IGNACY JAN PADEREWSKI WELTE-MIGNON PIANO ROLLS VOL. 2 CDR

 

IGNACY JAN PADEREWSKI (KURILIVKA, UKRAINE 6 NOVEMBER 1860 – NEW YORK CITY, U.S. 29 JUNE 1941)

 

 

 

 

Paderewski was the son of a steward of a Polish landowner. He studied music from 1872 at the Warsaw Conservatory and from 1878 taught piano there, and in 1880 he married one of his pupils, Antonina Korsak, who died in childbirth the following year. Encouraged and financed by the actress Helena Modrzejewska (Modjeska), he studied in Vienna from 1884 to 1887 under Theodor Leschetizky, who did much to improve a limited technique. During this period he also taught at the Strasbourg Conservatory. Between 1887 and 1891 he made his first public appearances as a pianist, in Vienna, Paris, London, and New York City. His success with the public was overwhelming; his personality on the concert platform, like that of Liszt, his predecessor among piano virtuosos, generated a mystical devotion. Among his colleagues, however, he was more envied than respected. Chopin (whose works he edited), Bach, Beethoven, and Schumann were the chief composers of his repertory. In 1898 he settled at Riond Bosson near Morges in Switzerland, and the following year he married Helena Gorska, Baroness von Rosen. In 1901 his opera Manru, dealing with life in the Tatra Mountains, was given at Dresden. In 1909 his Symphony in B Minor was given at Boston, and in that same year he became director of the Warsaw Conservatory. Throughout his life Paderewski was a staunch patriot. In 1910 he presented to the city of Kraków a monument commemorating the 500th anniversary of the victory of the Poles over the Teutonic Order. During World War I he became a member of the Polish National Committee and was appointed its representative to the United States, where he urged Pres. Woodrow Wilson to support the cause of Polish independence. Wilson included Poland’s cause as the 13th of his Fourteen Points of Jan. 8, 1918. After the war the provisional head of state, Józef Piłsudski, asked Paderewski to form in Warsaw a government of experts free from party tendencies. This was formed on Jan. 17, 1919. Paderewski reserved the portfolio of foreign affairs for himself, but his premiership was not a success. As a virtuoso, Paderewski was accustomed to flattery, and he resented sharp criticism. On Nov. 27, 1919, he resigned the premiership and returned to Riond Bosson; his ambitions to become the president of the revived Poland had been shattered. He never revisited the country. In 1921 he resumed his musical career, giving concerts in Europe and the United States, mainly for war victims. At the beginning of World War II, in October 1939, a Polish government-in-exile, formed in Paris with Gen. Władysław Sikorski as prime minister, offered Paderewski the chairmanship of the Polish National Council. After the French capitulation in 1940, he went to the United States. He died soon after and was buried in Arlington National Cemetery.

 

TRACKLIST

 

1255 WELTE-MIGNON CHOPIN – Nocturne, Op. 37, No. 2, G

1256 WELTE-MIGNON CHOPIN – Polonaise, Op. 53, Ab “Heroic”

1257 WELTE-MIGNON CHOPIN – Waltz, Op. 64, No. 2, c#

1259 WELTE-MIGNON LISZT – Hungarian Rhapsody No. 10, E “Preludio”

1260 WELTE-MIGNON SCHUBERT-LISZT – Die Erlkönig (The Erl-King) Op. 1

1261 WELTE-MIGNON SCHUBERT-LISZT – Hark, Hark! the Lark!

1262 PADEREWSKI – Nocturne, Op. 16, No. 4, Bb

1263 PADEREWSKI – Menuet, Op. 14, No. 1, G

IGNACY JAN PADEREWSKI WELTE-MIGNON PIANO ROLLS VOL. 1 CDR

 

IGNACY JAN PADEREWSKI (KURILIVKA, UKRAINE 6 NOVEMBER 1860 – NEW YORK CITY, U.S. 29 JUNE 1941)

 

 

 

 

Paderewski was the son of a steward of a Polish landowner. He studied music from 1872 at the Warsaw Conservatory and from 1878 taught piano there, and in 1880 he married one of his pupils, Antonina Korsak, who died in childbirth the following year. Encouraged and financed by the actress Helena Modrzejewska (Modjeska), he studied in Vienna from 1884 to 1887 under Theodor Leschetizky, who did much to improve a limited technique. During this period he also taught at the Strasbourg Conservatory. Between 1887 and 1891 he made his first public appearances as a pianist, in Vienna, Paris, London, and New York City. His success with the public was overwhelming; his personality on the concert platform, like that of Liszt, his predecessor among piano virtuosos, generated a mystical devotion. Among his colleagues, however, he was more envied than respected. Chopin (whose works he edited), Bach, Beethoven, and Schumann were the chief composers of his repertory. In 1898 he settled at Riond Bosson near Morges in Switzerland, and the following year he married Helena Gorska, Baroness von Rosen. In 1901 his opera Manru, dealing with life in the Tatra Mountains, was given at Dresden. In 1909 his Symphony in B Minor was given at Boston, and in that same year he became director of the Warsaw Conservatory. Throughout his life Paderewski was a staunch patriot. In 1910 he presented to the city of Kraków a monument commemorating the 500th anniversary of the victory of the Poles over the Teutonic Order. During World War I he became a member of the Polish National Committee and was appointed its representative to the United States, where he urged Pres. Woodrow Wilson to support the cause of Polish independence. Wilson included Poland’s cause as the 13th of his Fourteen Points of Jan. 8, 1918. After the war the provisional head of state, Józef Piłsudski, asked Paderewski to form in Warsaw a government of experts free from party tendencies. This was formed on Jan. 17, 1919. Paderewski reserved the portfolio of foreign affairs for himself, but his premiership was not a success. As a virtuoso, Paderewski was accustomed to flattery, and he resented sharp criticism. On Nov. 27, 1919, he resigned the premiership and returned to Riond Bosson; his ambitions to become the president of the revived Poland had been shattered. He never revisited the country. In 1921 he resumed his musical career, giving concerts in Europe and the United States, mainly for war victims. At the beginning of World War II, in October 1939, a Polish government-in-exile, formed in Paris with Gen. Władysław Sikorski as prime minister, offered Paderewski the chairmanship of the Polish National Council. After the French capitulation in 1940, he went to the United States. He died soon after and was buried in Arlington National Cemetery.

 

 

TRACKLIST

 

 

1246 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 27, No. 2, c#”Moonlight” 1 mvt.

1246 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 27, No. 2, c#”Moonlight” 2 mvt.

1247 WELTE-MIGNON BEETHOVEN – Piano Sonata, Op. 27, No. 2, c# “Moonlight” 3rd mvt.

1248 WELTE-MIGNON SCHUBERT – Impromptu, Op. 142, No. 3, Bb “Rosamunde”

1249 WELTE-MIGNON CHOPIN – Ballade No. 3, Ab, Op. 47

1251 WELTE-MIGNON CHOPIN – Mazurka, Op. 24, No. 4, b-b

1253 WELTE-MIGNON CHOPIN – Etude, Op. 25, No. 9, Gb “Butterfly”

1254 WELTE-MIGNON CHOPIN – Etude, Op. 10, No. 3, E “Tristesse”

IGNACY JAN PADEREWSKI DUO-ART PIANO ROLLS CDR

 

IGNACY JAN PADEREWSKI (KURILIVKA, UKRAINE 6 NOVEMBER, 1860 – NEW YORK CITY, U.S. 29 JUNE, 1941)

 

 

 

 

Paderewski was the son of a steward of a Polish landowner. He studied music from 1872 at the Warsaw Conservatory and from 1878 taught piano there, and in 1880 he married one of his pupils, Antonina Korsak, who died in childbirth the following year. Encouraged and financed by the actress Helena Modrzejewska (Modjeska), he studied in Vienna from 1884 to 1887 under Theodor Leschetizky, who did much to improve a limited technique. During this period he also taught at the Strasbourg Conservatory. Between 1887 and 1891 he made his first public appearances as a pianist, in Vienna, Paris, London, and New York City. His success with the public was overwhelming; his personality on the concert platform, like that of Liszt, his predecessor among piano virtuosos, generated a mystical devotion. Among his colleagues, however, he was more envied than respected. Chopin (whose works he edited), Bach, Beethoven, and Schumann were the chief composers of his repertory. In 1898 he settled at Riond Bosson near Morges in Switzerland, and the following year he married Helena Gorska, Baroness von Rosen. In 1901 his opera Manru, dealing with life in the Tatra Mountains, was given at Dresden. In 1909 his Symphony in B Minor was given at Boston, and in that same year he became director of the Warsaw Conservatory. Throughout his life Paderewski was a staunch patriot. In 1910 he presented to the city of Kraków a monument commemorating the 500th anniversary of the victory of the Poles over the Teutonic Order. During World War I he became a member of the Polish National Committee and was appointed its representative to the United States, where he urged Pres. Woodrow Wilson to support the cause of Polish independence. Wilson included Poland’s cause as the 13th of his Fourteen Points of Jan. 8, 1918. After the war the provisional head of state, Józef Piłsudski, asked Paderewski to form in Warsaw a government of experts free from party tendencies. This was formed on Jan. 17, 1919. Paderewski reserved the portfolio of foreign affairs for himself, but his premiership was not a success. As a virtuoso, Paderewski was accustomed to flattery, and he resented sharp criticism. On Nov. 27, 1919, he resigned the premiership and returned to Riond Bosson; his ambitions to become the president of the revived Poland had been shattered. He never revisited the country. In 1921 he resumed his musical career, giving concerts in Europe and the United States, mainly for war victims. At the beginning of World War II, in October 1939, a Polish government-in-exile, formed in Paris with Gen. Władysław Sikorski as prime minister, offered Paderewski the chairmanship of the Polish National Council. After the French capitulation in 1940, he went to the United States. He died soon after and was buried in Arlington National Cemetery.

 

 

TRACKLIST

 

 

Ballade in A Flat Op. 47 (Chopin) Duo-Art 6832

Caprice Genre Op. 14 No. 3 (Scarlatti) Duo-Art 6558

Hark, hark the lark! (Schubert-Liszt) Duo-Art 6694

Hungarian Rhapsody No.10 E (Liszt) Duo-Art 6568

Impromptu Op. 142 no. 2 (Schubert) Duo-Art 6794

Mazurka in Bb Minor Op. 24 No 4. (Chopin) Duo-Art 6566

Melodie. Chants du Voyageur Op.8 No 3. (Paderewski) Duo-Art 6681

Minuet Op.14 No. 1 (Paderewski) Duo-Art 6100

Nocturne in G Major Op. 37 No. 2 (Chopin) Duo-Art 6847

Nocturne Op. 16 No. 4 (Paderewski) Duo-Art 6562

Reflets dans l’eau (Debussy) Duo-Art 7186-6

Soirées de Vienne (Schubert-Liszt) Duo-Art 7435

Spinning Song (Mendelssohn) Duo-Art 6569

Valse Brillante Op. 34 No 1 Ab. (Chopin) Duo-Art 6551

Valse Op. 42 in A Flat Major. (Chopin) Duo-Art 6618

GUIOMAR NOVAES DUO-ART PIANO ROLLS CDR

 

GUIOMAR NOVAES (SÃO JOÃO DA BOÃ VISTA, BRAZIL, FEBRUARY 28, 1896 — SÃO PAULO, MARCH 7, 1979)

 

 

 

 

Guiomar Novaes was a Brazilian pianist known for individuality of tone and phrasing, singing line, and a subtle and nuanced approach to her interpretations. After early studies in São Paulo with Luigi Chiafarelli, Novaës was sent by the Brazilian government to the Paris Conservatory, where she took first place in the entrance examinations (1909). There she studied with Isidor Philipp, graduating with a first prize in 1911. Acclaimed at her debuts in Paris (1911), London (1912), and New York City (1915), she enjoyed a concert career of more than 50 years. She championed the works of Brazilian composers, including those of her husband, Octavio Pinto. Her graceful, poetic, and intensely lyrical style is shown to full advantage on only a few of the many recordings she made after the early 1920s.

 

 

TRACKLIST

 

  

“Album de Peterhof”, Op. 75, No. 8, G (Rubinstein) Duo-Art 6970

“Histoires” No. 2 Le petit âne blanc (The Little White Donkey) (Ibert) Duo-Art 7107

Ballet des papillons (The Butterflies’ Dance) Op. 69 (Godard) Duo-Art 7187

Berceuse (Cradle Song) Op. 57, Db (Chopin) Duo-Art 6238

Etudes, Op. 25, No. 9; Op. 10, No. 5 (both in Gb) (Chopin) Duo-Art 6453

Gavotte, A from the Opera “Iphigénie in Aulis” (Gluck-Brahms) Duo-Art 6476

Gnomenreigen (Gnomes’ Round Dance) Concert Etude No. 2 Duo-Art A-15

Grande Fantaisie on the Brazilian National Hymn, Op.69 (Gottschalk) Duo-Art 6442

Guitarre, Op. 45, No. 2 (Moszkowski) Duo-Art 6173

Ländler (Tirolese) (Sgambati) Duo-Art 6060

Largo from the Opera “Xerxes” (Serse) (Handel – Parsons) Duo-Art 6607

Night in Seville, Op. 55, No. 2 (Nieman) Duo-Art 7251

Nocturne (Nachtstück), Op. 23, No. 4, F (Schumann) Duo-Art 6488

Piano Sonata, Op. 81, Eb “Les Adieux” 2nd, 3rd Mvts. (Beethoven) Duo-Art 6909

Piano Sonata, Op. 81, Eb “Les Adieux” lst Mvt. (Beethoven) Duo-Art 6908

Romance, Op. 45, No. l (Grunfeld) Duo-Art 7122

Spring Song, Op. 62, No. 6, A (Songs without Words) (Mendelssohn) Duo-Art 6417

Valse No. l (Moret) Duo-Art 6301

E. ROBERT SCHMITZ DUO-ART PIANO 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

 

 

Baigneuses au soleil (Souvenir de Banyuls-sur-Mer) (Severac) Duo-Art 6581

Carnaval, Op. 9 Nos. 12 through 20 (Schumann) Duo-Art 6282

Carnaval, Op. 9 Nos. l – 11 (Schumann) Duo-Art 6264

Children’s Corner (Debussy) Colliwog’s Cakewalk Duo-Art 66621

Estampes, No. 2 La soirée dans Grénade (Evening in Granada) (Debussy) Duo-Art 6215

Etude ‘Aeolian Harp’ Op. 25 No. 1 (Chopin) Duo-Art 69521H

Prélude à L’Après-Midi d’un Faune (Afternoon of a Faun) (Debussy) Duo-Art 6532

Valse de Concert, Op. 3 (Wieniawski) Duo-Art 6473

ALFRED CORTOT DUO-ART PIANO ROLLS VOL. 2 CDR

 

ALFRED DENIS CORTOT (NYON, VAUD, SWITZERLAND 26 SEPTEMBER, 1877 – LAUSANNE, VAUD, SWITZERLAND, 15 JUNE, 1962)

 

 

 

 

He was a Franco-Swiss pianist, conductor, and teacher who was one of the most renowned classical musicians of the 20th century. He was especially valued for his poetic insight into Romantic piano works, particularly those of Chopin, Saint-Saëns and Schumann. Cortot was born in Nyon, Vaud, in the French-speaking part of Switzerland, to a French father and a Swiss mother. His first cousin was the composer Edgard Varèse. He studied at the Paris Conservatoire with Émile Decombes (a student of Frédéric Chopin), and with Louis Diémer, taking a premier prix in 1896. He made his debut at the Concerts Colonne in 1897, playing Beethoven’s Piano Concerto No. 3. Between 1898 and 1901 he was a choral coach and subsequently an assistant conductor at the Bayreuth Festival. In 1902 he conducted the Paris premiere of Wagner’s Götterdämmerung. He formed a concert society to perform Wagner’s Parsifal, Beethoven’s Missa solemnis, Brahms’ German Requiem, and new works by French composers. In 1905, Cortot formed a trio with Jacques Thibaud and Pablo Casals, which established itself as the leading piano trio of its era. In 1907, he was appointed Professor by Gabriel Fauré at the Conservatoire de Paris, replacing Raoul Pugno. He continued to teach at the Paris Conservatoire until 1923, where his pupils included Yvonne Lefébure, Vlado Perlemuter, Simone Plé-Caussade and Marguerite Monnot. In 1919 Cortot founded the École Normale de Musique de Paris. His courses in musical interpretation were legendary. For his many notable students, see here. As a leading musical figure, Cortot traveled for many international music events. The French government sponsored two promotional tours to the United States, and one to the new Soviet Russia in 1920. He conducted several orchestras and was often called upon to provide piano accompaniment for touring artists when in Paris. Involved in music until his health failed, like Franz Liszt in his advanced years he taught master classes in piano. On 21 March 1925, Cortot, working with Victor Records, made the world’s first electrical recording of classical music: Chopin’s Impromptus and Schubert’s Litanei. During World War II Cortot supported the German occupation of France. He accepted the position of Haut-Commissaire (“High Commissioner”) for arts in the Vichy government and served twice (1941 and 1942) as a member of the Vichy’s Conseil national (“National Council”). He participated in official concerts in Paris during the occupation as well as in Germany in 1942. After the war’s conclusion, Cortot was found guilty by a French government panel of collaboration with the enemy and was suspended from performing for a year. Once the suspension expired he returned to performing more than 100 concerts a season.

 

 

 

TRACKLIST

 

 

 

Berceuse Op.56 No.1 (Faure) Duo-Art 6241

Hungarian Rhapsody No.11 In A Minor (Liszt) Duo-Art 6135

Etude In A Minor Op.25 No.11 (Chopin) Duo-Art 6606

Au bord d’une source (At the Spring) (Années de Pèlerinage) (Liszt) Duo-Art 6664

“Pièces Pittorèsques” – No. 6 Idylle (Chabrier) Duo-Art 6910

Piano Sonata In E Major Op.109 1st Movement – Vivace Ma Non Troppo (Beethoven) Duo-Art 7109

Piano Sonata In E Major Op.109 2nd Movement – Prestissimo (Beethoven) Duo-Art 7110

Piano Sonata In E Major Op.109 3rd Movement – Andante Molto Cantabile Ed Espressivo (Beethoven) Duo-Art 7110

Etude, Op. 25, No. 12, c “Arpeggios” (Chopin) Duo-Art 7088

Impromptu No. 3, Op. 51, Gb (Chopin) Duo-Art 7327

ALFRED CORTOT DUO-ART PIANO ROLLS VOL. 1 CDR

 

ALFRED DENIS CORTOT (NYON, VAUD, SWITZERLAND 26 SEPTEMBER, 1877 – LAUSANNE, VAUD, SWITZERLAND, 15 JUNE, 1962)

 

 

 

 

He was a Franco-Swiss pianist, conductor, and teacher who was one of the most renowned classical musicians of the 20th century. He was especially valued for his poetic insight into Romantic piano works, particularly those of Chopin, Saint-Saëns and Schumann. Cortot was born in Nyon, Vaud, in the French-speaking part of Switzerland, to a French father and a Swiss mother. His first cousin was the composer Edgard Varèse. He studied at the Paris Conservatoire with Émile Decombes (a student of Frédéric Chopin), and with Louis Diémer, taking a premier prix in 1896. He made his debut at the Concerts Colonne in 1897, playing Beethoven’s Piano Concerto No. 3. Between 1898 and 1901 he was a choral coach and subsequently an assistant conductor at the Bayreuth Festival. In 1902 he conducted the Paris premiere of Wagner’s Götterdämmerung. He formed a concert society to perform Wagner’s Parsifal, Beethoven’s Missa solemnis, Brahms’ German Requiem, and new works by French composers. In 1905, Cortot formed a trio with Jacques Thibaud and Pablo Casals, which established itself as the leading piano trio of its era. In 1907, he was appointed Professor by Gabriel Fauré at the Conservatoire de Paris, replacing Raoul Pugno. He continued to teach at the Paris Conservatoire until 1923, where his pupils included Yvonne Lefébure, Vlado Perlemuter, Simone Plé-Caussade and Marguerite Monnot. In 1919 Cortot founded the École Normale de Musique de Paris. His courses in musical interpretation were legendary. For his many notable students, see here. As a leading musical figure, Cortot traveled for many international music events. The French government sponsored two promotional tours to the United States, and one to the new Soviet Russia in 1920. He conducted several orchestras and was often called upon to provide piano accompaniment for touring artists when in Paris. Involved in music until his health failed, like Franz Liszt in his advanced years he taught master classes in piano. On 21 March 1925, Cortot, working with Victor Records, made the world’s first electrical recording of classical music: Chopin’s Impromptus and Schubert’s Litanei. During World War II Cortot supported the German occupation of France. He accepted the position of Haut-Commissaire (“High Commissioner”) for arts in the Vichy government and served twice (1941 and 1942) as a member of the Vichy’s Conseil national (“National Council”). He participated in official concerts in Paris during the occupation as well as in Germany in 1942. After the war’s conclusion, Cortot was found guilty by a French government panel of collaboration with the enemy and was suspended from performing for a year. Once the suspension expired he returned to performing more than 100 concerts a season.

 

 

TRACKLIST

 

 

 

 

Etude Pathetique Op 8 No 12 (Scriabin) Duo-Art 6623

Au Bord Dune Source (Liszt) Duo-Art 6664

Prelude Raindrop Op 28 No 15 (Chopin) Duo-Art 6773

Adagio from Concerto F Minor BWV1056 (Bach-Cortot) Duo-Art 6330

Etude Op 10 No 3 E Major La Tristesse (Chopin) Duo-Art 6524

Etude en Forme de Valse Op 52 No 6 in D Flat (Saint-Saëns) Duo-Art 6372

Etude In Waltz Form Op.52 No.6 (Saint-Saëns) Duo-Art 6372

“Polish Songs”, Op. 74, No. 1 The Maiden’s Wish (Chopin-Liszt) Duo-Art 6478

Andante Spianato & Polonaise In E Flat Major Op.22 (Chopin) Duo-Art 6365

Etude Op.25 No.9 Op.10 No.5 (Chopin) Duo-Art 6593