Arrau Brahms Concerti from Hamburg
Tom Deacon
deciding to issue live performances taken from radio tapes rather than make
new ones. Gielen's Beethoven cycle was live, I seem to recall. Just one
example. Martha's chamber performances are others.
I forget who it was who pointed out the availability of Arrau's two Brahms
concerti with Schmidt-Isserstedt and the NDR Orchestra, but I am deeply
grateful for the advice. This is an EMI Germany issue 562848-2 on two CDs.
Price is about mid price, I think.
Arrau's Brahms is a known quantity for some here. I happen to love the
Giulini set specially. And it is cheap and also from EMI.
However, although the Giulini/Arrau Brahms 1 still reigns supreme, I am
tempted to say that I prefer the Schmidt-Isserstedt version from 1966.
Indeed, if I had to pick one version of this work to take to that mythical
desert island, I think it would be this one. Glorious playing from Arrau. It
is really amazing that this is a "live" performance. The playing is
flawless. And in my benchmark test of the double-notes in the Scherzo, Arrau
manages to make these not only fluent and clear, but also mezzo piano. Many
pianists I know practise these few bars until they are almost crazy; Arrau
plays them with utter ease. As light as the proverbial feather. I simply do
not know of any other pianist on record who can match his playing here. Not
one.
Now, some will say that this is not all. And of course it isn't. It just
happens to be my test of a pianist's real technical abilities. Most have to
work at these few bars. But not Arrau.
The rest of the concerto goes swimmingly too, with a finale that is not as
fast as Gilels/Reiner, but this movement doesn't really need speed, it needs
grace and that is precisely what Arrau gives it.
I must say that if the NDR has any more treasures like these in their vaults
- the edition is a S-I edition, and contains about sex or seven other albums
- EMI should license them immediately.
TD
David Hurwitz
>I must say that if the NDR has any more treasures like these in their vaults
>- the edition is a S-I edition, and contains about sex or seven other albums
>- EMI should license them immediately.
>
>TD
>
EMI agreed to issue these discs at the request of NDR, which initiated the
series two years ago, with Dr. Soren Meyer-Eller and I doing the initial
archival work and outlining the projected release schedule (subject to rights of
issue) for the first five years. NDR initially considered releasing the discs on
a proprietary label (as they had, on a limited basis, previously), but
ultimately managed to secure the services of EMI, with its superior
distribution.
There are many treasures in the NDR archives, though the initial focus will
likely remain on Schmidt-Isserstedt's work with the orchestra over the years.
Items discussed here prior to your arrival include the Kondrashin Mahler 1 (the
performance given in Amsterdam on the evening of his sudden death), Kertesz in
Dvorak's Slavonic Dances, the world's slowest Bolero (with Schmidt-Isserstedt),
and many fascinating recordings of contemporary music as well. There are even
complete operas, such as Kurt Weill's Die Burgschaft and Schreker's Die
Gezeichneten (with Evelyn Lear and Thomas Stewart).
There are some wonderful recordings featuring Paul Sacher, Klaus Tennstedt (in
concertos with Argerich), Brahms symphonies with Szell, and other items. Some of
this material (Asahina's stuff in particular) has already been issued or
pirated. But the archive itself is stuffed with interesting material, more than
enough to keep collectors happy for some time to come.
David Hurwitz
Anton
approved by Claudio Arrau for release. How unethical of you. You
should only be listening to his official, approved recordings. Even
though you have an interest in this artist, you have no right to hear
these live recorded performances that were not authorized for
publication by Claudio Arrau. Arrau left official, approved recordings
of these concerti, and that is what you should be listening to.
Dan Koren
news:103801317.0...@drn.newsguy.com...
>
> There are some wonderful recordings featuring Paul
> Sacher, Klaus Tennstedt (in concertos with Argerich),
> Brahms symphonies with Szell, and other items. Some
> of this material (Asahina's stuff in particular) has
> already been issued or pirated. But the archive itself
> is stuffed with interesting material, more than
> enough to keep collectors happy for some time to
> come.
>
Any recordings that might be of interest to pianists
and piano collectors? (and no, I didn't mean Arrau or
Backhaus).
dk
Dave Hurwitz
>Any recordings that might be of interest to pianists
>and piano collectors? (and no, I didn't mean Arrau or
>Backhaus).
>
I learned long ago never to try to figure out exactly what it is that you mean!
But if you mean famous artists of the Russian school, I don't think there's
much. I'd have to dig out my original notes, if I haven't tossed them by now.
Aside from those Arrau titles, the main focus was on the orchestra itself, and I
can't believe you wouldn't be thrilled to hear Egk's Variations on a Caribbean
Theme (Yellow Bird). Where were some items, like Argerich in Schumann and Chopin
Concertos (again), but that won't be the main focus of attention, I don't think.
I'm hopeing they get to the Fricsay Brahms 1. Some of the tapes weren't in such
hot shape.
Dave Hurwitz
Josep Vilanova
> Arrau's Brahms is a known quantity for some here. I happen to love the
> Giulini set specially. And it is cheap and also from EMI.
>
> However, although the Giulini/Arrau Brahms 1 still reigns supreme, I am
> tempted to say that I prefer the Schmidt-Isserstedt version from 1966.
If you liked the Giulini/Arrau set that much, why did you choose the Haitink
one for the Great Pianists collection?
Josep
(don't bother to reply to the email address as it is not longer working)
Dan Koren
"Dave Hurwitz" <Dave_...@newsguy.com> wrote in message
news:103805226.0...@drn.newsguy.com...
> >
> > Any recordings that might be of interest to pianists
> > and piano collectors? (and no, I didn't mean Arrau or
> > Backhaus).
>
> I learned long ago never to try to figure out exactly
> what it is that you mean!
As if it wasn't plain enough! ;-)
> But if you mean famous artists of the Russian school,
> I don't think there's much.
No, I didn't mean Russian school pianists. Germany has
produced wonderful pianists, unfortunately they are
not as well known as the two Wilhelms.
Let's start for instance with Conrad Hansen, who was
IIRC a Hamburg native and resident. Have you come
across any recordings by him?
dk
Dan Koren
news:BD57F180.CD9B%josepv...@macmail.com...
>
> > Arrau's Brahms is a known quantity for some here. I happen to love the
> > Giulini set specially. And it is cheap and also from EMI.
> >
> > However, although the Giulini/Arrau Brahms 1 still reigns supreme, I am
> > tempted to say that I prefer the Schmidt-Isserstedt version from 1966.
>
> If you liked the Giulini/Arrau set that much, why did you choose the
Haitink
> one for the Great Pianists collection?
>
Haitink == Philips
Giulini == EMI
dk
Matthew B. Tepper
following letters to be typed in
news:BD57F180.CD9B%josepv...@macmail.com:
>> Arrau's Brahms is a known quantity for some here. I happen to love the
>> Giulini set specially. And it is cheap and also from EMI.
>>
>> However, although the Giulini/Arrau Brahms 1 still reigns supreme, I am
>> tempted to say that I prefer the Schmidt-Isserstedt version from 1966.
>
> If you liked the Giulini/Arrau set that much, why did you choose the
> Haitink one for the Great Pianists collection?
Because it was Philips product, and given a choice between performances it
was politic to lean toward the "parent" label?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
Take THAT, Daniel Lin, Mark Sadek, James Lin & Christopher Chung!
Peter Lemken
> Any recordings that might be of interest to pianists
> and piano collectors? (and no, I didn't mean Arrau or
> Backhaus).
Horowitz' last recital took place in Hamburg and was broadcast/recorded by
the NDR.
Peter Lemken
Berlin
--
Life is not a journey to the grave with the intention of arriving safely in
a pretty and well-preserved body, but rather to skid in broadside, thoroughly
used up, totally worn out and loudly proclaiming, 'Wow, what a ride!'
Tom Deacon
"Josep Vilanova" <josepv...@macmail.com> wrote:
>
>> Arrau's Brahms is a known quantity for some here. I happen to love the
>> Giulini set specially. And it is cheap and also from EMI.
>>
>> However, although the Giulini/Arrau Brahms 1 still reigns supreme, I am
>> tempted to say that I prefer the Schmidt-Isserstedt version from 1966.
>
> If you liked the Giulini/Arrau set that much, why did you choose the Haitink
> one for the Great Pianists collection?
Surely the reasons are perfectly obvious.
TD
Tom Deacon
<dank...@yahoo.com> wrote:
Is it possible to inject a note or realism into this discussion.
Conrad Hansen. We need to have projected sales figures on Hansen. Any
takers? Three. I see.
Next?
TD
Tom Deacon
<dashamme...@yahoo.com> wrote:
Of course he did.
Fortunately Arrau's son and heir is still alive, as was Friede Rothe until
very recently. Both of these people would have known about these recordings
and Arrau's views on them. Arrau was never against the release of such
materials, but only wanted to control which ones were selected.
Arrau was far from ignorant of the recordings which existed of his playing.
He also knew, as did Friede, of the fabulous Weber Konzertstuck/Strauss
Burlesque performances with the Montreal Symphony and Franz Paul Decker from
the 1970s. Friede and I wanted to make these available for release.
Unfortunately, the MSO musicians would have had to be paid a huge amount of
money for the rights. I seem to remember $500 per orchestra member. So, no
arrangements could be made.
What is completely abominable is the surreptitious, unlawful, and unapproved
release of an artist's legacy. Kleiber's legacy is a case in point, where
the artist very much opposed any release of his live performances which he
did not approve. Perhaps someone only as obtuse as the kind of person who
would post here anonymously (this poster passing himself off as Anton.....)
would be unable to understand this point.
TD
Matthew B. Tepper
following letters to be typed in news:2peu0aF...@uni-berlin.de:
> Dan Koren <dank...@yahoo.com> wrote:
>
>> Any recordings that might be of interest to pianists and piano
>> collectors? (and no, I didn't mean Arrau or Backhaus).
>
> Horowitz' last recital took place in Hamburg and was broadcast/recorded
> by the NDR.
That doesn't necessarily mean that NDR has the rights to it.
Dave Hurwitz
Not with orchestra; I don't know about solo recitals. My colleague, who is
working on the booklets for NDR, is up there frequently, and I'll try to
remember to ask him to have a look.
Dave
David Hurwitz
>
>
>Is it possible to inject a note or realism into this discussion.
>
>Conrad Hansen. We need to have projected sales figures on Hansen. Any
>takers? Three. I see.
>
>Next?
>
>TD
>
Sorry, Tom, but here you really have no idea what you are talking about. Many
titles in the series have very little chance of achieving large international
sales, but NDR has the best possible platform to promote these recordings
locally (which is the market for whom they are primarily intended): namely, the
NDR itself. They have had great success in the past selling limited editions of
various titles, have huge direct marketing capability, a vast mailing list of
enthusiasts through various NDR sponsored organizations and music clubs, and an
aging population of Hamburg residents who, studies show, are very interested for
both cultural and nostalgic reasons in seeing this material made available.
Additional international sales are just gravy.
Schmidt-Isserstedt certainly has no larger a following than Conrad Hansen, but
the purpose of this series is to document the history of NDR. EMI has no say in
its contents, and yet readily took it on for the purpose of national sales
distribution only. I've seen the initial financial projections, which are quite
conservative and realistic, and irrespective of what comes out it will be very
difficult to lose money on this initiative on the German market.
Dave Hurwitz
Anton
comes to these sorts of things? I mean, Clara Schumann had no
authority to abridge Kreisleriana in performance, right, even though
Robert himself suggested she perform just the first and last
movement...what did she know? What did Josef Hofmann know when he
followed that tradition? What did Robert Schumann know for that
matter? What about the Mozart concerto recordings of your beloved
Curzon which HE expressly did not want released...but what did Clifford
know? And of course as strict and controlling an artist as Michelangeli
never saw fit to put down his Gaspard on record, yet you released a
broadcast recording of it in the GPE because you decided his wife knew
better than Arturo did about his recorded legacy. What did Arturo know
anyhow? Of course it was not acceptable to Tom for Doremi Records to
release the Gilels Firenze recital even though the producers, hardly in
a position to profit from this release, secured permission from what is
left in the Gilels estate. I guess Emil's relatives don't know as much
about music as Claudio's. But of course Tom Deacon knows more about
the acceptable performance tradition of Robert Schumann's music than
Clara or Robert himself did, and certainly more than Josef Hofmann
did...
Gerrit Stolte
> Path: news.t-online.com!newsmm00.sul.t-online.de!newsfeed00.sul.t-online.de!t-online.de!news.glorb.com!newsfeed2.telusplanet.net!newsfeed.telus.net!cyclone.bc.net!news.uunet.ca!nf3.bellglobal.com!nf1.bellglobal.com!nf2.bellglobal.com!news20.bellglobal.com.POSTED!not-for-mail
> User-Agent: Microsoft-Entourage/10.1.4.030702.0
> Subject: Re: Arrau Brahms Concerti from Hamburg
> From: Tom Deacon <deac...@nospam-yahoo.com>
> Newsgroups: rec.music.classical.recordings
> Message-ID: <BD57B94F.8516%deac...@nospam-yahoo.com>
> References: <cgt6g0$s...@odak26.prod.google.com>
> Mime-version: 1.0
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> Date: Sun, 29 Aug 2004 16:48:15 -0400
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> X-Trace: news20.bellglobal.com 1093812498 204.101.104.7 (Sun, 29 Aug 2004 16:48:18 EDT)
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> Organization: Bell Sympatico
> Xref: news.t-online.com rec.music.classical.recordings:632839
>
> On 8/29/04 2:15 PM, in article cgt6g0$s...@odak26.prod.google.com, "Anton"
> <dashamme...@yahoo.com> wrote:
>
>> shame on you, Tom. These recordings with Schmidt-Isserstedt were not
>> approved by Claudio Arrau for release. How unethical of you. You
>> should only be listening to his official, approved recordings. Even
>> though you have an interest in this artist, you have no right to hear
>> these live recorded performances that were not authorized for
>> publication by Claudio Arrau. Arrau left official, approved recordings
>> of these concerti, and that is what you should be listening to.
>
> Of course he did.
>
> Fortunately Arrau's son and heir is still alive, as was Friede Rothe until
> very recently. Both of these people would have known about these recordings
> and Arrau's views on them.
Being selective again? You *don't* know what they would have known, so just
shut up.
Tom Deacon
"Matthew B. Tepper" <oy?@earthlink.net> wrote:
> spam.f...@buerotiger.de (Peter Lemken) appears to have caused the
> following letters to be typed in news:2peu0aF...@uni-berlin.de:
>
>> Dan Koren <dank...@yahoo.com> wrote:
>>
>>> Any recordings that might be of interest to pianists and piano
>>> collectors? (and no, I didn't mean Arrau or Backhaus).
>>
>> Horowitz' last recital took place in Hamburg and was broadcast/recorded
>> by the NDR.
>
> That doesn't necessarily mean that NDR has the rights to it.
Tepper speaks of "rights".
When have they ever been of concern to him, one wonders?
TD
Tom Deacon
"David Hurwitz" <David_...@newsguy.com> wrote:
> In article <BD57B769.8514%deac...@nospam-yahoo.com>, Tom Deacon says...
>>
>>
>> Is it possible to inject a note or realism into this discussion.
>>
>> Conrad Hansen. We need to have projected sales figures on Hansen. Any
>> takers? Three. I see.
>>
>> Next?
>>
>> TD
>>
>
> Sorry, Tom, but here you really have no idea what you are talking about.
Does that mean that I have a different opinion from yours?
> Many titles in the series have very little chance of achieving large
international sales, but NDR has the best possible platform to promote these
recordings locally (which is the market for whom they are primarily intended):
namely, the NDR itself.
I am reminded of our own CBC, who have often contemplated a similar mining
of their vast resources.
> They have had great success in the past selling limited editions of various
titles, have huge direct marketing capability, a vast mailing list of
enthusiasts through various NDR sponsored organizations and music clubs, and an
aging population of Hamburg residents who, studies show, are very interested for
both cultural and nostalgic reasons in seeing this material made available.
What are the total projected sales from all those who are nostalgic for the
NDR Symphony Orchestra and its founding conductor?
> Additional international sales are just gravy.
Gravy sometimes makes the meat.
In my opinion they will need all of those resources and more to make this
enterprise a profitable one. Even in Germany the arts do not have endless
resources any longer.
> Schmidt-Isserstedt certainly has no larger a following than Conrad
Hansen, but the purpose of this series is to document the history of NDR.
I would question the relative value of these two musicians in commercial
terms. Most music lovers don't even know Conrad Hansen existed, let alone
that he played the piano. More at least know the name of Schmidt-Isserstedt.
Certainly his Decca recordings were not ignored by an international audience
and the Beethoven are still available, I think. He accompanied Backhaus in
the pianist's last cycle of Beethoven picos.
> EMI has no say in its contents, and yet readily took it on for the purpose of
national sales distribution only. I've seen the initial financial projections,
which are quite conservative and realistic, and irrespective of what comes out
it will be very difficult to lose money on this initiative on the German market.
Clearly the NDR is doing what the BBC has done in conjunction with IMG,
albeit on a much, much more modest level. There are, presumably, no
marketing costs, low royalty payments (I can only presume), and
manufacturing is assumed by EMI.
I have only seen the S-I titles available through jpc. Perhaps there will be
many more titles of a different kind. One has to wonder how many people will
be "nostalgic" for S-I in Bartok and Hindemith, even in Hamburg.
TD
Peter Lemken
> spam.f...@buerotiger.de (Peter Lemken) appears to have caused the
> following letters to be typed in news:2peu0aF...@uni-berlin.de:
>
> > Dan Koren <dank...@yahoo.com> wrote:
> >
> >> Any recordings that might be of interest to pianists and piano
> >> collectors? (and no, I didn't mean Arrau or Backhaus).
> >
> > Horowitz' last recital took place in Hamburg and was broadcast/recorded
> > by the NDR.
>
> That doesn't necessarily mean that NDR has the rights to it.
It certainly means that the record mafia has no exclusive rights in this
recording.
Peter Lemken
Would you mind visiting newusers.infos to learn about usenet, please?
Starting a new thread whenever you post a comment is about as inconsiderate
as you can get in a newsgroup.
Todd Schurk
I'll take credit for bringing them to your attention.Also,don't forget
the Arrau/Kubelik D-minor on Orfeo D'or. I love that as well. Now,how
about the Mozart 20 & 24 waiting in the wings of the Bavarian Radio
with Arrau/Colin Davis. Please! Cheers,Todd Schurk
KEN
Orfeo ? to me, that is Arrau's best cd. i hope you can compare them
and give us a few words for comment.
Tom Deacon
<dashamme...@yahoo.com> wrote:
> But Tom, what artistic authority do spouses and relatives have when it
> comes to these sorts of things?
Legal authority.
TD
Tom Deacon
"Gerrit Stolte" <gerrit...@web.de> wrote:
>> Fortunately Arrau's son and heir is still alive, as was Friede Rothe until
>> very recently. Both of these people would have known about these recordings
>> and Arrau's views on them.
>
> Being selective again? You *don't* know what they would have known.
You think?
TD
Dan Koren
>
> I would question the relative value of these two
> musicians in commercial terms. Most music lovers
> don't even know Conrad Hansen existed, let alone
> that he played the piano.
>
Just a measure of your illiteracy, Mr. Piano Deacon!
dk
Dan Koren
>
> I must say that if the NDR has any
> more treasures like these in their
> vaults
> - the edition is a S-I edition, and
> contains about sex or seven other
You wish...
> albums
> - EMI should license them immediately.
See above...
dk
Tom Deacon
5c7b5e29.04082...@posting.google.com, "Todd Schurk"
<patte...@hotmail.com> wrote:
> I'll take credit for bringing them to your attention.Also,don't forget
> the Arrau/Kubelik D-minor on Orfeo D'or. I love that as well. Now,how
> about the Mozart 20 & 24 waiting in the wings of the Bavarian Radio
> with Arrau/Colin Davis. Please!
Agreed.
We have so little Arrau Mozart with the exception of the sonatas.
TD
Dan Koren
Thank God!
dk
Anton
>>"Tom Deacon" wrote in message
>> Agreed.
>> We have so little Arrau Mozart
>> with the exception of the sonatas.
>Thank God!
>dk
Don't tempt fate! They just unconvered Josef Hofmann cylinders from
the 1890s, so anything is possible.
Marcus Maroney
> However, although the Giulini/Arrau Brahms 1 still reigns supreme, I am
> tempted to say that I prefer the Schmidt-Isserstedt version from 1966.
> Indeed, if I had to pick one version of this work to take to that mythical
> desert island, I think it would be this one. Glorious playing from Arrau. It
> is really amazing that this is a "live" performance. The playing is
> flawless. And in my benchmark test of the double-notes in the Scherzo, Arrau
> manages to make these not only fluent and clear, but also mezzo piano.
Since when does the Brahms 1st piano concerto have a scherzo?
Marcus Maroney
Matthew B. Tepper
letters to be typed in news:cgu5bm$4...@odbk17.prod.google.com:
> Don't tempt fate! They just unconvered Josef Hofmann cylinders from
> the 1890s, so anything is possible.
True, or are you just hoaxing us?
Ssg217
>True, or are you just hoaxing us?
True.
regards,
SG
Matthew B. Tepper
typed in news:20040830014626...@mb-m21.aol.com:
>> True, or are you just hoaxing us?
>
> True.
More information please. Are they restorable/issuable?
Andrys Basten
>typed in news:20040830014626...@mb-m21.aol.com:
>
>>> True, or are you just hoaxing us?
>>
>> True.
>
>More information please. Are they restorable/issuable?
More people should sign up with Marston's site.
I posted the following to great-pianists and will
include the other info in it here too, since this
group, too, is interested in all types of music,
and Marston's site can use more support.
===
GREAT NEWS -- CHANGES IN OUR UPCOMING RELEASE SCHEDULE
www.marstonrecords.com/html/future.htm
DESCRIPTIONS OF OUR PRESENT CATALOGUE
www.marstonrecords.com/html/catalogue.htm
Marston
Volume 8, Issue 2 August 2004
Marston: A company dedicated to preserving the great
performances of the past and keeping alive the remarkable
traditions that were prevalent at the dawn of recording.
Our Release Schedule has Changed -- Great News?
Since Marston began in late 1997 our annual release schedule
has always had delays. We're not proud of this fact, yet it
seems to be a reality of our small business. We usually dread
announcing these postponements yet this time most of the
changes are a result of positive news.
Newly Uncovered Josef Hofmann recordings!
The complete Josef Hofmann has been in the works for 13 years.
This series began on the VAI label and was to conclude with
volume 8 on Marston in September, 2004. Hofmann fans have long
hoped for new material to surface. Now, shortly before the
production of the final volume, something new has appeared.
This discovery consists of cylinder recordings of Hofmann
dating from the 1890s, predating any known Hofmann recordings.
Naturally, there is a limit to the music that can fit on a
cylinder, yet from an historical perspective, these cylinders
are extremely important in the Hofmann legacy. Marston has
attained the rights to this material, yet access to these
recordings is not available until later this year. Therefore,
the final set of the Josef Hofmann series will be released in
January of 2005 to allow for the publication of this previously
unpublished material.
Filling the piano gap created by Hofmann's delay: The Complete
Leopold Godowsky
Since Josef Hofmann vol. 8 is delayed until 2005, we are faced
with a month without a piano release. Providentially, an
opportunity arose. Ward Marston was planning to work on a
complete Godowsky set for another label.
This was to be 6 CDs and although an incredibly important and
appealing set, the production costs were high and the label
deferred. Marston would face the same prohibitive expenses yet
a group of over 20 piano enthusiasts came to our rescue and
raised enough money to produce this series. So this October
will mark the debut of the Complete Leopold Godowksy, vol. 1.
This series will be presented chronologically and the first
volume will contain the acoustic Columbia recordings as well as
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Levy Volume 3 at Last!
For more newsletters than we care to remember, Ernst Levy has
remained in an ignominious position on the release schedule:
To Be Announced. When Marston began its subscribing system, we
set a threshold of 150 preorders before we would produce any
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Ernst Levy vol. 3 has the necessary orders to be produced and
will appear in December of this year.
The Second Lagniappe: Francis Planté
In 2003 Marston inaugurated the Lagniappe Series: three sets of
single CDs per year given to our Preferred Customers in
recognition of their support. After releasing our first volume,
Pol Plançon, we received several phone calls from our Piano
Preferred Customers. Some thought the Plançon set was
interesting, yet for pianophiles, this fell short of a proper
thank you. So we produced a Lagniappe especially for Piano
Preferred Customers, Francis Planté: The Complete Issued
Recordings. Francis Planté, born in 1839, was one of only two
pianists born during the lifetime of Chopin to make electrical
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Preferred Customers with their Bolet CDs in April. Since we
announced in our last newsletter that Marguerite Mérentié would
be the second in the Lagniappe series, we stand corrected.
Mérentié will be shipped with our next vocal release. And,
because we don't like skimpy CDs and had room on this issue, we
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or e-mail and we will send that volume to you with your next
order. Conversely, if you are Piano Preferred Customer and
the Plançon is of interest, we will send that volume to you
with your next order. And, if you are not yet a Preferred
Customer, please call to become one! It is our hope that with
creative programming we will come up with free CD sets that
should be appealing to everyone!
The Edison Legacy is delayed
This newsletter is appearing after the announced date that the
Edison Legacy was supposed to be released so it is clear that
this issue is not on schedule. Already we have announced the
concerns for preserving the exceedingly rare recordings and we
are still working with the Edison archive and the process of
properly transferring these masters is moving steadily yet
slower than expected. Please accept our apology.
From our Customers
Des Wilson of New Zealand wrote to us shortly after Mahler's
Decade in Vienna debuted. He correctly pointed out that the
song sung by Benedikt Felix on Disc 1 is not Denza's "Non t'amo
piu?" which was famously sung by Caruso at his second recording
session in 1902. It is, in fact, Tosti's song "Non m'ama piu?"
- the one recorded by Battistini in 1911. Confusingly, Tosti
also wrote a song called "Non t'amo piu?" which is probably the
best known of the three. All three songs have quite different
texts. "Non m'ama piu?" (the one on our CD) begins "A che ti
giova il vivere s'egli t'ha franto il core".
Our office also received a phone call from an astute friend of
the late Jorge Bolet. Our essay began with a quote from Emil
Gilels who praised Bolet as "the greatest pianist in the
Western hemisphere." The date cited for this quote was 1988.
Although Gilels's statement was accurate, as it was relayed
personally to liner note-author Albert McGrigor, the date is
incorrect; Gilels died in 1985. Interestingly, this friend of
Jorge's was with Jorge and Elizabeth Kittel in Munich to attend
an all-Chopin performance that Jorge was giving at the
Herkulessal. They received the news of Gilels's death while on
this trip.
A Note from Ward Marston
While writing this newsletter I realized that my company just
reached a milestone: Chatterton/Pagliacci was our 50th issue.
This might not seem like much of a milestone, especially to a
collector who sees matrix numbers run in the thousands, yet
when I began my company I had no idea how long it would last. I
knew I wanted to preserve artists that deserved to be
remembered; I knew I would take chances by producing CDs in
which other companies showed little interest; I knew there
would be a small market.
My first big question was: "Would I have enough interesting
material to keep my company going?" Of course I had a short
list of favorites, but I had no idea if others would share my
interests. I didn't know if my clientele would number in the
thousands, hundreds, or tens. Today I have a small but loyal
group that keeps my company going and I thank you. I also have
a list of artists and projects that can keep me busy for
another 10 years! I, myself, am still being introduced to
great artists from early in the last century and I am finding
treasures in archives around the world.
But I wonder about the future of classical music. I realize
this is not a new exercise and as I become part of the older
generation I know that I sound exactly like the old fogies that
reminisced about the good old days when I was in my 20s. I
clearly remember a conversation in the mid-70s telling an older
collector how wonderful it must have been to hear the likes of
Ponselle, Martinelli, DeLuca and Mardones. He then told me
that when he went to the opera to hear the above-mentioned
singers, the then older members of the audience would tell him
that these singers were nothing compared to Nordica, Lilli
Lehmann, Melba, and the two DeReszkes! We tend to remember the
past with greater fondness than the present. Only history will
judge if singing is truly on the decline or if we are in the
midst of a cycle that is out of step with our expectations.
I do know, however, the classical record industry has changed
dramatically since I began my company just seven years ago.
Anyone who had a favorite retail outlet for his classical fare
has seen drastic changes. I have seen several major labels
reduce their classical music staffs to inoperable numbers. I
have also seen companies specializing in historical material
come and go.
I look around my house and see history preserved. I know the
pleasure these cylinders, 78s, and LPs have provided me yet I
question if there will be another generation who will want
these artifacts when I'm gone. I firmly believe that someone
needs to keep our musical history alive by making the past
available on the latest medium. If not, the sound will be lost.
I sincerely hope there will be interest in our musical past in
the future, yet without someone wanting to hear the past now,
there is no economic incentive to preserve this for the future.
I hope Marston CDs provide you with the pleasure that I have
had from hearing the originals, and be sure that your purchases
are also keeping alive something larger than all of us. I will
continue to do my part to keep our musical past alive and I
thank you for the part you are playing in preserving history.
=== End of note from Ward Marston ===
- Andrys
--
http://andrys.com
Miguel Montfort
> Any recordings that might be of interest to pianists
> and piano collectors? (and no, I didn't mean Arrau or
> Backhaus).
Something I already pointed out to a editor in charge
at the NDR: the Busoni piano concerto with Gunnar Jo-
hansen (again accompanied by Schmidt-Isserstedt) dating
from 1956.
Miguel Montfort
Hugh Roberts
For the sake of all of us who don't know his work, would you mind
looking at the discography on
http://www.soundfountain.com/remhansen.html, Dan, and telling us which
recordings you've been able to find of Hansen's, and, of course, what
you thought of his playing?
Hugh Roberts
Tom Deacon
75e776be.04082...@posting.google.com, "Marcus Maroney"
<newhav...@aol.com> wrote:
It doesn't.
The second does.
TD
Tom Deacon
<dashamme...@yahoo.com> wrote:
Be still, my heart!
TD
Matthew B. Tepper
letters to be typed in
> For the sake of all of us who don't know his work, would you mind
> looking at the discography on
> http://www.soundfountain.com/remhansen.html, Dan, and telling us which
> recordings you've been able to find of Hansen's, and, of course, what
> you thought of his playing?
The only Hansen recording I've ever heard is, not surprisingly, that
Beethoven PC #4 that used to be coupled with a wartime Symphony #5 on a
Unicorn LP. I don't think I even have this disc any more.
Matthew B. Tepper
letters to be typed in news:cguibk$m4a$1...@reader1.panix.com:
> In article <Xns9554EC5B1F3...@207.217.125.204>,
> Matthew B. Tepper <oyþ@earthlink.net> wrote:
>> ssg...@aol.com (Ssg217) appears to have caused the following letters to
>> be typed in news:20040830014626...@mb-m21.aol.com:
>>
>>>> True, or are you just hoaxing us?
>>>
>>> True.
>>
>> More information please. Are they restorable/issuable?
>
> More people should sign up with Marston's site.
>
> I posted the following to great-pianists and will include the other info
> in it here too, since this group, too, is interested in all types of
> music, and Marston's site can use more support.
[snip]
Thanks for the info. That's what I get for not having looked at Marston's
site in a while. This is exciting news, and I'm glad to read about the
Godowsky and Planté issues, too! (If you're familiar with Planté's output,
you can probably guess which item most entertains me.)
Peter Lemken
> letters to be typed in
> news:8712a17.04083...@posting.google.com:
>
> > For the sake of all of us who don't know his work, would you mind
> > looking at the discography on
> > http://www.soundfountain.com/remhansen.html, Dan, and telling us which
> > recordings you've been able to find of Hansen's, and, of course, what
> > you thought of his playing?
>
> The only Hansen recording I've ever heard is, not surprisingly, that
> Beethoven PC #4 that used to be coupled with a wartime Symphony #5 on a
> Unicorn LP. I don't think I even have this disc any more.
I also have the Tchaikovsky with Mengelberg; a truly sophisticated and
"Unrussian" recording.
There is also an NDR broadcast recording of the Beethoven fist concerto from
his later years - with Tzimon Barto conducting.
Marcus Maroney
We all know that. What is your discussion of it doing in a paragraph
about the first concerto?
Marcus Maroney
We all know that. What is your discussion of it doing in a paragraph
about the first concerto?
Matthew B. Tepper
following letters to be typed in news:2ph0vjF...@uni-berlin.de:
> Matthew B. Tepper <oy兀earthlink.net> wrote:
>> h...@bigpond.com (Hugh Roberts) appears to have caused the following
>> letters to be typed in
>> news:8712a17.04083...@posting.google.com:
>>
>> > For the sake of all of us who don't know his work, would you mind
>> > looking at the discography on
>> > http://www.soundfountain.com/remhansen.html, Dan, and telling us
>> > which recordings you've been able to find of Hansen's, and, of
>> > course, what you thought of his playing?
>>
>> The only Hansen recording I've ever heard is, not surprisingly, that
>> Beethoven PC #4 that used to be coupled with a wartime Symphony #5 on a
>> Unicorn LP. I don't think I even have this disc any more.
>
> I also have the Tchaikovsky with Mengelberg; a truly sophisticated and
> "Unrussian" recording.
>
> There is also an NDR broadcast recording of the Beethoven fist concerto
> from his later years - with Tzimon Barto conducting.
Another pianist who also conducts?
Tom Deacon
75e776be.04083...@posting.google.com, "Marcus Maroney"
<newhav...@aol.com> wrote:
I suppose that some topics just move along at a speed you can't keep up
with.
TD
Tom Deacon
>>> Since when does the Brahms 1st piano concerto have a scherzo?
>>
>> It doesn't.
>>
>> The second does.
>
> We all know that. What is your discussion of it doing in a paragraph
> about the first concerto?
Did you intend upon repeating this question ad infinitum?
This is the second time. Will there be a third?
Just curious.
TD
Marcus Maroney
> I suppose that some topics just move along at a speed you can't keep up
> with.
That's what you get for supposing. I just enjoy pointing out your
complete lack of logic and writing skills.
Cheers,
Marcus Maroney
Marcus Maroney
> Did you intend upon repeating this question ad infinitum?
>
> This is the second time. Will there be a third?
>
> Just curious.
I was giving you an idea of what it's like to read your posts, which
always end up being the same. Hope you enjoyed!
Marcus Maroney
Ssg217
>always end up being the same. Hope you enjoyed!
>
>Marcus Maroney
Mr. Maroney, (thankfully) you would have a long, a quite very long way to go,
before you'd be able to even vaguely remind somebody of that particular posting
style.
regards,
SG
Dan Koren
news:Xns9555826FD19...@129.250.170.89...
> spam.f...@buerotiger.de (Peter Lemken) appears to have caused the
> following letters to be typed in news:2ph0vjF...@uni-berlin.de:
>
> >> h...@bigpond.com (Hugh Roberts) appears to have caused the following
> >> letters to be typed in
> >> news:8712a17.04083...@posting.google.com:
> >>
> >> > For the sake of all of us who don't know his work, would you mind
> >> > looking at the discography on
> >> > http://www.soundfountain.com/remhansen.html, Dan, and telling us
> >> > which recordings you've been able to find of Hansen's, and, of
> >> > course, what you thought of his playing?
> >>
> >> The only Hansen recording I've ever heard is, not surprisingly, that
> >> Beethoven PC #4 that used to be coupled with a wartime Symphony #5 on a
> >> Unicorn LP. I don't think I even have this disc any more.
> >
> > I also have the Tchaikovsky with Mengelberg; a truly sophisticated and
> > "Unrussian" recording.
> >
> > There is also an NDR broadcast recording of the Beethoven fist concerto
> > from his later years - with Tzimon Barto conducting.
>
> Another pianist who also conducts?
>
He may have caught the
disease from Eschenbach.
dk
Andrys Basten
Matthew B. Tepper <oyþ@earthlink.net> wrote:
>Thanks for the info. That's what I get for not having looked at Marston's
>site in a while. This is exciting news, and I'm glad to read about the
>Godowsky and Planté issues, too! (If you're familiar with Planté's output,
>you can probably guess which item most entertains me.)
The Berlioz Mephisto?
A rather magnificent facial profile Plante had.
- A
--
http://andrys.com
Matthew B. Tepper
> In article <Xns95554E4A9C1...@207.217.125.204>,
> Matthew B. Tepper <oyþ@earthlink.net> wrote:
>
>> Thanks for the info. That's what I get for not having looked at
>> Marston's site in a while. This is exciting news, and I'm glad to read
>> about the Godowsky and Planté issues, too! (If you're familiar with
>> Planté's output, you can probably guess which item most entertains me.)
>
> The Berlioz Mephisto?
You got it!
> A rather magnificent facial profile Plante had.
Unfortunately it's too late for John Barrymore to play him in the movies.
Josep Vilanova
>
> He may have caught the
> disease from Eschenbach.
Remember that Richter also conducted a Prokofiev concert! I don't remember
haven't heard much of Eschenbach as a pianist. I had the misfortune to hear
him conducting a flat Berio and a manicured and terribly slow Das Lied von
der Erde last Saturday though. Am I the only one in not liking him? (I'm
worried, I only post things criticising people... I do like lots of things,
honestly)
Josep
(don't bother to reply to the email address as it is not longer working)
Dan Koren
news:cguibk$m4a$1...@reader1.panix.com...
>
> Our office also received a phone call from an astute friend of
> the late Jorge Bolet. Our essay began with a quote from Emil
> Gilels who praised Bolet as "the greatest pianist in the
> Western hemisphere." The date cited for this quote was 1988.
Very clever, very wise...
Western Hemisphere.......
Starts from Greenwich... all
the way westward to... DCL?
Whom does that leave out?
Doubly politically correct.
dk
PS. Seeley's Bay is in the
Western Hemisphere, right?
Simon Roberts
>
>
>>
>> He may have caught the
>> disease from Eschenbach.
>
>Remember that Richter also conducted a Prokofiev concert! I don't remember
>haven't heard much of Eschenbach as a pianist.
Try the recent cheap twofer on EMI of late Beethoven sonatas or the EMI twofers
of Schubert four-hand music.
I had the misfortune to hear
>him conducting a flat Berio and a manicured and terribly slow Das Lied von
>der Erde last Saturday though. Am I the only one in not liking him?
Evidently not. He does tend to be slow; sometimes it works, sometimes not....
Simon
Tom Deacon
20040830222816...@mb-m12.aol.com, "Ssg217" <ssg...@aol.com>
wrote:
Coming from someone whose favourite composer must be Reger and whose prose
model is Milton, this is quite a statement.
Reading a Golescu post is like looking through a glass, darkly.
Comprehension is well nigh impossible.
TD
Bob Harper
> In article <BD59E4A9.CF6A%josepv...@macmail.com>, Josep Vilanova says...
>
>>
>>>He may have caught the
>>>disease from Eschenbach.
>>
>>Remember that Richter also conducted a Prokofiev concert! I don't remember
>>haven't heard much of Eschenbach as a pianist.
>
>
> Try the recent cheap twofer on EMI of late Beethoven sonatas or the EMI twofers
> of Schubert four-hand music.
>
> Simon
>
Is this a recommendation, or an opportunity to hear how not to do it?
Bob Harper
Matthew B. Tepper
letters to be typed in news:ch1o2...@drn.newsguy.com:
His BMG recording with the Houston SO of the Brahms-Schoenberg Piano
Quartet is one of the three slowest on CD (only Rozhdestvensky/LPO and
Järvi/LSO have longer timings), but it certainly *feels* like the slowest.
Forward motion is sapped throughout. The one with the shortest timings, by
the way, is *giggle* Klemperer/LA Philharmonic, the premiere.
Josep Vilanova
>> not....
>
> His BMG recording with the Houston SO of the Brahms-Schoenberg Piano
> Quartet is one of the three slowest on CD (only Rozhdestvensky/LPO and
> Järvi/LSO have longer timings), but it certainly *feels* like the slowest.
> Forward motion is sapped throughout. The one with the shortest timings, by
> the way, is *giggle* Klemperer/LA Philharmonic, the premiere.
And I like slow performances! I like Giulini and I like Celibidache, and of
course I like Arrau. But what I don't like is when the basic pulse is lost
and when there is not any tension behind that slow tempo. In that DLVDE,
when they got to that passage after the orchestral interlude in the last
movement the performance lost all it's shape. Anyway, enough of moaning...
M. Bartnik
"Peter Lemken" <spam.f...@buerotiger.de> schrieb im Newsbeitrag
news:2ph0vjF...@uni-berlin.de...
> >
> > The only Hansen recording I've ever heard is, not surprisingly, that
> > Beethoven PC #4 that used to be coupled with a wartime Symphony #5 on a
> > Unicorn LP. I don't think I even have this disc any more.
>
> I also have the Tchaikovsky with Mengelberg; a truly sophisticated and
> "Unrussian" recording.
>
> There is also an NDR broadcast recording of the Beethoven fist concerto
from
> his later years - with Tzimon Barto conducting.
Interesting. I hope Barto is better at conducting than at playing the piano.
The recital I attended this summer was awful, the worst pinistic event I've
sat through in the last couple of years (and I *was* very tempted to leave
after the intermission, believe me).
M.B.
Tom Deacon
Bartnik" <marcel_...@gmx.de> wrote:
> Interesting. I hope Barto is better at conducting than at playing the piano.
> The recital I attended this summer was awful, the worst pinistic event I've
> sat through in the last couple of years (and I *was* very tempted to leave
> after the intermission, believe me).
I suggest that you begin to not resist temptation, Marcel. Life offers far
too many opportunities to be disappointed, and selection becomes ever more
necessary.
TD
Simon Roberts
The former. I've never heard better accounts of the Schubert, while he makes
one of the more persuasive cases for slow tempi in the Hammerklavier and is
generally worth hearing at least a few times in all the sonatas on that twofer
(I'm not saying they would be first choices, but they don't have to be).
Simon
Peter Lemken
> Interesting. I hope Barto is better at conducting than at playing the piano.
> The recital I attended this summer was awful, the worst pinistic event I've
> sat through in the last couple of years (and I *was* very tempted to leave
> after the intermission, believe me).
That is sad to hear. I still vividly remember his recital in Salzburg with
the complete set of Liszt etudes. It was an amazing disply of gorgeous
pianism, imagination and youthful vigour.
How is his Prokofiev 2nd concerto?