RAOUL VON KOCZALSKI WELTE-MIGNON PIANO ROLLS CDR

 

ARMAND GEORG RAOUL (VON) KOCZALSKI (WARSAW, 3 JANUARY, 1884 – POZNAN, 24 NOVEMBER, 1948)

 

 

 

Koczalski was taught first by his mother, then by Julian Godomski: having made a public appearance in 1888 (aged 4) his parents took him to play for Anton Rubinstein, who foresaw the possibility of a performing career. He never visited a conservatory but had private lesson first with Ludwig Marek and then under Karol Mikuli, Chopin's favorite Polish student and assistant. At the age of 7 he gave concerts and at 9 he was playing in major European cities as a virtuoso. His thousandth concert was given in Leipzig in 1896, and by the age of 12 he had received awards such as the Order of the Lion and Sun, (from the Shah of Persia), the title of Court Pianist (from the King of Spain) and a medal from the Turkish Sultan. Already as a child he had a very extensive repertoire. During World Wars l and II he was interned in Germany. Koczalski was highly esteemed as a performer of Chopin in Germany, where he lived during the 1920s and 1930s. In that period he toured in France, Italy and Poland, but (despite many invitations) not in the United States of America for reasons of health He was interned in Berlin during the Second World War, and in 1945 he went to live in Poznań, accepting a post as professor in the State Higher School of Music. As a performer, the complete works of Chopin and the complete Beethoven sonatas lay at the core of a very extensive repertoire from the classical and romantic genres. He was considered one of the greatest interpreters of Chopin's music and one of the greatest pianists of his time, with a very liquid technique, smooth balance and interpretations that did not take the liberties of many of his contemporaries but which remained closer to the written score. His pupils included Detlef Kraus, Monique de La Bruchollerie, Hanna Rudnicka-Kruszewska, Wanda Losakiewicz and Irena Wyrzykowska-Mondelska.

 

TRACKLIST

  

 

3971 WELTE-MIGNON CLEMENTI - Toccata, Bb

3972 WELTE-MIGNON SCHUMANN-LISZT - Frühlingsnacht (Spring Night) Op. 39, #12

3974 WELTE-MIGNON CHOPIN - Klavierkonzert No. 2 f-Moll Op. 21, Larghetto 2nd mvt.

3975 CHOPIN - Krakowiak, Op. 14, F - Grande rondo de concert

3976 WELTE-MIGNON CHOPIN - Piano Concerto No. 1, Op. 11, e 1st mvt.

3977 CHOPIN - Piano Concerto No. 1, Op. 11, e  2nd mvt.

3978 CHOPIN - Piano Concerto No. l, Op. 11, e  3rd mvt.

3979 WELTE-MIGNON R. STRAUSS - Piano Sonata, Op. 5, b 1st and 2nd mvts.

3980 WELTE-MIGNON R. STRAUSS - Piano Sonata, Op. 5, b 3rd and 4th mvts.

RAOUL VON KOCZALSKI WELTE-MIGNON PIANO ROLLS CDR

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MICHAEL ZADORA WELTE-MIGNON PIANO ROLLS CDR

 

MICHAEL ZADORA (NEW YORK CITY, NEW YORK, USA JUNE 14, 1882 - NEW YORK CITY, NEW YORK, USA JUNE 30, 1946)

 

 

 

The American pianist and composer, Michael (actually: Michal) Zadora [AKA: Michael von Zadora], was born in New York of Polish parents. He first learnt to play the piano from his father and then at the age of 17 he enrolled at the Paris Conservatoire (1899). From there he travelled to Vienna for lessons with Theodor Leschetizky before continuing his studies with Ferruccio Busoni in Berlin. One of F. Busoni's finest pupils, Zadora captured the intellect and angst of his mentor. Too little is known of Michael Zadora's life. He taught a master-class at the Lemberg Conservatory (1911-1912), and also taught at institutions including the Hochschule für Musik and the Klindworth-Scharwenka Conservatory in Berlin. But as World War I approached Zadora returned to America and took a post at the Institute of Musical Art in New York (1913-1914), later to become the Juilliard School of Music. By 1923 Michael Zadora was back in Berlin, where at the Beethovensaal he was the first pianist to give an all-Busoni recital. With Egon Petri he prepared the piano part of the vocal score of F. Busoni’s opera Doktor Faust and gave two-piano recitals. Zadora also set up a Busoni Society. In 1924, as F. Busoni lay on his death-bed, Zadora played a Felix Mendelssohn’s Lied ohne Worte for him. It would appear that Michael Zadora was not well suited to public performance. In 1938 he played at London’s Wigmore Hall and received a poor review. He was described as ‘…a follower of Busoni (who) travestied his master’s style’ by playing Liszt’s Piano Sonata in B minor too fast, without clear articulation or observance of the composer’s markings of piano or pianissimo’. A second recital given two weeks later was not reviewed. Michael Zadora composed a few original works (piano pieces, songs, etc.) in his name and under the pseudonym of Pietro Amadis. On February 5, 1938 New York’s Broadway saw the opening, and closing, of a musical play written by August Strindberg with music by Zadora. He transcribed for piano several organ and violin works by Dietrich Buxtehude and J.S. Bach, in F. Busoni's way; he also transcribed five songs by Robert Schumann, as well as works by Giovanni Battista Pergolesi, Delibes, Offenbach, Jensen, Henselt and Schubert. Michael Zadora recorded fairly extensively during the 1920's and later. He recorded for Polydor in Germany between 1924 and 1927. A few discs were made for the German Grammophon Company in the 1930’s as well as some discs for Ultraphon, Odéon and Vox. In 1940 he made some discs for the Friends of Recorded Music Society in America. These are important as they contain Zadora playing F. Busoni’s Sonatinas Nos 3 and 5. He recorded waltzes, études, préludes and nocturnes by Frédéric Chopin; some of Franz Liszt’s Consolations; and many encore pieces by Lamare, Stockhoff, Joachim Raff, Sgambati, Scarlatti, Field, Johannes Brahms, L.v. Beethoven, Hummel, Anton Rubinstein and himself. He also recorded some J.S. Bach, Prokofiev’s Prelude in C major Op. 12 and Debussy’s Prélude and Toccata from Pour le Piano. Most of his discs are impressive, yet he has a tendency to rush in fast music, missing many details. This is particularly noticeable in the ‘F. Busoni’s Sonatina No. 6 Super Carmen (Zadora’s most well-known recording) and Debussy Toccata recordings. He had a wonderful tone which can be heard in his recording of his own arrangement of Henselt’s Larghetto and La Passion by Lamare. His most impressive disc is of an arrangement he made of a work by Jensen entitled Whispering of a Gentle Breeze. Zadora’s playing emphasised speed and his records offer thrilling experiences when tempi are fast. His aesthetic represents an uncertain departure from F. Busoni's neo-classicism and Futurism towards unknown terrain. There is always the sense of an evolution in progress, as the works' structures are always clear and decisive, yet their message being redefined. His playing of F. Busoni's Sonatina super Carmen is a great example of F. Busoni's own style. If any of his writings or words will ever emerge, one may better understand him some day.

TRACKLIST

   

 

461 BACH-BUSONI - Toccata,  C537

469 MACDOWELL - Hexentanz (Witches’ Dance) Op. 17, No. 2,  b

470 CHOPIN - Preludes, Op. 28, Nos. 2, a;  4, e;  9, E;  13, F#; 22, g

472 SCHUBERT - Der Tod  und das Mädchen (Death & the Maiden)

532 J. STRAUSS, JR. - TAUSIG-You only live once - Valse-Caprice, Op. 167

537 BUSONI - Balletszene (Ballet Scene) No. 4, Op. 33,  D

1056 SCHUMANN - Du bist wie eine Blume (Thou’rt Like  Flower)

3658 LISZT - Weihnachtsbaum (Christmas Tree), Nos. 8 and 3

3665 A. RUBINSTEIN - Torch Dance of Brides of Kashmir fr “Feramors”

MICHAEL ZADORA WELTE-MIGNON PIANO ROLLS CDR

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ALEXANDER LÁSZLÓ WELTE-MIGNON PIANO ROLLS VOL. 3 CDR

 

ALEXANDER (SANDOR) LÁSZLÓ (NOVEMBER 22, 1895 BUDAPEST (HUNGARY) – NOVEMBER 17, 1970 LOS ANGELES, CALIFORNIA)

 

 

 

 

He was born Sandor (“San”) Totis, but used the professional name of Alexander Laszlo as a composer and music publisher. After training at the Franz Liszt Academy of Music, Laszlo studied piano with Szendy and composition with Herzfeld and started as a pianist at the Blüthner Orchestra in Berlin in 1915. As pianist Sandor Laszlo, in Freiburg, about 1920, he recorded 31 reproducing piano rolls for Welte Mignon, of the piano music of mostly 19th Century Classical composers. He gave piano recitals in Germany and Europe in the 1920s, and was a music director and professor of film music in Berlin. According to the studies of the psychologist Georg Anschütz, the mentor of the synaesthesia research of this time, Laszlo developed an apparatus for the combination of colored light, slides, moving amorphous and geometrical forms. The first demonstration of it took place under the name “Sonchromatoskop” in 1924. Although this sonicism was developed by music, it should neither serve the intensification of the musical life, nor should individual keys be illustrated by clearly related colors. Rather, it was a new art genre in which abstract images and sound do not behave supplementarily, but enter into an original and inviolable unity. Laszlo built a professional Sonchromatoskop and it was controlled by the pianist. In 1925 Laszlo wrote a text called Color-Light-Music, and toured Europe with a color organ. Smith & Howe refer to him constructing a ‘Fablichtklavier’ (Color pianoforte) and publishing a book, ‘Fablichtmusic’, in 1925 which describes the genre. He also participated in many Jewish lead charities. In 1938 he came to the United States, starting in Chicago as music professor at the IIT Institute of Design. In the 1940s he was music director at NBC Radio. He established a publishing company to collect ASCAP royalties under the name “Alexander Publications.” He also wrote music for several Hollywood movies.

 

 

TRACKLIST

 

1. 3325 TCHAIKOVSKY - Symphony No. 5, Op. 64, e 2nd mvt.

2. 3333 LISZT - Piano Concerto No. 1, Eb 1st mvt.

3. 3334 LISZT - Piano Concerto No. 1, Eb 2nd, 3rd, 4th mvts.

4. 3335 WELTE-MIGNON WAGNER - Overture to the Opera “Rienzi”

5. 3342 Lászlò - Liebeswalzer

ALEXANDER LÁSZLÓ WELTE-MIGNON PIANO ROLLS VOL. 3 CDR

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ALEXANDER LÁSZLÓ WELTE-MIGNON PIANO ROLLS VOL. 2 CDR

 

ALEXANDER (SANDOR) LÁSZLÓ (NOVEMBER 22, 1895 BUDAPEST (HUNGARY) – NOVEMBER 17, 1970 LOS ANGELES, CALIFORNIA)

 

 

 

 

He was born Sandor (“San”) Totis, but used the professional name of Alexander Laszlo as a composer and music publisher. After training at the Franz Liszt Academy of Music, Laszlo studied piano with Szendy and composition with Herzfeld and started as a pianist at the Blüthner Orchestra in Berlin in 1915. As pianist Sandor Laszlo, in Freiburg, about 1920, he recorded 31 reproducing piano rolls for Welte Mignon, of the piano music of mostly 19th Century Classical composers. He gave piano recitals in Germany and Europe in the 1920s, and was a music director and professor of film music in Berlin. According to the studies of the psychologist Georg Anschütz, the mentor of the synaesthesia research of this time, Laszlo developed an apparatus for the combination of colored light, slides, moving amorphous and geometrical forms. The first demonstration of it took place under the name “Sonchromatoskop” in 1924. Although this sonicism was developed by music, it should neither serve the intensification of the musical life, nor should individual keys be illustrated by clearly related colors. Rather, it was a new art genre in which abstract images and sound do not behave supplementarily, but enter into an original and inviolable unity. Laszlo built a professional Sonchromatoskop and it was controlled by the pianist. In 1925 Laszlo wrote a text called Color-Light-Music, and toured Europe with a color organ. Smith & Howe refer to him constructing a ‘Fablichtklavier’ (Color pianoforte) and publishing a book, ‘Fablichtmusic’, in 1925 which describes the genre. He also participated in many Jewish lead charities. In 1938 he came to the United States, starting in Chicago as music professor at the IIT Institute of Design. In the 1940s he was music director at NBC Radio. He established a publishing company to collect ASCAP royalties under the name “Alexander Publications.” He also wrote music for several Hollywood movies.

 

 

TRACKLIST

 

 

1. 3315 SCHUBERT - Symphony No. 8, b, “Unfinished” D. 759 - lst mvt.

2. 3316 SCHUBERT - Symphony No. 8, b “Unfinished” D. 759 - 2nd mvt.

3. 3317 SCHUBERT - Wanderer Fantasie, Op. 15, C 1st and 2nd mvts.

4. 3319 BEETHOVEN - Symphony No. 5, Op. 67, c 1st mvt.

5. 3320 BEETHOVEN - Symphony No. 5, Op. 67, c 2nd mvt.

6. 3321 BEETHOVEN - Symphony No. 5, Op. 67, c 3rd and 4th mvts.

7. 3322 MEYERBEER - Fackeltanz (Torch Dance) No. 1, Bb

ALEXANDER LÁSZLÓ WELTE-MIGNON PIANO ROLLS VOL. 2 CDR

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ALEXANDER LÁSZLÓ WELTE-MIGNON PIANO ROLLS VOL. 1 CDR

 

ALEXANDER (SANDOR) LÁSZLÓ (NOVEMBER 22, 1895 BUDAPEST (HUNGARY) – NOVEMBER 17, 1970 LOS ANGELES, CALIFORNIA)

 

 

  

 

He was born Sandor (“San”) Totis, but used the professional name of Alexander Laszlo as a composer and music publisher. After training at the Franz Liszt Academy of Music, Laszlo studied piano with Szendy and composition with Herzfeld and started as a pianist at the Blüthner Orchestra in Berlin in 1915. As pianist Sandor Laszlo, in Freiburg, about 1920, he recorded 31 reproducing piano rolls for Welte Mignon, of the piano music of mostly 19th Century Classical composers. He gave piano recitals in Germany and Europe in the 1920s, and was a music director and professor of film music in Berlin. According to the studies of the psychologist Georg Anschütz, the mentor of the synaesthesia research of this time, Laszlo developed an apparatus for the combination of colored light, slides, moving amorphous and geometrical forms. The first demonstration of it took place under the name “Sonchromatoskop” in 1924. Although this sonicism was developed by music, it should neither serve the intensification of the musical life, nor should individual keys be illustrated by clearly related colors. Rather, it was a new art genre in which abstract images and sound do not behave supplementarily, but enter into an original and inviolable unity. Laszlo built a professional Sonchromatoskop and it was controlled by the pianist. In 1925 Laszlo wrote a text called Color-Light-Music, and toured Europe with a color organ. Smith & Howe refer to him constructing a ‘Fablichtklavier’ (Color pianoforte) and publishing a book, ‘Fablichtmusic’, in 1925 which describes the genre. He also participated in many Jewish lead charities. In 1938 he came to the United States, starting in Chicago as music professor at the IIT Institute of Design. In the 1940s he was music director at NBC Radio. He established a publishing company to collect ASCAP royalties under the name “Alexander Publications.” He also wrote music for several Hollywood movies.

 

 

TRACKLIST

 

 

1. 3328 WELTE-MIGNON TCHAIKOVSKY - Symphony No. 6, Op. 74, b “Pathétique” 1st mvt. Part 1

2. 3329 WELTE-MIGNON TCHAIKOVSKY - Symphony No. 6, Op. 74, b “Pathétique” 1st mvt. Part 2

3. 3330 WELTE-MIGNON TCHAIKOVSKY - Symphony No. 6, Op. 74, b “Pathétique” 2nd mvt.

4. 3331 WELTE-MIGNON TCHAIKOVSKY - Symphony No. 6, Op. 74, b “Pathétique” 3rd mvt.

5. 3332 WELTE-MIGNON TCHAIKOVSKY - Symphony No. 6, Op. 74, b “Pathétique” 4th mvt.

ALEXANDER LÁSZLÓ WELTE-MIGNON PIANO ROLLS VOL. 1 CDR

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TELEMAQUE LAMBRINO WELTE-MIGNON PIANO ROLLS CDR

 

TELEMAQUE LAMBRINO (ODESSA, UKRAINE 27 OCTOBER 1878 – LEIPZIG, GERMANY 25 FEBRUARY 1930)

 

 

 

 

Born in Odessa, Lambrino first received his musical training with Dmitri Klimow in his native city. Presumably from the winter semester 1898/1899 where he was enrolled for one year at the University of Music and Performing Arts Munich, among others the Liszt's students Berthold Kellermann as well as Anton Beer-Walbrunn and Josef Gabriel Rheinberger were his teachers. At the end of 1899, Lambrino seems to have moved to Leipzig. From here he regularly went to Berlin to continue his studies with Rubinstein's student Maria Teresa Carreño. Already early on Lambrino took over the direction of his own master classes, both at the Richard Bruno Heydrich Konservatorium für Musik und Theater in Halle (from February 1905, with interruptions until 1915) and at the Thuringian State Conservatory in Erfurt. After a short period of activity at the Moscow Conservatory, which lasted from 1908 to 1909 and was connected with a professorship, Lambrino settled permanently in Leipzig to create better conditions for a career as a soloist. There he gave private lessons to a large circle of students without ever belonging to the University of Music and Theatre Leipzig. From 1918/19 to 1924, Lambrino also taught piano training classes at the Berlin Klindworth-Scharwenka-Konservatorium. Lambrino died in Leipzig at age 51.

 

 

TRACKLIST

 

 

1. 125 WELTE-MIGNON LISZT - “Paganini” Etude No. 3, g#: La Campanella

2. 280 WELTE-MIGNON CHOPIN - Etude, Op. 10. No. 11, Eb

3. 281 WELTE-MIGNON SCHUBERT-TAUSIG - Marche militaire, Op. 51, No. 1, D

4. 282 WELTE-MIGNON CHOPIN - Etudes, Op. 25, No. 8, Db; No. 9, Gb “Butterfly”

5. 284 WELTE-MIGNON BEETHOVEN - Piano Sonata, Op. 31, No. 3, Eb 3rd mvt.     

TELEMAQUE LAMBRINO WELTE-MIGNON PIANO ROLLS CDR

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LAZZARO UZIELLI THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

 

LAZZARO UZIELLI (FLORENCE, 4 FEBRUARY 1861 – BONN, 8 OCTOBER 1943)

 

 

 

Born in Florence, Uzielli studied in his home town with Luigi Vannuccini und Giuseppe Buonamici, then with Ernst Rudorff in Berlin, and with Clara Schumann and Joachim Raff at Dr. Hoch's Konservatorium in Frankfurt. From 1883 to 1907 he worked as a teacher at Dr. Hoch's, and then followed a call to the Hochschule für Musik Köln. In his long years as a teacher he had numerous students who became important pianists. He undertook numerous concert tours through Germany, Austria, Switzerland, Italy and the Netherlands. Uzielli died in Bonn aged 82.

 

TRACKLIST

 

 

1. 1118 WELTE-MIGNON MOZART - Fantasia, K. 396, c   

2. 1121 WELTE-MIGNON TRAD.-UZIELLI - Old French Gavotte, c 

3. 1124 WELTE-MIGNON CHOPIN - Waltz, Op. 64, No. 3, Ab

4. 1127 WELTE-MIGNON CHAMINADE - (Air de ballet) Op. 41, Eb: Pierrette

5. 1133 WELTE-MIGNON GODARD - Gavotte, Op. 16, No. 3, B

LAZZARO UZIELLI THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

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