EDWIN FISCHER WELTE-MIGNON PIANO ROLLS VOL. 1 CDR

 

EDWIN FISCHER (BASEL, OCTOBER 6, 1886 – ZÜRICH, JANUARY 24, 1960)

 

 

 

Fischer was born in Basel and studied music first there, and later in Berlin at the Stern conservatory under Martin Krause. He first came to prominence as a pianist following World War I. In 1926, he became conductor of the Lübeck Musikverein and later conducted in Munich. In 1932, he formed his own chamber orchestra, and was one of the first to be interested in presenting music of the Baroque and Classical periods in a historically accurate way. Although his performances were not historically accurate by present-day standards, they were for his time; e.g., he did conduct Bach and Mozart concertos from the keyboard, an unusual practice at that time. In 1932, he returned once again to Berlin, succeeding his great contemporary Artur Schnabel in a teaching role at the Berlin Hochschule für Musik after Schnabel’s exile (he was Jewish, and Fischer was not) from Nazi Germany. In 1942, he moved back to Switzerland, temporarily putting his career on hold through World War II. After the war he began to perform again, and gave master classes in Lucerne for a number of later prominent pianists such as Alfred Brendel, Helena Sá e Costa, Mario Feninger, Reine Gianoli, Paul Badura-Skoda and Daniel Barenboim. As well as solo recitals, concerto performances and conducting, Fischer performed much chamber music. Particularly highly regarded was the piano trio he formed with the cellist Enrico Mainardi and the violinist Georg Kulenkampff (who was replaced by Wolfgang Schneiderhan after Kulenkampff’s death). Fischer published a number of books on teaching, and one on the piano sonatas of Beethoven. Fischer also accompanied Elisabeth Schwarzkopf in a renowned 1950s EMI LP of Schubert Lieder. His last musical collaboration was with the violinist Gioconda de Vito. During their recording sessions for the Brahms first and third violin sonatas, he had to go to London for medical treatment, where he was told he was seriously ill. He died shortly afterwards in Zurich.

 

TRACKLIST

 

 

1834 BACH – Prelude and Fugue, c# (WTC – Book 1, No. 4, S. 849)

1836 BACH – Prelude and Fugue, D (WTC – Book 1, No. 5, S. 850)

1837 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 13, c “Pathétique” 1st mvt.

1838 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 13, c “Pathétique” 2nd mvt.

1838 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 13, c “Pathétique” 3rd mvt.

1839 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 10, No. 3, D 1st mvt.

1839 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 10, No. 3, D2nd mvt.

1840 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 10, No. 3, D 3rd mvt.

1840 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 10, No. 3, D 4th mvt.

EDWIN FISCHER WELTE-MIGNON PIANO ROLLS VOL. 2 CDR

 

EDWIN FISCHER (BASEL, OCTOBER 6, 1886 – ZÜRICH, JANUARY 24, 1960)

 

 

 

Fischer was born in Basel and studied music first there, and later in Berlin at the Stern conservatory under Martin Krause. He first came to prominence as a pianist following World War I. In 1926, he became conductor of the Lübeck Musikverein and later conducted in Munich. In 1932, he formed his own chamber orchestra, and was one of the first to be interested in presenting music of the Baroque and Classical periods in a historically accurate way. Although his performances were not historically accurate by present-day standards, they were for his time; e.g., he did conduct Bach and Mozart concertos from the keyboard, an unusual practice at that time. In 1932, he returned once again to Berlin, succeeding his great contemporary Artur Schnabel in a teaching role at the Berlin Hochschule für Musik after Schnabel’s exile (he was Jewish, and Fischer was not) from Nazi Germany. In 1942, he moved back to Switzerland, temporarily putting his career on hold through World War II. After the war he began to perform again, and gave master classes in Lucerne for a number of later prominent pianists such as Alfred Brendel, Helena Sá e Costa, Mario Feninger, Reine Gianoli, Paul Badura-Skoda and Daniel Barenboim. As well as solo recitals, concerto performances and conducting, Fischer performed much chamber music. Particularly highly regarded was the piano trio he formed with the cellist Enrico Mainardi and the violinist Georg Kulenkampff (who was replaced by Wolfgang Schneiderhan after Kulenkampff’s death). Fischer published a number of books on teaching, and one on the piano sonatas of Beethoven. Fischer also accompanied Elisabeth Schwarzkopf in a renowned 1950s EMI LP of Schubert Lieder. His last musical collaboration was with the violinist Gioconda de Vito. During their recording sessions for the Brahms first and third violin sonatas, he had to go to London for medical treatment, where he was told he was seriously ill. He died shortly afterwards in Zurich.

 

 

TRACKLIST

 

 

1841 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 110, Ab 1st mvt.

1841 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 110, Ab 2nd mvt.

1842 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 110, Ab 3rd mvt.

1842 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 110, Ab 4th mvt.

1843 WELTE-MIGNON MOZART – Fantasia, K. 396, c

1846 WELTE-MIGNON MOZART – 2-Piano Concerto, K. 365 (Trans. solo piano) 2nd mvt.

E. ROBERT SCHMITZ AMPICO PAINO ROLLS CDR

 

E. ROBERT SCHMITZ (PARIS, FRANCE, FEBRUARY 8, 1889 – SAN FRANCISCO, CALIFORNIA, SEPTEMBER 5, 1949)

 

 

 

 

He studied with Louis-Joseph Diémer at the Conservatoire de Paris where he won First Prize in Piano. He caught the attention of Camille Saint-Saëns and Vincent D’Indy while directing the Association Musicale Moderne et Artistique (later renamed L’Association de Concerts Schmitz), which gave the world premiere of Debussy’s Première rhapsodie, Roussel’s Evocations, Le Flem’s Crépuscules d’amour, and Milhaud’s Suite Symphonique. Schmitz lead the Association from 1912 until 1914. Schmitz toured the United States in 1919, and the following year, founded the Franco-American Music Society in New York. The Society incorporated as Pro Musica in 1923. Schmitz published a system of piano study, The Capture of Inspiration, in 1935. His book, The Piano works of Claude Debussy, a technical analysis with commentary, was published after his death, in 1950. Among his notable pupils was the composer Samuel Dolin.

 

TRACKLIST

 

 

“Ibéria”(Spain) Book I, No. 2 El Puerto (The Harbor), Db (Albeniz) Ampico 64703

“Suite Bergamasque” – No. 2 Menuet, a (Debussy) Ampico 66003

“Suite Bergamasque” – No. l Prélude, F (Debussy) Ampico 65991

Arabesque No. 2, G (Debussy) Ampico 63503

Jeux d’eau (Playing Fountain) (Ravel) Ampico 69383

La Vie Brève (De Falla) Danse Espagnole No. 1 Ampico 67441

Prelude & Fugue Am BWV543 S.462 (Bach-Liszt) Ampico 65043

Préludes, Book I, No. 10 La cathédrale engloutie (Debussy) Ampico 68293

Suite – Pour le piano, No. 3 Toccata, c# (Debussy) Ampico 68661

Suite “Pour le piano”, No. 1 Prelude (Debussy) Ampico 63843

CARL FRIEDBERG WELTE-MIGNON PIANO ROLLS CDR

 

CARL RUDOLF HERMANN FRIEDBERG (BINGEN, GERMANY, SEPTEMBER, 18, 1872 – MERAN, ITALY, SEPTEMBER 9, 1955)

 

 

 

 

He was son of Eduard Friedberg (?–1937) and Elisa Landau (1844–1926) from Bingen. The Friedberg were wine merchants in Bingen since 1700. Friedberg studied piano with James Kwast and with Clara Schumann at the Hoch Conservatory, Frankfurt. He became a teacher there (1893–1904) and later at the Cologne Conservatory (1904–1914). From 1923 until his retirement in 1946, Carl Friedberg was principal piano teacher at the New York Institute of Musical Art (the institution which become the Juilliard School of Music from 1926). His pupils include Gertrude Lightstone Mittelmann, William Browning, Malcolm Frager, Edith Weiss-Mann, Bruce Hungerford, Reginald Bedford, Nina Simone, William Masselos, Frances Ziffer, and Elly Ney. Friedberg’s career as a performer spanned over 60 years in both Europe and America. He made his official debut in 1892 with the Vienna Philharmonic Orchestra under Mahler. This performance received a positive review from Edward Hanslick. In 1893 he had given an all-Brahms recital in the presence of the composer, who highly admired his playing and who later coached him in private on the performance of the majority of his piano works. As a chamber musician he replaced Artur Schnabel in the Schnabel-Flesch-Becker Trio in 1920 and played in that ensemble until 1932. Friedberg gave many recitals with Fritz Kreisler throughout America and in 1937 formed his own trio with Daniel Karpilowsky and Felix Salmond. In 1955, at age 82, he planned a concert tour in Europe. He took an ocean liner to Italy, but contracted pneumonia on board. He went to Meran (Merano) for a cure, but died and is buried there.

 

 

TRACKLIST

 

1092 BEETHOVEN – Piano Sonata, Op. 81, “Les adieux” – lst mvt.

1094 WELTE-MIGNON SCHUBERT – Moment Musical, Op. 94, No. 3, f

1095 WELTE-MIGNON BRAHMS – Rhapsody, Op. 79, 2, g

1096 WELTE-MIGNON BRAHMS – Hungarian Dance No. 2, d

1097, 1098 WELTE-MIGNON SCHUBERT – Piano Sonata, Bb (Posthumous) D. 960 2nd mvt.

1100 WELTE-MIGNON SCHUETT – Scènes du bal – Valse lente, Op. 17, No. 2, Ab

1101 WELTE-MIGNON KOSTLAR Monte Christo, Valse

1103 FRIEDBERG – Gavotte, G

AURELIO GIORNI DUO-ART PIANO ROLLS CDR

AURELIO GIORNI (PERUGIA, SEPT. 15, 1895 – (SUICIDE) PITTSFIELD, MASS., SEPT. 23, 1938)

 

 

 

 

He studied piano with Sgambati at the Accademia di Santa Cecilia in Rome (1909-11) and composition with Humperdinck in Berlin (1911-13). He emigrated to the U.S. in 1914 and was active mainly as a teacher; he was on the faculty at Smith Coll., the Philadelphia Cons, of Music, and the Hartford School of Music. He was also a fairly prolific composer; his Sym. in D minor was performed in N.Y. on April 25, 1937, but had such exceedingly bad reviews that he sank into a profound state of depression; several months later, he threw himself into the Housatonic River. Among his other works were Orlando furioso, symphonic poem (1926), Sinfonia concertante (1931), 3 trios, 2 string quartets, Cello Sonata, Violin Sonata, Piano Quartet, Piano Quintet, Flute Sonata, Clarinet Sonata, 24 concert études for Piano, and songs.

 

TRACKLIST

 

 

5900 DUO-ART SCHUBERT-LISZT – Frühlingsglaube (Faith in Spring)

5938 DUO-ART CHOPIN – Nocturne, Op. 32, No. 2, Ab

6026 DUO-ART GIORNI – Pastorale

6125 DUO-ART RACHMANINOFF – Prelude, Op. 23, No. 5, g

6176 SCHUBERT-HELLER – Die Forelle (The Trout) Op. 32

6189 DUO-ART SCHUBERT – Impromptu, Op. 90, No. 3, Gb

6353 DUO-ART HENSELT – Etude, Op. 5, No. 2 (Pensez un peu à moi)

ARTHUR RUBINSTEIN DUO-ART PIANO ROLLS VOL. 1 CDR

 

ARTUR RUBINSTEIN, ARTUR ALSO SPELLED ARTHUR (JANUARY 28, 1887, ŁÓDŹ, POLAND, RUSSIAN EMPIRE — DECEMBER 20, 1982, GENEVA, SWITZERLAND)

 

 

Rubinstein began study at the age of three and at the age of eight studied at the Warsaw Conservatory. The following year he became a pupil of Heinrich Barth in Berlin. Rubinstein was seven when he made his first public appearance, and he made his European debut in Berlin at 13. In 1906 he made his American debut with the Philadelphia Orchestra at Carnegie Hall but received a cool reception because of his youth. During World War I Rubinstein, who was fluent in eight languages, served as a military interpreter in London and performed there with the violinist Eugène Ysa e. From 1916 to 1918 he visited Spain and South America and created a sensation by introducing works by Manuel de Falla, Isaac Albéniz, and Enrique Granados. Another trip to the United States in 1919 proved to be lacklustre, however. During the 1920s Rubinstein developed a reputation as a cosmopolitan socialite, but in 1932 he married Aniela Młynarski and began to seriously analyze his artistry. He renewed his dedication to music, practiced 12 to 16 hours a day, and brought a new discipline to his already brilliant technique. When he returned once again to the United States in 1937 and performed at Carnegie Hall, he was hailed as a genius.

 

TRACKLIST

 

 

6162 CHOPIN – Nocturne, Op. 15, No. 2, F#

6182 DEBUSSY – Valse… la plus que lente (Slower-than-Slow Waltz)

6204 ALBENIZ – “Ibéria” (Spain) – Book 3, No. l El Albaicin (Gyupsy Quarter)

6252 CHOPIN – Ballade No. 3, Op. 47 Ab

6354 DEBUSSY – Danse, E

6378 ALBENIZ – “Ibéria” (Spain) – Book I, No. l Evocation

6505 CHOPIN – Polonaise, Op. 44, f#

6542 CHOPIN – Barcarolle, Op. 60, F#

ARTHUR RUBINSTEIN DUO-ART PIANO ROLLS VOL. 2 CDR

 

ARTUR RUBINSTEIN, ARTUR ALSO SPELLED ARTHUR (JANUARY 28, 1887, ŁÓDŹ, POLAND, RUSSIAN EMPIRE — DECEMBER 20, 1982, GENEVA, SWITZERLAND)

 

 

 

Rubinstein began study at the age of three and at the age of eight studied at the Warsaw Conservatory. The following year he became a pupil of Heinrich Barth in Berlin. Rubinstein was seven when he made his first public appearance, and he made his European debut in Berlin at 13. In 1906 he made his American debut with the Philadelphia Orchestra at Carnegie Hall but received a cool reception because of his youth. During World War I Rubinstein, who was fluent in eight languages, served as a military interpreter in London and performed there with the violinist Eugène Ysa e. From 1916 to 1918 he visited Spain and South America and created a sensation by introducing works by Manuel de Falla, Isaac Albéniz, and Enrique Granados. Another trip to the United States in 1919 proved to be lacklustre, however. During the 1920s Rubinstein developed a reputation as a cosmopolitan socialite, but in 1932 he married Aniela Młynarski and began to seriously analyze his artistry. He renewed his dedication to music, practiced 12 to 16 hours a day, and brought a new discipline to his already brilliant technique. When he returned once again to the United States in 1937 and performed at Carnegie Hall, he was hailed as a genius.

 

TRACKLIST

 

 

6560 SCHUMANN – Papillons (Butterflies), Op. 2

6596 BRAHMS – Capriccio, Op. 76, No. 2, b

6744 BRAHMS – Rhapsody, Op. 79, No. l, b

6755 FALLA-RUBINSTEIN – Ritual Fire Dance from ballet “El Amor Brujo”

6811 CHOPIN – Preludes, Op. 28, Nos. l, C; 4, e; 10, c#; 21, Bb and 24, d

6834 DEBUSSY – L’Isle Joyeuse (The Joyous Isle)

6857 RIMSKY-KORSAKOFF – Selections from the Opera “Le coq d’or”

6922 PROKOFIEFF – Suggestion diàbolique, Op. 4, No. 4