 in g Op.22 • Rhapsodie d’Auvergne Op.73
Ascanio - Air of Scozzone • Rêverie • La Solitaire (Mélodie Persane)
Samson et Dalila - Printemps qui commence
above 4 with Meyrianne Héglon (mezzo-soprano)
also 7 titles (1919 Paris)
Le Déluge - Prelude Op.45 • Elégie Op.143 • Havanaise Op.83
above 3 with Gabriel Willaume (violin)
Rêverie du soir à Blidah (Suite Algérienne Op.60/3) • Première Mazurka Op.21
Marche militaire française (Suite Algérienne Op.60/4) • Valse mignonne Op.104

Here is an important historical sound document... Cécile Louise Stéphane Chaminade (1857-1944) virtually invented French salon music and to be able to hear her complete recordings for the first time since they were made a century ago is an illustration of the medium of the Compact Disc at its best... To hear Saint-Saëns himself in an extract from the first movement of the G minor Concerto (sans orchestre) is truly wondrous... Saint-Saëns is every bit as facile and dextrous as contemporary reports suggest, constantly pushing the music forward ­ sometimes impatiently ­ in playing of great character and finesse...The compilations, transfers production and notes are... a class act. IRR (UK)
APR5533  
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THE PIANO G&Ts Vol.4: Diemer, Eibenschutz, Hofmann, Backhaus
APR5534
LOUIS DIEMER Paris 1904
Diémer Grande valse de concert; Diémer Chant du Nautonier; Godard Valse chromatique; Mendelssohn Song without words, Op.67/4; Chopin Nocturne Op.27/2
Paris 1906: Diémer Grande valse de concert; Diémer Chant du Nautonier

ILONA EIBENSCHUTZ London 16.12.1903
Scarlatti Sonata in E, K20; Sonata in in G, K14; Brahms Ballade in G minor, Op.118/3
London 22.12.1903: Brahms Waltz in E major, Op.39/2; Brahms Waltz in A flat, Op.39/15

JOSEF HOFMANN Berlin November 1903
Mendelssohn Song without words Op.19/3 (Hunting Song); Mendelssohn Song without words Op.62/6 (Spring Song); Chopin Polonaise in A, Op.40/1; Schubert/Tausig Marche Militaire; Schubert/Liszt Der Erlkönig

WILHELM BACKHAUS London 29.9.1908 & 19.10.1908
Handel Suite No.5 in E: Air & variations (The Harmonious Blacksmith); Weber Sonata No.1 in C: Presto (Perpetuum-mobile); Chopin Prelude Op.28/1; Chopin Etude Op.10/1; Chopin Fantaisie-Impromptu Op.66; Liszt Liebestraume No.3; Liszt Paganini Etude No.3 (La Campanella); Grieg Norwegian Bridal Procession Op.19/2; Rachmaninov Prelude in C sharp minor, Op.3/2

The Gramophone & Typewriter company (which was the forerunner of HMV and EMI) was the first recording company to recognise that the newly invented Gramophone was more than just a novelty item and that it could preserve performances of serious musical worth. Through the first few years of the last century it set out to record many of the most famous performers of the day, leaving us a priceless legacy of performances which open a window to another era. These recordings are now incredibly rare, some only known to exist in one copy, and this collection and its three companion volumes are amongst the most important archival items in the APR catalogue, much of the material having never been available elsewhere. Here we can hear the great French pianist and teacher Louis Diémer, dedicatee of Saint-Saens 5th and Tchaikovsky’s 3rd concertos, Ilona Eibenschütz, who premiered some of Brahms’ late pieces, and the earliest recordings made by Josef Hofmann and Wilhelm Backhaus.
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The Russian Piano Tradition - SVIATOSLAV RICHTER
APR5669
Sonata in A minor D845
recorded in Moscow in March 1957

Sonata in D major D850
recorded in Moscow in August 1956

Impromptu in E flat D899/2

recorded in Moscow in 1950


Sviatoslav Richter needs no introduction - he is universally regarded as one of the very greatest pianists of the 20th century. The Soviet recordings he made in the 1950s, before he started performing in the west, are generally less well known though, and here we have two major works, from a composer who was particularly close to Richter's heart which he did not revisit in the recording studio in later years.

Schubert's Sonatas D845 and D850 are certainly amongst his greatest, they immediately predate the magnificent final three (D958-960) and are written on the same vast scale. The composer's piano sonatas were little known in the 1950s particularly in the USSR, and Richter was very much a torchbearer for this music. These are sublime performances particularly in the timeless slow movements, and it is surprising how rarely these particular recordings have been reissued in the CD era. Thankfully by the later 1950's the Melodiya recorded sound was much improved and not many apologies need be made on this account.

To complete this programme we have added one of the earliest Richter recordings, that of the popular Impromptu D899/4, which dates from 1950.


APR5669  
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MORIZ ROSENTHAL The Complete Recordings
APR7503
5CDs

MORIZ ROSENTHAL (1862–1946)

Compact Disc 1 I Victor Talking Machine Company, Camden, New Jersey, USA 8 May 1928 (75.07)

1. ROSENTHAL Fantasy on themes from Johann Strauss (7.29)

(Blue Danube, Joys of Life [Freut euch des Lebens] and Fledermaus)
II Okeh, New York March or April 1928

2. CHOPIN Waltz in C sharp minor Op 64 No 2 (3.59)

3. CHOPIN Mazurka in G major Op 67 No 1 (1.17)

4. CHOPIN Waltz in E minor Op posth (3.03)

III Thomas A Edison Inc, West Orange, New Jersey, USA March & April 1929

5. CHOPIN Prelude in B minor Op 28 No 6 matrix N-754-A; unpublished (2.16)

6. CHOPIN Prelude in B major Op 28 No 11 as above (0.33)

7. CHOPIN Prelude in A major Op 28 No 7 as above (0.50)

8. CHOPIN Prelude in F major Op 28 No 23 as above (0.52)

9. CHOPIN Prelude in B minor Op 28 No 6 matrix N-754-B (2.19)

10. CHOPIN Prelude in B major Op 28 No 11 as above (0.32)

11. CHOPIN Prelude in A major Op 28 No 7 as above (0.51)

12. CHOPIN Prelude in F major Op 28 No 23 as above (0.49)

13. CHOPIN Mazurka in C sharp minor Op 63 No 3 matrix N-755-A; unpublished (1.55)

14. CHOPIN Mazurka in A flat major Op 24 No 3 as above (1.18)

15. CHOPIN Mazurka in G major Op 67 No 1 as above (1.17)

16. CHOPIN Mazurka in C sharp minor Op 63 No 3 matrix N-755-B; unpublished (1.55)

17. CHOPIN Mazurka in A flat major Op 24 No 3 as above (1.17)

18. CHOPIN Mazurka in G major Op 67 No 1 as above (1.13)

19. CHOPIN Waltz in A flat major Op 42 matrix N-756-A; unpublished (3.42)

20. CHOPIN Waltz in A flat major Op 42 matrix N-756-B; unpublished (3.43)

21. CHOPIN-LISZT-ROSENTHAL Chant polonais No 1 (The Maiden’s Wish) (4.42)

matrix N-757-A; unpublished

22. CHOPIN-LISZT-ROSENTHAL Chant polonais No 1 (The Maiden’s Wish) (4.45)

matrix N-757-B; unpublished

23. CHOPIN Nouvelle étude No 3 in A flat major matrix N-838-B (2.15)

24. CHOPIN Étude in C major Op 10 No 1 as above (1.58)

25. CHOPIN Prelude in B minor Op 28 No 6 matrix N-842-A; unpublished (2.15)

26. CHOPIN Prelude in A major Op 28 No 7 as above (0.52)

27. CHOPIN Étude in G flat major Op 10 No 5 (Black Keys) as above (1.35)

28. CHOPIN Prelude in B minor Op 28 No 6 matrix N-842-B; unpublished (2.16)

29. CHOPIN Prelude in A major Op 28 No 7 as above (0.53)

30. CHOPIN Étude in G flat major Op 10 No 5 (Black Keys) as above (1.34)

31. CHOPIN Nocturne in E flat major Op 9 No 2 matrix N-843-A; unpublished (4.33)

32. CHOPIN Nocturne in E flat major Op 9 No 2 matrix N-843-B; unpublished (4.32)


Compact Disc 2 IV Lindström group (Odeon and Parlophone), Berlin 1929, 1930 & 1931 (73.31)

1. CHOPIN-LISZT Chant polonais No 5 (My Joys) (4.17)

2. CHOPIN Mazurka in B flat minor Op 24 No 4  (3.50)

3. CHOPIN Berceuse in D flat major Op 57 (4.01)

4. CHOPIN Waltz in C sharp minor Op 64 No 2 (3.52)

5. CHOPIN Prelude in C minor Op 28 No 20 (1.21)

6. CHOPIN Prelude in C major Op 28 No 1 (0.33)

7. CHOPIN Prelude in G major Op 28 No 3(0.55)

8. CHOPIN Prelude in E flat major Op 28 No 19 (1.17)

9. CHOPIN Waltz in C sharp minor Op 64 No 2 (3.41)

10. CHOPIN Waltz in E minor Op posth (2.52)

11. ROSENTHAL Papillons 3 May 1930; (2.14)

12. CHOPIN Mazurka in C sharp minor Op 63 No 3 (1.35)

13. CHOPIN Étude in G flat major Op 10 No 5 (1.40)

14. CHOPIN Mazurka in C sharp minor Op 63 No 3 (1.54)

15. CHOPIN Mazurka in C sharp minor Op 63 No 3 take 2 (1.56)

16. CHOPIN Étude in G flat major Op 10 No 5 (Black Keys) (1.35)

17. CHOPIN Étude in C major Op 10 No 1 (2.02)

18. CHOPIN Mazurka in G major Op 67 No 1 (1.18)

19. DEBUSSY Reflets dans l’eau (from Images Book I) (4.08)

20. DEBUSSY Reflets dans l’eau 29 May 1929 (4.10)

21. ALBÉNIZ Triana (from Iberia Book 2) (4.09)

22. LIADOV A Musical Snuffbox Op 32 (2.32)

23. LIADOV Prelude in B flat major Op 46 No 1 (0.56)

24. ROSENTHAL Carnaval de Vienne (7.07)

(Humoresque on Themes of Johann Strauss)

25. ROSENTHAL Fantasy on themes from Johann Strauss (7.35)

(Blue Danube, Joys of Life [Freut euch des Lebens] and Fledermaus)

Compact Disc 3 IV Lindström group (Odeon and Parlophone), Berlin continued 1930 & 1931 (78.27)

CHOPIN Piano Concerto No 1 in E minor Op 11 (32.55)

1. Allegro maestoso (16.12)

2. Romanza: Larghetto (8.10)

3. Rondo: Vivace (8.06)

with BERLIN STATE OPERA ORCHESTRA/FRIEDER WEISSMANN

V Ultraphon, Berlin 16 April 1930

4. LISZT Hungarian Rhapsody No 2 (with Rosenthal cadenza) (7.41)

5. LISZT Liebestraum No 3 in A flat major (3.53)

6. CHOPIN Berceuse in D flat major Op 57 (3.57)

VI Gramophone Company Ltd, No 3 Studio, Abbey Road, London 1934 & 1935

7. ROSENTHAL New Carnaval de Vienne (on themes from Johann Strauss) (8.03)

8. CHOPIN-LISZT-ROSENTHAL Chant polonais No 1 (The Maiden’s Wish) (4.40)

9. CHOPIN Waltz in A flat major Op 42 (3.47)

10. CHOPIN Nocturne in E flat major Op 9 No 2 (4.21)

11. CHOPIN Étude in F minor Op 25 No 2 (1.38)

12. CHOPIN Nouvelle étude No 3 in A flat major (2.14)

13. CHOPIN Mazurka in A flat major Op 50 No 2 (3.01)
14. CHOPIN Étude in G flat major Op 10 No 5 (1.37)

Compact Disc 4 VI Gramophone Company Ltd, No 3 Studio, Abbey Road, London continued 1935–1937 (67.24)
1. CHOPIN Waltz in A flat major Op 42 (3.48)

2. CHOPIN Prelude in B minor Op 28 No 6 (2.07)

3. CHOPIN Prelude in G major Op 28 No 3 (1.04)

4. CHOPIN Prelude in A major Op 28 No 7 (0.51)

5. CHOPIN Mazurka in A flat major Op 50 No 2 (2.55)

6. CHOPIN Mazurka in G major Op 67 No 1 (1.20)

7. CHOPIN Mazurka in B minor Op 33 No 4 (4.29)

8. CHOPIN Waltz in C sharp minor Op 64 No 2 (3.46)

9. CHOPIN Nocturne in E flat major Op 9 No 2 (4.10)

10. CHOPIN Nocturne in D flat major Op 27 No 2 (4.56)

11. CHOPIN-LISZT-ROSENTHAL Chant polonais No 1 (The Maiden’s Wish) (4.35)

12. CHOPIN Mazurka in A flat major Op 50 No 2 (3.22)

13. CHOPIN Mazurka in D major Op 33 No 2 (2.29)

14. CHOPIN Mazurka in B major Op 63 No 1 (2.15)

15. CHOPIN Mazurka in G major Op 67 No 1 (1.17)

16. CHOPIN Mazurka in A flat major Op 24 No 3 (1.28)

17. CHOPIN Prelude in F sharp major Op 28 No 13 (3.26)

18. SCHUBERT Moment musical No 3 in F minor D780 (1.57)

19. SCHUBERT-LISZT Soirée de Vienne No 6 (Valse-Caprice in A) (5.04)

20. ROSENTHAL Papillons 23 October 1937 (2.19)

21. ROSENTHAL New Carnaval de Vienne (on themes from Johann Strauss) (8.08)


Compact Disc 5 VII RCA Victor, Camden, New Jersey, USA June 1939 & March 1942 (71.29)

1. HANDEL Air and Variations in E ‘The Harmonious Blacksmith’ unpublished on 78rpm (4.37)

CHOPIN Piano Sonata No 3 in B minor Op 58 unpublished on 78rpm (25.43)

2. Allegro maestoso (8.48)

3. Scherzo: Molto vivace (2.41)

4. Largo  (9.10)

5. Finale: Presto non tanto (5.04)

6. Scherzo: Molto vivace alternative matrix (2.40)

7. Finale: Presto non tanto alternative version recorded on 2 sides (5.06)

8. CHOPIN-LISZT Chant polonais No 5 (My Joys)  unpublished on 78rpm (4.21)

9. CHOPIN Tarantelle in A flat major Op 43 unpublished on 78rpm (3.13)

VIII British Broadcasting Corporation, London 24 March 1935 (off-air recording of live broadcast)

10. CHOPIN Piano Sonata No 3 in B minor Op 58 Largo (incomplete) (5.33)

IX National Broadcasting Company, New York 19 December 1937 recording of radio broadcast

11. CHOPIN Piano Concerto No 1 in E minor Op 11 Romanza: Larghetto (11.30)

with NBC SYMPHONY ORCHESTRA/FRANK BLACK
12. ROSENTHAL Carnaval de Vienne (Humoresque on Themes of Johann Strauss) (7.49)


Moriz Rosenthal was from the earliest generation of pianists to have made a significant number of recordings, and he was also one of the more important Liszt pupils, therefore his legacy is of the utmost importance as representative of 19th century style. In his youth he was renowned as being one of the supreme technicians and, although he began to record only in old-age, this can still be heard in his own two Strauss paraphrases recorded here; still today pinnacles of the most ridiculous virtuosity. But it is for his Chopin above all that Rosenthal should be remembered. In his youth he studied with the composer’s most important student, Karol Mikuli, and his uniquely free lyricism in the Mazurkas and other miniatures must surely be considered close to the composer’s own.

This is the first time all Rosenthal’s recordings have been transfered to CD and two recent discoveries issued only in Argentina and Japan respectively and known only in unique copies are included, as is a beautiful live performance from his 75th birthday concert.


APR7503  
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The Russian Piano Tradition - COMPLETE RACHMANINOV CONCERTOS

APR6005
2CDs
RACHMANINOV: Piano Concertos & ‘Paganini Rhapsody’ - THE PREMIERE SOVIET LP RECORDINGS

Compact Disc 1 (76.14)
SVIATOSLAV RICHTER

Piano Concerto No 1 in F sharp minor Op 1

USSR RTV LARGE SYMPHONY ORCHESTRA conducted by KURT SANDERLING

recorded in Moscow in 1955

YAKOV ZAK

Piano Concerto No 4 in G minor Op 40

MOSCOW SYMPHONY ORCHESTRA conducted by KYRILL KONDRASHIN

recorded in Moscow in 1954

Rhapsody on a theme of Paganini Op 43

USSR STATE SYMPHONY ORCHESTRA conducted by KYRILL KONDRASHIN

recorded in Moscow in 1952

Compact Disc 2 (70.17)
LEV OBORIN

Piano Concerto No 2 in C minor Op 18

RADIO ORCHESTRA conducted by ALEXANDER GAUK

recorded in Moscow in 1947

Piano Concerto No 3 in D minor Op 30

USSR STATE ORCHESTRA conducted by KONSTANTIN IVANOV

recorded in Moscow in 1949


To launch our new series devoted to the Russian Piano Tradition we have compiled a special issue which gathers together the first Russian recordings of all the Rachmaninov concertos.
Apart from Richter's 1st Concerto these recordings have been little known in the west, yet every one of them features playing of virtuosity and passion rarely equalled to this day. Yakov Zak is somewhat forgotten today as his career was mainly confined to the Soviet Union, yet he was one of Neuhaus’ greatest pupils and went on to become a great teacher at the Moscow Conservatoire himself. His recording of Rachmaninov’s 4th Concerto was only the second to be made after the composer’s own. Lev Oborin was a pupil of Konstantin Igumnov (to feature later in this series) and won first prize at the inaugural Chopin Competition in 1927. That he was entrusted with first recordings of the second and third concertos shown the esteem in which he was held at the time. His recording of the second from 1947 was only the third LP to be issued in Russia.


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VASSILY SAPELLNIKOFF & XAVER SCHARWENKA The complete recordings
APR61016
2CDs

Compact Disc 1 (73.20)

VASSILY SAPELLNIKOFF, Vocalion, London 1924–1927

1-3. TCHAIKOVSKY Piano Concerto No 1 in B flat minor Op 23 AEOLIAN ORCHESTRA / STANLEY CHAPPLE

4. TCHAIKOVSKY Humoresque Op 10 No 2
5. GLINKA/BALAKIREV The Lark

6. BALAKIREV Mazurka No 4 in G flat
7. RUBINSTEIN Staccato Étude Op 23 No 2

8. LIADOV A Musical Snuffbox Op 32
9. WEBER/TAUSIG Invitation to the Dance Op 65

10. MENDELSSOHN Scherzo Op 16 No 2
11. SCHUMANN Traumes Wirren Op 12 No 7

12. SCHUMANN/LISZT Frühlingsnacht Op 39 No 12
13. WAGNER/LISZT Spinning Chorus S440

14. WAGNER/LISZT Entry of the Guests S445/1
15. BRAHMS Hungarian Dance No 6 in D flat

Compact Disc 2 (74.34)

VASSILY SAPELLNIKOFF Vocalion, London, 1924–1927

1-4. CHOPIN Waltz in E flat Op 18; Berceuse in D flat Op 57; Étude in G flat Op 10 No 5; Étude in G flat Op 25 No 9
5. ALYABYEV/LISZT Le Rossignol S250/1 ·
6. LISZT Valse-Impromptu in A flat S213
7-8. LISZT Waldesrauschen S145 No 1; Gnomenreigen S145 No 2
9-10. LISZT Hungarian Rhapsody No 12 in C sharp minor S244/12; Hungarian Rhapsody No 13 in A minor S244/13
11-13. SAPELLNIKOFF Waltz in E flat Op 1; Gavotte in E Op 4 No 2; Polka-Miniature Op 6 No 2

XAVER SCHARWENKA Columbia, New York 1910–1913
14. WEBER Invitation to the Dance Op 65 ·
15. MENDELSSOHN Rondo capriccioso Op 14
16. CHOPIN Waltz in A flat Op 34 No 1 ·
17. CHOPIN Fantasy Impromptu Op 66
18. LISZT Liebestraum No 3 in A flat S541/3 ·
19-20. SCHARWENKA Spanish Serenade Op 63 No 1; Polish Dance in E flat minor Op 3 No 1


 Vassily Sapellnikoff (1868 – 1941) and Xaver Scharwenka (1850 – 1924) were among the earliest generation of pianists to record, and on this ground alone it is surprising that their complete recordings have never before been transferred to CD. Not only do they give us a fascinating insight into nineteenth-century pianism but in the Tchaikovsky Concerto (the premiere recording of the work) we have the pianist who, after his 1888 Hamburg performance under the composer’s baton, went on to become Tchaikovsky’s favoured soloist, witnessed in many subsequent performances they gave together.


APR6016  
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IRENE SCHARRER The complete electric and selected acoustic recordings
APR6010
2CDs
Compact Disc 1 (79.53)
The HMV Electrics 1925–1929
1 PURCELL/HENDERSON Toccata-Prelude, Sarabande & Minuet (4.27)
2 PARADIES Toccata in A major (1.58)
3-5 SCARLATTI Sonatas Kk1, Kk11 & Kk159 (5.17)
6 BACH/HESS Jesu, joy of man’s desiring (3.26)
7 BOYCE/CRAXTON Gavotte (2.47)
8-10 MOZART Sonata in G major K283 (11.22)
11 MENDELSSOHN Spinning song Op 67/4 (1:33)
12 CHOPIN Etude Op 10/5 (1.36)
13 CHOPIN Waltz in E minor Op posth (2.26)
14 CHOPIN Impromptu No 1 Op 29 (3.54)
15 CHOPIN Fantaisie-Impromptu Op 66 (4.27)
16 SINDING Rustle of spring Op 32/3 (2.24)
17 DEBUSSYArabesque No 2 (3.03)
The Columbia Electrics 1929–1933
18 MENDELSSOHN Andante and Rondo Capriccioso Op 14 (6.04) 
19 LISZT Hungarian Rhapsody No 12 (8.00)
20 VERDI/LISZT Rigoletto Paraphrase (6.38)
21 CHOPIN Fantaisie-Impromptu Op 66 (4.18) 
22 CHOPIN Etude Op 10/11 (3.25) 
23 CHOPIN Etude Op 10/12 (2.46)

Compact Disc 2 (78.06)
The Columbia Electrics 1929–1933 continued
1-5 CHOPIN Etudes - Op 25/1 (2.28); Op 25/9 (1.03); Op 25/6 (2.14); Op 25/11 ‘Winter Wind’ (3.44); Op 25/12 (2.46)
6-7 CHOPIN Trois Nouvelles Etudes - No 1 (2.27) & No 2 (1.54)
8 CHOPIN Scherzo No 2 Op 31 (6.57)
9 LITOLFF Scherzo from Concerto Symphonique, Op 102 LONDON SYMPHONY ORCHESTRA: HENRY WOOD (5.46)
A selection of HMV acoustics 1912–1924
10 SCARLATTI Sonata in G major Kk14 (1.27)
11 BACH Prelude and Fugue No 3 in C sharp major BWV848 (3.34)
12 CHOPIN Nocturne Op 48/1 (4.35)
13 CHOPIN Prelude Op 28/8 (2.07) 
14 CHOPIN Etude Op 25/2 (1.29) 
15 CHOPIN Funeral March from Sonata No 2, Op 35 (3.39)
16 CHOPIN Waltz Op 64/1 (1.46) 
17 SCHUMANN Intermezzo from Faschingsschwank aus Wien, Op 26 
18 LISZT Gnomenreigen (2.50)
19 LISZT Fantasia on Hungarian Folk Themes S123 (abridged) NEW SYMPHONY ORCHESTRA: LANDON RONALD (7.41)
20 SAINT-SAËNS Allegro scherzando from Concerto No 2, Op 22 (abridged) NEW SYMPHONY ORCHESTRA: LANDON RONALD (4.06) 
21 DEBUSSY Reflets dans l’eau (Images, Book 1 No 1) (4.07) 
22 DEBUSSY Poissons d’or (Images, Book 2 No 3) (3.45) 
23 SCOTT Danse negre (1.39) 
24 GOODHART‘Tipperary’ – Five Variations (3.28)


The Matthay School Volume 3
IRENE SCHARRER, though perhaps the least remembered of the major Matthay pupils, was the earliest to record, beginning in 1909 at the age of 21. That in itself is a credit to her early fame, which she established through an extrovert, but always musical, virtuosity. She excelled in such works as the Chopin Etudes, nine of which she recorded, and in other brilliant pieces such as those here by Scarlatti and Liszt, but the poise and refinement of her Chopin nocture or the slow movement of the Mozart sonata reveal another side to her playing that is sadly underrepresented on disc. Her final recording, of the Litolff Scherzo, was also her most famous; in its day it was a best seller and was responsible for putting that work on the musical map.
This set reissues for the first time all Scharrer’s electrical recordings and also an example of every work she recorded in the acoustic era (pre 1925) that was not later remade as an electrical recording. For completeness, a discography of all her other acoustic recordings is also included.

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ARTUR SCHNABEL The complete 1946-47 HMV solo recordings
APR5526
Incomparable.
The 1946-47 HMV solo recordings
MOZART Rondo K.511 • Sonata 12
SCHUMANN Kinderszenen, Op.15 • WEBER Invitation to the Dance
BRAHMS Rhapsody Op.79/2 • Intermezzi Op.117/1 & Op.116/2

There are no finer performances of these pieces on disc... As always with... Appian, the notes and the transfers are of the highest standard. Classic CD (UK)
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CYRIL SMITH The complete Dohnányi/Rachmaninov recordings 1944-46
APR5507
A master of Rachmaninov’s idiom.
The complete Dohnányi & Rachmaninov recordings 1944-46
DOHNANYI Variations on a nursery theme+ • Naïla Waltz (Delibes)
(+Liverpool Philharmonic Orchestra/Malcolm Sargent)
RACHMANINOV Concerto 3* • Preludes, Op.23/5 & Op.32/5
(*City of Birmingham Orchestra/George Weldon)

This disc comes as a reminder of Cyril Smith's outstanding qualities... He gives a sparkling account of Dohnányi's Nursery Variations... Smith re-recorded the [Rachmaninov] concerto after hearing the composer's swift 1939-40 version... Smith's version is more accurate. [The] transfers are admirably clear and natural sounding. IPQ (UK)
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RONALD SMITH plays Chopin Vol.1: Fantaisie, Scherzi 3 & 4 etc.
APR5565
Fantaisie • Nocturnes 4 & 13 • Barcarolle • Polonaise-Fantaisie
Scherzi 3 & 4 • Ballade 4 • Tarantelle • Mazurka 13

From the perfectly-judged opening bass notes of the F-minor Fantasy to the passionate conclusion of the F-minor Ballade, Mr. Smith once again enchants us... with the increasingly rare art of brilliant but utterly unself-conscious virtuosity in the service of musical values... Recording companies are flooding us with too many mediocre recordings by pedestrian pianists. Having listened to this disc, I feel like complaining that they are not giving us enough recordings of pianists of the stature of Mr. Smith. ARG (USA)
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RONALD SMITH plays Beethoven (Waldstein, Appassionata & Op.111
APR5566
Waldstein and Appassionata Sonatas
Sonata 32

Ronald Smith’s... Beethoven may travel well-trodden paths but it’s landmark stuff. No question... Ronald Smith has never been short of challenging things to say. The eloquence and majesty of this recording, its pianistic breadth, comes even so as a revelation. Classical Express (UK)
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RONALD SMITH plays Chopin Vol.2: The complete Etudes
APR5567
12 Etudes Op.10 • 12 Etudes Op.25
3 Nouvelle études • Nocturne 8

[APR] has taken the trouble to capture Smith's sensitive artistry in fine (and thankfully unquirky!) sound... Smith's intelligent, insightful musicianship holds your attention. Classics Today
APR5567  
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RONALD SMITH plays Schubert (Wanderer Fantasy & Sonatas)
APR5568
Wanderer Fantasy
Sonatas 4 & 14

This Schubert disc is one that delights, moves and, as important, convinces... There is a probing mind at work here, one that never has recourse to dry academicism but, on the contrary, is constantly alive to musical intricacy, inter relation and meaning... All the performances reflect Ronald Smith's still formidable credentials as a Schubertian of distinction. MusicWeb (UK)
APR5568  
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RONALD SMITH PLAYS ALKAN chamber works
APR7032
2CDs
Grand Duo Concertant for violin and piano
Trio for piano, violin and cello
Sonate de Concert for cello and piano
with James Clark (violin) and Moray Welsh (cello)
Also works for solo piano including
Marche funèbre • Trent Chant, Op.38/1
Etudes Op.35/10-12 • Capriccio Alla Soldatesca

Ronald Smith exhibits an unflinching command of Alkan’s often complex idiom and his excellent string collaborators are violinist James Clark and cellist Moray Welsh. The 1992-4 recordings were made by Nimbus but are receiving their first-ever release. The Independent (UK)
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SOLOMON Live 1 Beethoven 3 & Tchaikovsky 1 Piano Concertos
APR5651
Beethoven Piano Concerto 3
(Concertgebouw Orchestra/Eduard van Beinum)
Tchaikovsky Piano Concerto 1
(Kansas City Philharmonic Orchestra/Hans Schweiger)

[In the Beethoven] the playing is pearly, sensitively nuanced and fleet... High spirits and bubbly humor mark the finale... Given the two relatively tame inscriptions Solomon made... commercially of the Tchaikovsky... this supercharged conception has the earmarks of a British Horowitz. Audiophile (US)
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RONALD STEVENSON The Transcendental Tradition
APR5630
A recital of transcriptions given in The Recital Hall, University of British Columbia, Vancouver 21st April 1976
Schubert/Liszt: Du bist die Ruh' S558/3
Chopin/Godowsky: Etude No 18A, (Op 10 No 9 (3rd version), for left hand alone)
Gluck/Alkan: Gavotte d'Orphée
Strauss/Grainger: Ramble on Love (from Der Rosenkavalier)
Gershwin/Grainger: Love Walked In
Gershwin/Grainger: The Man I Love
Stevenson: Peter Grimes Fantasy
Bach/Busoni: Chaconne
Stevenson: Prelude, Fugue and Fantasy on themes from Busoni's Doktor Faust

Ronald Stevenson has been a unique presence in the musical world for the last fifty years. He is both virtuoso pianist and composer and thus is that almost extinct species, once so dominant in the era of Romanticism - the pianist/composer. As a composer he has ploughed his own furrow through the post-war decades of Modernism, writing in a style which remains tonal without being reactionary. To some extent his language could be seen as taking up where Busoni left off, and indeed this composer is one of Stevenson's greatest interests, though his frequent use of folksong points also to his interest in Grainger. His most famous work is his 80' Passacaglia on DSCH, one of the greatest piano compositions of the latter half of the 20th century.

This programme, issued on disc for the first time, was originally a lecture recital given in Vancouver and recorded by CBC in 1976. The works chosen are typically wide ranging, the common theme being that they are all transcriptions. They give us ample opportunity to hear that not only has Stevenson a virtuoso technique, but that he is also one of music's great communicators; colour and the singing line being always paramount. Undoubtedly the career of Stevenson the pianist has been limited by his own desire to work as a composer, evidently the life of a travelling virtuoso was not for him, but there can be no doubt that had he so wished he could have become a major figure on the concert stage. Those who have heard him can only hope that the many recitals he recorded for the BBC in the 1960’s & 70’s, they include almost complete cycles of Busoni and Szymanowski, might one day also see the light of day.

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JOHANN STRAUSS Transcriptions & Paraphrases for solo piano
APR5540
Alfred Grünfeld
Grünfeld: Der Zigeunerbaron - Zigeunerchor & Klopfpolka (r. 1912)
Karol Szreter
Grünfeld: Soirée de Vienne (r. 1926/27)
Sergei Rachmaninov
Tausig: Man lebt nur einmal (r. 1927)
Benno Moiseiwitsch
Godowsky: Symphonische metamorphosen on ‘Die Fledermaus’ (r. 1928)
Moriz Rosenthal
Rosenthal: The Blue Danube Paraphrase (r.1928)
Josef Lhevinne
Schulz-Evler: Arabesques on themes from ‘The Blue Danube’ (r. 1928)
Otto Schulhof
Schulhof: Pizzicato-Polka & Spieluhr (r. 1928)
Stanislas Niedzielski
Niedzielski:1001 Nacht (r. 1930)
Ernö Dohnányi
Dohnányi: Schatz-Walzer & Du und Du (r. 1931)
Ania Dorfmann
Grünfeld: Frühlingsstimmen (r. 1931)
Louis Kentner
Arabesques on themes from ‘The Blue Danube’ (r. 1944/45)

[These] excellent transfers have been ordered chronologically... The booklet and presentation are of the standard we have come to enjoy from this source. IPQ (UK)
APR5540  
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ERIK THEN-BERGH The complete Electrola and DG recordings
APR6021
2CDs
Compact Disc 1 (77.39)
1. HANDEL Suite No 4 in E minor HWV429 recorded in November 1940, Electrola 
6. BACH/BUSONI Chaconne from Partita No 2 in D minor, BWV1004 recorded on 24 August 1938, Electrola 
7. BEETHOVEN Piano Sonata No 28 in A major Op 101 recorded in February 1939, Electrola 
11. SCHUMANN Piano Sonata No 2 in G minor Op 22 recorded in September 1939, Electrola 
15. CHOPIN Nocturne in B major Op 62 No 1 recorded in autumn 1940, Electrola 
16. REGER Silhouetten Op 53 Nos 2 & 6 recorded in February 1939, Electrola 

Compact Disc 2 (76.52)
1. BEETHOVEN Bagatelles Op 33 Nos 1 & 4 recorded on 27 June 1942, Telefunken 
3. REGER Variations and Fugue on a Theme of Georg Philipp Telemann Op 134 recorded on 5, 6 & 8 December 1951, DGG 
5. REGER Piano Concerto in F minor Op 114 STEREO recording HANS ROSBAUD / SÜDWESTFUNK-ORCHESTER BADEN-BADEN recorded on 29 & 30 April 1958, Electrola

Erik Then-Bergh (1916–1982) is almost forgotten today, content as he was to confine his career, the last twenty years of which were devoted to teaching, to Germany. But to hear this favourite of Furtwängler in his early recordings is to hear playing of the highest order – his combination of superlative technique at the service of deeply profound interpretation can only be compared with the very greatest of artists. We present here his almost complete 78rpm recordings (only a Schumann Kinderszenen on Telefunken is missing) which were mostly made in Germany during the war and hence had little international circulation. Then-Bergh was renowned as a Reger player and in this centenary year of Reger’s death, which is also the centenary of Then Bergh’s birth, we include his stereo LP recording of the Reger Piano Concerto from 1958 which completes his Reger recordings. Perhaps this quote from ‘The Record Book’ (USA 1948) reviewing Beethoven’s Op101 still sums up Then-Bergh’s 78 recordings today: "The performance by a pianist of whom we know nothing, Erik Then-Bergh, is spectacularly fine, and is backed by some of the best reproduction of piano tone we have ever heard".
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JACQUES THIBAUD The complete solo recordings 1929-36
APR6003
2CDs
SAINT-SAENS Le Déluge Prélude & Havanaise • DE FALLA Danza española
GRANADOS Danza española • VON PARADIES Sicilienne • ALBENIZ Tango
VIVALDI - J.S.BACH Adagio • JS.BACH - SCHUMANN Gavotte &
Preludio (Partita 3) • MOZART - SAINT-SAENS Andante (Concerto K.467)
LALO Fantaisie norvégienne (2 versions) • ECCLES Sonata • MARSICK
Scherzando • ALBENIZ Malagueña • POLDINI Poupée valsante
SZYMANOWSKI La Fontaine d'Aréthuse • DESPLANES Intrada
VITALI Chaconne • MOZART Rondo • VERACINI Menuet & Gavotta
DEBUSSY Minstrels • FAURE Berceuse
LALO Symphonie espagnole (live and previously unpublished)
(Suisse Romande Orchestra/Ansermet)

Jacques Thibaud was the pre-eminent French violinist on the first half of the 2oth Century and although he is now probably best remembered as a chamber musician, particularly in the legendary Cortot, Thibaud and Casals Trio, he also had a major career as a solo violinist. This pair of CDs features all his electrical recordings of music for violin and piano which does not fall into the catagory of chamber music for equal partners such as his Beethoven, Franck and Debussy sonata recordings with Cortot. Thibaud’s great strengh was his cantabile playing and much is in evidence in this delightful collection.
Unfortunately Thibaud did not make all that many recordings with orchestra and although he set down a 78rpm version of the Lalo Symphonie Espagnol it was never issued. We are therefore very lucky that the archives of Swiss Radio contained acetate discs of the live performance presented here. This piece was particulary associated with Thibaud and he gives a wonderful performance, in sound much better than we might expect from such a source.

Two dozen encore pieces with piano, plus a terrific live version of Lalo's Symphonie espagnole recorded in 1941...Most of the great French violinist's musical calling cards are here, performed with his usual suavity and chic...An absolute must for violin fanciers. Now! (USA)


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VALERIE TRYON Ravel Volume 1
APR5593
Jeux d'eau • Prélude • Menuet sur le nom d'Haydn • Sonatine
Miroirs • Pavane pour une infante défunte • Gaspard de la nuit

This is an agreeable surprise from several points of view. Valerie Tryon, a former student of Jacques Février, returns us to the illustrious epoch of pianists like Lefebure, Long, and Perlemuter. Who is still capable of such exquisite playing with a jeu perlé a la française? Even in Paris, nobody plays that way any more. Tryon displays impressive stylistic accuracy. Her interpretation of Ravel is a model that many students (and teachers) would benefit following. Her respect for the tempos, parsimonious use of the pedals, straightforward construction, subtle dynamics, and limpidity in the melodic line, all make of each piece a real lesson on how to play Ravel. ARG/USA
APR5593  
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VALERIE TRYON Ravel Volume 2
APR5594
Valses nobles et sentimentales • Le Tombeau de Couperin
A la manière de Borodine • A la manière d'Emmanuel Chabrier
Menuet antique • Sérénade grotesque • La Valse

[Valerie Tryon] here resists any temptation to sensationalize the music... presenting the material with just the kind of unexaggerated clarity and directness that Février advocated... A fitting conclusion to a cycle of considerable distinction. IRR (UK)
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VALERIE TRYON Mendelssohn
APR5595
Mendelssohn
Andante and Rondo capriccioso in E major Op.14
Songs without words: Op.19/1 (Sweet remembrance); Op.19/2 (Regrets) Op.19/3 (Hunting song)
Variations in E flat major, Op.82
Songs without words: Op.38/6 (Duetto); Op.62/1 (May breezes) Op.62/6 (Spring song)
3 Fantasies (or Caprices) Op 16 No.1 in A minor, Andante con moto; No.2 in E minor, Presto; No.3 in E major, Andante
Variations in B flat major, Op.83
Songs without words: No.34 in C major Op.67/4 (Bees' Wedding) No.37 in F major Op.85/1
Variations sérieuses in D minor Op.54

This is the recording both for the person who only wants one CD of Mendelssohn piano music in their collection and also for the connoisseur. The Songs without Words featured include the most well-known - Spring Song and the so called Bees’ Wedding; Mendelssohn's most popular piano work, the Andante and Rondo capriccioso, and his greatest, the Variations sérieuses, are also present, but where else can one find all three sets of Variations that Mendelssohn wrote or all three pieces of Op16? There is only one other recording of the latter set, and an obscure one at that, in the catalogue at present.

This is music which Valerie Tryon plays to perfection. She is perhaps the typical English pianist in the line of Eileen Joyce, Irene Scharrer or Harriet Cohen. None are big players but they all have an effortless finger technique and elegance of approach which reflects this composer's playing and sound world exactly.

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VALERIE TRYON plays Mozart, Schubert & Schumann

APR5599
W. A. MOZART Piano Sonata in B flat major K333
F. SCHUBERT Piano Sonata in A major D664
R. SCHUMANN Fantasie in C Op.17


This attractive recital of masterworks from the piano repertiore shows off Valerie Tryon’s skill to the full. Her elegance is perfect for Mozart and the poetry of the Schubert and Schumann pieces is equally well caught in performaces to match the best.
Since Valerie’s move to Canada she has rather slipped from the limelight in the UK where she used to be a stalwart of the BBC recording studio and a regular guest with orchestras across the land, however, as her recent release of Mendelssohn shows (Julian Haylock described it as ‘without doubt the finest Mendelssohn recital ever recorded’ (Classic FM magazine)), it is perhaps our loss.

 


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VALERIE TRYON - Mozart Concertos
APR5640
WOLFGANG AMADEUS MOZART

Piano Concerto No 24 in C minor K491 (cadenza - Leopold Godowsky) 

Rondo in A major K386 (edition: Tyson & Mackerras)

Piano Concerto No 25 in C major K 503 (cadenza - Hummel)
Appendix

alternative Hummel cadenza to K491

VALERIE TRYON (piano),
LONDON SYMPHONY ORCHESTRA
ROBERT TRORY (conductor)


Here’s something unexpected from APR - a brand new recording of Mozart Concertos with Valerie Tryon and the LSO! To celebrate Valerie’s 75th birthday this year we have recorded her playing concertos by the composer perhaps closest to her heart, and with the LSO accompanying and the highest production values (Andrew Keener, producer & Simon Eadon, engineer) here is a disc, more than any other, which shows what a hidden treasure we have in the pianism of this neglected artist.

As an added bonus for pianophiles, Valerie has given us the premiere recording of Leopold Godowsky’s cadenza to the C minor concerto. Inauthentic - without a doubt! But fascinating none the less, and those of a timid disposition can replace this with the safer Hummel cadenza which is added to the CD as an appendix. Finally, to complete this well filled disc we have the charming Rondo K386, a work which was long played wthout Mozart’s original ending which was thought lost; those missing pages recently came to light and we have recorded the most up-to-date version of this work, published in 2007.


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VALERIE TRYON A Liszt Odyssey
APR7039
2CDs
LISZT Waldesrauschen; Gnomenreigen; Au bord d’une source; Les Jeux d’eaux à la Villa d’Este;
WAGNER/LISZT Am stillen Herd; Isoldens Liebestod; LISZT Hungarian Rhapsody No.11
SCHUMANN/LISZT Frulingsnacht; Widmung; LISZT Das Buch der Lieder Vol 2; Funérailles
GOUNOD/LISZT Valse de l’opéra Faust; LISZT Venezia e Napoli; Die Lorelei (2nd version);
Three Albumblatter in A flat, A & Aflat; Das Buch der Lieder Vol 1; Hungarian Rhapsody No.12


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VALERIE TRYON Chopin: A Chronological Journey

APR7301
3CDs
COMPACT DISC 1 The Early Years 1827–1835 (77.13)
Andante spianato & Grande Polonaise brillante in E flat major Op 22; Nocturne in B flat minor Op 9/1; Nocturne in F major Op 15/1; Nocturne in F sharp major Op 15/2; 6 Nocturne in G minor Op 15/3; Bolero in C major Op 19; Mazurka in B flat major Op 7/1; Mazurka in C major Op 7/5; Mazurka in A minor Op 17/4; Ballade in G minor Op 23; Marche funèbre in C minor Op 72/2; Waltz in E minor Op posth; Waltz in A flat major ‘L’Adieu’ Op 69/1; Études Op 10  No 3 in E major; No 4 in C sharp minor; No 5 in G flat; No 12 in C minor
COMPACT DISC 2 The Middle Years 1835–1841 (78.03)
Scherzo in B flat minor Op 31; Nocturne in D flat major Op 27/2; Allegro de Concert in A major Op 46; Waltz in F major Op 34/3; Waltz in A flat major Op 42; Sonata No 2 in B flat minor ‘Funeral March’ Op 35; Mazurka in D major Op 33/2; Scherzo in C sharp minor Op 39; Études Op 25 No 1 in A flat major; No 2 in F minor; No 11 in A minor; No 12 in C minor
COMPACT DISC 3 The Final Years 1841–1849 (79.50)
Berceuse in D flat major Op 57; Fantaisie in F minor Op 49; Nocturne in F minor Op 55/1; Nocturne in E flat major Op 55/2; Sonata No 3 in B minor Op 58; Barcarolle in F sharp major Op 60; Ballade in F minor Op 52; Mazurka in F minor Op 63/2; Mazurka in F minor Op 68/4; Polonaise in A flat major ‘Heroic’ Op 53


These new recordings were recorded at St. Georges's Brandon Hill, Bristol and give a comprehensive overview of Chopin's output from his earliest published work until his death. Of course there is no shortage of fine Chopin recording available but in Valerie Tryon we have a pianist whose refined elegance,and  effortless technique, make her the perfect Chopin interpreter. Listening to these performances one is reminded time and again of descriptions of Chopin’s own playing - this is an essentially lyrical approach with an easy natural rubato and constant emphasis on the melodic aspect. Tryon may not be the most famous of pianists but don’t forget, her recent Mendelssohn recording (APR5595) was described by critic Julian Haylock as ‘without doubt, the finest Mendelssohn recital ever recorded’.

Three Compact Discs.


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The Russian Piano Tradition - MARIA YUDINA
APR56570

LUDWIG VAN BEETHOVEN (1770–1827)

Piano Sonata No 12 in A flat major Op 26 (recorded in Moscow c1958)

Piano Sonata No 28 in A flat major Op 101 (recorded in Moscow c1958)

Piano Sonata No 29 in B flat major Op 106 ‘Hammerklavier’ (recorded in Moscow c1954)


We continue our comprehensive survey of the many great pianists who worked in Russia in the Soviet era

with the first disc featuring a pianist who was not a pupil of one of the three major teaching traditions we

have been following. In this case Maria Yudina’s most influential professor was Leonid Nikolayev (1878 - 1942), who also taught Sofronirsky.

Maria Yudina is perhaps the greatest maverick amongst the Soviet pianists. A woman of great will,

and one with a burning Christian faith, she somehow seemed to survive on the fringes of the Soviet

system while having countless run-ins with authority. She was never allowed to play outside the

USSR and was dismissed successively from the Leningrad and then Moscow conservatories, yet she

was much loved by the people and respected by her peers, Shostakovich in particular. She was a

great champion of contemporary western music, another thorn in the side of the authorities, and

introduced many such works to Soviet audiences, but she was also renowned for her playing of

Bach and Beethoven. She made many recordings, which are at last making their way onto CD, but

one of the finest is undoubtedly her towering rendition of Beethoven's great masterpiece, the

'Hammerklavier' sonata, which is included here.


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MICHAEL ZADORA The Complete Recordings
APR6008
2CDs

Compact Disc 1: Acoustic Recordings (71.53) Recorded early 1920s

CHOPIN: Waltz in A-Flat, Op.69 No.1; Waltz in B Minor, Op.69 No.2; Waltz in C-Sharp Minor, Op.64 No.2; Nocturne in B, Op.32 No.1; Etude in F Minor, Op.25 No.2; Etude in G-Flat, Op.25 No.9; Etude in A-Flat, Op.25 No.1 Waltz in D-Flat, Op.64 No.1;
LISZT Consolations Nos.1, 2, 3 & 5; RAFF La Fileuse, Op.157 No.2;

SGAMBATI Prelude in E-Flat Minor, Op.6; SCARLATTI/TAUSIG Pastorale (Sonata, K.478);

PERGOLESI/ZADORA Arietta, Se tu m'ami, se sospiri; BEETHOVEN/BUSONI Ecossaises;

CHOPIN Preludes Op.28 Nos.6, 7, 13 & 23; CHOPIN Mazurka in A Minor, Op.67 No.4;

RUBINSTEIN Romance in E-Flat, Op.44 No.1; BRAHMS Intermezzo in B-Flat Minor, Op.117 No.2;

FIELD Nocturne No.5 in B-Flat; AMADIS The Prima Ballerina; AMADIS Vienna Waltz;

Compact Disc 2: Electrical Recordings (66.51) Recorded 1929 - 1938

CHOPIN Waltz in D-Flat, Op.64 No.1; CHOPIN Waltz in C-Sharp Minor, Op.64 No.2;

PROKOFIEV Prelude in C, Op.12 No.7; LAMARE La Passion;
DELIBES/ZADORA Valse lente, from Sylvia; JENSEN/ZADORA Murmuring Zephyrs Op.21 No.4;
BACH (attrib.) Sarabande e Partita in C, BWV 990 (abridged);

DEBUSSY Prelude & Toccata from Pour le piano; BUSONI Sonatina No.6, after Bizet's Carmen;

OFFENBACH/ZADORA Barcarolle, from Tales of Hoffmann; AMADIS Meine Puppe Tanzt;

HENSELT/ZADORA Larghetto, from Concerto in F Minor, Op.16; HUMMEL Rondo in E-Flat, Op.11;

DELIBES/ZADORA Valse lente, from Coppélia; DELIBES/ZADORA Pizzicati, from Sylvia;

BUSONI Sonatina No.3 "Ad usum infantis"; BUSONI: Sonatina No.5 "In diem nativitatis Christi"


Michael Zadora is one of the most obscure pianists to have recorded prolifically in the 78rpm era. Only a handful of 78s have ever been reissued, and no LP or CD has ever been devoted to him. It would appear that his concert career was also not particularly high profile, yet from these recordings it seems he was a very significant artist. Perhaps the answer lies in his background. He was born in New York of aristocratic Polish parents but returned to Europe to study and was a pupil of Leshetizky and Barth (who also taught Rubinstein). After the First World War he became a disciple of Busoni and indeed played for the great artist on his deathbed. Zadora seems to have been a rather reserved character, much more an intellectual than someone who enjoyed public performance and it is likely that family wealth allowed him the luxury of not having to pursue his career too aggressively. On the other hand, studio recording suited him very well indeed, and he seems equally at home in the standard repertoire, such as Chopin, and in more rarefied material, such as the Busoni Sonatinas, where we are undoubtedly hearing an interpretation very close to that of the composer himself. Of particular interest are Zadora's own unusual transcriptions and also the works of 'Pietro Amadis' who was actually a pseudonym of the pianist.

These very rare recordings should be of particular interest to all lovers of historic piano playing.


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