Monday, July 7, 2025

VLADIMIR DE PACHMANN WELTE-MIGNON PIANO ROLLS 2 CDR

 



VLADIMIR VON PACHMANN OR PACHMAN (ODESSA, UKRAINE 27 JULY 1848 – ROME, ITALY 6 JANUARY 1933)

 

 

 

 

Vladimir von Pachmann or Pachman was a pianist of Russian-German ethnicity, especially noted for performing the works of Chopin, and also for his eccentric on-stage style. Pachmann was born in Odessa, Ukraine as Vladimir Pachmann. The von or later de as a nobiliary particle was most probably added to his name by himself. Three of his brothers serving as officers in the Imperial Russian Army did not use the particle, as might be expected. His father was a professor at the University of Odessa and a celebrated amateur violinist who had met Beethoven, Weber and other notable composers in Vienna. He was his son's only teacher until he turned 18, at which time he went to Vienna to study music at the Vienna Conservatory, studying piano with Josef Dachs (a pupil of Carl Czerny) and theory with Anton Bruckner. He gained the Conservatory's Gold Medal and made his concert debut in Odessa in 1869, but until 1882 he appeared in public infrequently, spending his time in further study. He then toured throughout Europe and the United States, and was acclaimed as a top player of his era. His programmes consisted almost exclusively of the works of Chopin, with only an occasional movement by Bach, Scarlatti, Mendelssohn or Henselt. In Denmark he was appointed a Knight of the Order of the Dannebrog. Pachmann was one of the earliest to make recordings of his work, beginning in 1906 with recordings for the Welte-Mignon reproducing piano and in 1907 for the gramophone. He was also famous for gestures, muttering, and addressing the audience during his performance. In April 1884 Pachmann married the Australian-born British pianist Maggie Okey (Annie Louisa Margaret Okey, 1865–1952), who was later known as Marguérite de Pachmann. They did concert tours of Europe together and had three sons – Victor, who died in infancy, Adriano and Leonide (called Lionel). The marriage ended after seven years. Vladimir de Pachmann died in Rome in 1933, aged 84.

 

 

TRACKLIST

  

 

1. Ballade In A Flat Major (Chopin) Welte-Mignon 7227

2. Impromptu In Flat Major Op. 36 (Chopin) Welte-Mignon 7204

3. 4. 5. Italian Concerto In F Major (Bach) 1st 2nd 3rd Movements Welte-Mignon 7244, 7245, 7246

6. Mazurka In A Flat Major Op. 50 No. 2 (Chopin) Welte-Mignon 7206

7. Mazurka in A Minor Op. 67 No. 4 (Chopin) Welte-Mignon 1222

8. Mazurka In C Major Op. 56 No. 2 (Chopin) Welte-Mignon 1221

9. Minute Waltz In D Flat Major Op. 64 No. 1 (Chopin) Welte-Mignon 1220

10. Moment Musical In F Minor Op. 94 No. 3 (Schubert) Welte-Mignon 1211

11. Nocturne In B Minor Op. 32 No. 1 (Chopin) Welte-Mignon 7263

12. Nocturne in C Sharp Minor Op. 27 No. 1 (Chopin) Welte-Mignon 7202

13. Prelude In F Major Op. 28 No. 23 (Chopin) Welte-Mignon 1214

14. Rigoletto Paraphrase (Verdi - Liszt) Welte-Mignon 7201

15. Rondo A La Turk K.331 (Mozart) Welte-Mignon 1206

16. Songs Without Words No. 25 In G Major Op. 62 No. 1 (Mendelssohn) Welte-Mignon 1209

17. Waltz In C Sharp Minor Op. 64 No. 2 (Chopin) Welte-Mignon 7209

18. Waltz In F Major Op. 34 No. 3 (Chopin) Welte-Mignon 7228


VLADIMIR DE PACHMANN WELTE-MIGNON PIANO ROLLS 2 CDR

WANDA LANDOWSKA WELTE-MIGNON AND DUO-ART PIANO ROLLS CDR

 



WANDA LOUISE LANDOWSKA (JULY 5, 1879, WARSAW, POL., RUSSIAN EMPIRE — AUG. 16, 1959, LAKEVILLE, CONN., U.S.)

 

 


 

Polish-born harpsichordist who helped initiate the revival of the harpsichord in the 20th century. Landowska studied composition in Berlin in 1896, and in 1900 she went to Paris. There, influenced by her husband, Henry Lew, an authority on folklore, she researched early music and keyboard instruments. She taught at the Schola Cantorum (established 1894), first played the harpsichord in public in 1903, and in 1909 published, with her husband, Musique ancienne, a study of 17th- and 18th-century music. She remained until the beginning of World War II the principal exponent of 17th- and 18th-century harpsichord music, particularly that of Johann Sebastian Bach and François Couperin, on whose works she wrote several studies. In 1925 she founded a school for the study of early music at Saint-Leu-La-Forêt, near Paris, and in 1941 settled in the United States. Among the modern works she inspired were the harpsichord concerti of Manuel de Falla and Francis Poulenc. Her collected writings may be found in Landowska on Music (1965; edited by Denise Restout).

 

 

TRACKLIST

 

 

1. 962 WELTE-MIGNON SCHUBERT-LANDOWSKA - Walzerkette (Chain of Waltzes)

2. 963 WELTE-MIGNON CHOPIN - Waltz, Op. 64, No. 1, Db “Minute”

3. 964 WELTE-MIGNON CHOPIN - Waltz, Op. 69, No. 2, b

4. 965 WELTE-MIGNON BERLIOZ-LANDOWSKA - Danse des sylphs fr “La Damnation de Faust”


WANDA LANDOWSKA WELTE-MIGNON AND DUO-ART PIANO ROLLS CDR

Sunday, July 6, 2025

OLGA SAMAROFF WELTE-MIGNON PIANO ROLLS CDR

 



OLGA SAMAROFF (SAN ANTONIO, TEXAS, AUGUST 8, 1880 – NEW YORK, MAY 17, 1948)

 

 

 

  

Samaroff was born Lucy Mary Olga Agnes Hickenlooper in San Antonio, Texas, and grew up in Galveston, where her family owned a business later wiped out in the 1900 Galveston hurricane. After her talent for the piano was discovered, she was sent to Europe to study, since at that time there were no great piano teachers in the United States. She first studied with Antoine François Marmontel and Alkan's son, Élie-Miriam Delaborde at the Conservatoire de Paris and later with Ernst Jedliczka in Berlin. While in Berlin, she was very briefly married to Russian engineer Boris Loutzky. After her divorce from Loutzky and the disaster which claimed her family's business, she returned to the United States and tried to carve out a career as a pianist. However, she soon discovered she was hampered both by her awkward name and her American origins. Her agent suggested a professional name change, which was taken from a remote relative. As Olga Samaroff, she self-produced her New York debut at Carnegie Hall in 1905 (the first woman ever to do so). She hired the hall, the orchestra, and conductor Walter Damrosch, and made an overwhelming impression with her performance of Tchaikovsky's Piano Concerto No. 1. She played extensively in the United States and Europe thereafter. Samaroff discovered Leopold Stokowski (1882–1977) when he was church organist at St. Bartholemew's in New York and later conductor of the Cincinnati Symphony Orchestra. She played Tchaikovsky's Piano Concerto No. 1 under Stokowski's direction when he made his official conducting debut in Paris with the Colonne Orchestra on May 12, 1909. She married Stokowski in 1911, and their daughter Sonya was born in 1921. At that time, Samaroff was much more famous than her husband and was able to lobby her contacts to get Stokowski appointed in 1912 to the vacant conductor's post at the Philadelphia Orchestra, launching his international career. Samaroff made a number of recordings in the early 1920s for the Victor Talking Machine Company. Samaroff was the second pianist in history, after Hans von Bülow, to perform all 32 Beethoven piano sonatas in public, preceding Artur Schnabel (who did the series first in 1927) by several years. German pianist Walter Gieseking would also perform the complete sonatas in public by age fifteen (circa 1910). In 1923, Samaroff and Stokowski divorced; the reasons included Stokowski's infidelity, from which she never recovered. She took refuge in her friends, among whom were George Gershwin, Irving Berlin, Dorothy Parker, and Cary Grant. In 1925, Samaroff fell in her New York apartment and suffered an injury to her shoulder. The injury forced her to retire from performing. So from that point on, she worked primarily as a critic and teacher. She also wrote for the New York Evening Post until 1928, and she gave guest lectures throughout the 1930s. Samaroff developed a course of music study for laymen and was the first music teacher to be broadcast on NBC television. She taught at the Philadelphia Conservatory and in 1924, was invited to join the faculty of the newly formed Juilliard School in New York. She taught at both schools for the rest of her life. Called "Madam" by her students, she was an advocate for them. She supplied many of her Depression-era charges with concert clothes and food. She also pressed officials at Juilliard to build a dormitory – a project that was not realized until after her death decades later. Her most famous pupil was concert pianist William Kapell, who was killed in a 1953 plane crash at age 31. She herself said that the best pianist she ever taught was the New Zealander Richard Farrell, who also died at age 31, in a motor vehicle accident in England in 1958. Samaroff published an autobiography, An American Musician's Story, in 1939. She died of a heart attack at her home in New York on the evening of May 17, 1948, after giving several lessons that day. Samaroff is related to Civil War general Andrew Hickenlooper and to Colorado Governor John Hickenlooper. In Hickenlooper's 2016 memoir, he states that the name change from Hickenlooper to Samaroff was suggested by Samaroff's cousin and Federal Judge Smith Hickenlooper.


TRACKLIST

 

 

Olga Samaroff made 10 Welte-Mignon piano rolls

1. 1472 WELTE-MIGNON CHOPIN- Piano Sonata No. 3, Op. 58, b  1st & 2nd mvts.

2. 1473 WELTE-MIGNON CHOPIN- Piano Sonata No. 3, Op. 58, b  3rd & 4th mvts.

3. 1474 WELTE-MIGNON WAGNER-LISZT - March from the Opera “Tannhäuser”

4. 1476 WELTE-MIGNON BRAHMS - Rhapsody, Op. 79, No. 2,  g

5. 1478 WELTE-MIGNON GRIEG - Piano Concerto, Op. 16, a   1st mvt.

6. 1479 WELTE-MIGNON GRIEG -”Peer Gynt” Op. 46, Nos. 1 Morning Mood; 2 Aase’s Death

7. 1480 WELTE-MIGNON GRIEG - “Peer Gynt”,Op. 46, Nos. 3 Anitra’s Dance; 4 In the Hall  Mountain King

8. 1481 WELTE-MIGNON FAURE - Impromptu No. 2, Op. 31, f


OLGA SAMAROFF WELTE-MIGNON PIANO ROLLS CDR

THEODOR LESCHETIZKY THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

 



THEODOR LESCHETIZKY, ORIGINAL NAME TEODOR LESZETYCKI (JUNE 22, 1830, ŁAŃCUT, POLAND, AUSTRIAN EMPIRE [NOW IN POLAND] — NOVEMBER 14, 1915, DRESDEN, GERMANY)

 

 

 

 

Polish pianist and teacher who, with Franz Liszt, was the most influential teacher of piano of his time. Leschetizky studied under Carl Czerny in Vienna and thus was linked indirectly with the playing of Czerny’s teacher, Ludwig van Beethoven. In 1852 he went to St. Petersburg as a pianist and teacher. From 1878 he taught in Vienna. As one of the great pianists of the Romantic era, he approached the printed note with a certain amount of freedom. As a teacher, he stressed thorough understanding of the music, absolutely sound technique, and, above all, beauty of tone. Although the celebrated “Leschetizky method” of teaching was much discussed, he himself claimed to have no fixed method, and his students affirmed that he developed the individual characteristics of each student. His pupils included many of the leading pianists of the 19th and early 20th centuries, among them Artur Schnabel, Ossip Gabrilowitsch, and Ignacy Paderewski.

 

TRACKLIST

 

 

1. 1192 WELTE-MIGNON MOZART - Fantasia, K. 396, c

2. 1193 WELTE-MIGNON HELLER - Preludes, Op. 81, No. 3, G; No. 10, c#

3. 1194 WELTE-MIGNON CHOPIN - Nocturne, Op. 27, No. 2, Db

4. 1195 WELTE-MIGNON CHOPIN - Polonaise, Op. 71, No. 2, Bb (Posthumous)

5. 1196 WELTE-MIGNON LESCHETIZKY - Barcarolle, Op. 39, No. 1, a

6. 1197 WELTE-MIGNON LESCHETIZKY - La source (The Spring) Etude, Op. 36, No. 4, A

7. 1198 WELTE-MIGNON LESCHETIZKY - Arabesque, en forme d’étude, Op. 45, No. 1, Ab

8. 1199 WELTE-MIGNON LESCHETIZKY - L’Aveu (The Secret) Op. 31, No. 1, Ab

9. 1200 WELTE-MIGNON LESCHETIZKY - Wellen und Wogen (Waves and Billows) Op. 40, #1,e

10. 1201 WELTE-MIGNON LESCHETIZKY - Mazurka, Op. 24, No. 2, Eb

11. 1202 WELTE-MIGNON LESCHETIZKY - Canzonetta Toscana, Op. 39, No. 3, f

12. 1203 WELTE-MIGNON LESCHETIZKY - Les deux alouettes (Two Larks) Op. 2, No. 1, Ab


THEODOR LESCHETIZKY THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

JOSEF PEMBAUR WELTE-MIGNON PIANO ROLLS CDR

 



JOSEF PEMBAUR (INNSBRUCK, 20 APRIL, 1875 – MUNICH, 12 OCTOBER, 1950)

 

 

 

 

Born in Innsbruck, Pembaur was the son of the composer and music director Josef Pembaur the Elder (1848–1923). He got his first musical education by his father. From 1893 until 1896, he studied piano at the Hochschule für Musik und Theater München with Ludwig Thuille, conducting with Ludwig Abel and composition and organ with Josef Gabriel Rheinberger. He was awarded a gold medal at the final examination in 1896. From 1896 to 1901, he worked as a piano teacher at the same school. In 1901/02, he continued his studies with Alfred Reisenauer at the University of Music and Theatre Leipzig, where he was employed as a teacher for higher piano playing. In 1912, he was appointed professor of music in Saxony. In 1921, he was appointed professor in Bavaria, but he returned to the Academy of Music in Munich and taught a master class for piano. His students included Anna Renfer. Pembaur also completed numerous concert tours. In Berlin he was one of the judges in the competition for the Ibach Prize. In Spring 1919, Pembaur took eight piano pieces for the Reproduktionsklavier Welte-Mignon, including two compositions by his father, probably his earliest recordings. On 29 October 1918, Thomas Mann heard him in an event with Joachim von Delbrück, who was reading from his novel Der sterbende Chopin that evening. In 1906, he married the pianist Maria Elterich, and the two of them also performed together on two pianos. Pembaur's brother Karl was a composer and choirmaster in Dresden. Pembaur died in Munich at the age of 75.

 

 

TRACKLIST

 

 

1. 3264 WELTE-MIGNON BRAHMS - Ballade, Op. 10, No. 1, d

2. 3265 WELTE-MIGNON BRAHMS - Ballade, Op. 10, No. 2, D

3. 3266 WELTE-MIGNON BRAHMS - Ballade, Op. 10, No. 3, b

4. 3267 WELTE-MIGNON BRAHMS - Ballade, Op. 10, No. 4, B


JOSEF PEMBAUR WELTE-MIGNON PIANO ROLLS CDR

Saturday, July 5, 2025

HUBERT FLOHR WELTE-MIGNON PIANO ROLLS CDR

 



HUBERT FLOHR (KOBLENZ, JULY 8, 1869 - DÜSSELDORF, JULY 13, 1940)

 

 

 

 

Flohr, whose musical talent was already evident in his early childhood, received his first lessons from his father, the high school music teacher Joseph Flohr. Lessons continued in Bonn with Johann Walbrül, a Spohr student who had settled in Bonn. Already at the age of 9 Flohr appeared as a pianist under Julius Langenbach on December 30, 1878 in Bonn's Beethoven Hall with Mozart's Piano Concerto in D minor K. 466. The child prodigy had such a success with this concert that just a month later he performed Beethoven's Piano Concerto in C major again in the Beethoven Hall under Langenbach, further concerts in the Rhineland followed. Also in 1879 the first concert tour to Belgium and the Netherlands was undertaken. At one concert, Liszt's pupil Juliusz Zarębski heard Flohr playing and offered Flohr his place in his artistic class at the Royal Conservatory in Brussels. After Zarębski's death in 1885, Hubert Flohr continued his studies at the Royal Conservatory in Liège with Étienne Ledent and at the Cologne Conservatory with Isidor Seiß. The last training took place with Clara Schumann in Frankfurt. Already an orphan at the age of 16, Flohr then moved to Munich, from where he undertook numerous concert tours through Germany, Switzerland and Austria-Hungary. As a song accompanist he performed with Pauline Lucca, Amalie Joachim, the violinist August Wilhelmj and the cellist Joseph Diem. In 1892 Flohr settled in Neuss, in 1902 he went to Düsseldorf, where he worked as a teacher at the Buths-Neizel Conservatory and as the municipal music director for over 25 years, and also became a member of the Malkasten artists' association. He died of lung cancer in 1940. His 50th anniversary as an artist in 1928 was celebrated with a festive event in Düsseldorf. In 1959 his 90th and in 1969 his 100th birthday were commemorated in Düsseldorf. Flohr's compositions were destroyed by an air mine in 1942.

 

 

TRACKLIST

 

 

1. 3348 WELTE-MIGNON BRAHMS - Scherzo, Op. 4, eb

2. 3351 WELTE-MIGNON MENDELSSOHN - Overture to “A Midsummer Night’s Dream” Op. 17

3. 3352 WELTE-MIGNON WEBER - Overture to the Opera “Preciosa”

4. 3356 WELTE-MIGNON SIBELIUS -”Finlandia”, Op. 26, No. 7

5. 3357 WELTE-MIGNON RAFF - Cachoucha, Caprice, Op. 79, c

6. 3359 WELTE-MIGNON FLOHR - Lenz, Lied Op. 19, 5


HUBERT FLOHR WELTE-MIGNON PIANO ROLLS CDR

FANNY DAVIES WELTE-MIGNON PIANO ROLLS CDR

 



FANNY DAVIES (GUERNSEY, BAILIWICK OF GUERNSEY, UNITED KINGDOM, 27 JUNE 1861 - LONDON, ENGLAND, 1 SEPTEMBER 1934)

 

 

 

 

One of the most celebrated of English pianists, Fanny Davies studied first with Karl Reinecke and Oscar Paul. From 1883 through 1885, she was tutored by Clara Schumann and is now considered to have been one of Schumann's most gifted and distinguished pupils. During the 1888 season, George Bernard Shaw attended a performance by Davies' which led him to remark that her playing was "full of speed, lilt, life, and energy. She scampered through a fugue of Bach's with a cleverness and jollity that forced us to condone her utter irreverence." The Beethoven Fourth Concerto was one of her specialties, and her Schumann playing was highly respected, particularly because it derived directly from the great tradition of Clara Schumann herself. Davies championed the classical works of Beethoven and Chopin as well as what were then new compositions by Brahms and British composers. In 1887, she and Adolf Brodsky gave the first performance of Ethel Smyth 's violin sonata in Leipzig. In the late 1920s, she made one of the first electrical recordings of Robert Schumann's concerto. She also played the then almost unknown Elizabethan composers. Davies excelled as a recital accompanist and also collaborated with world-class virtuosos like Pablo Casals. In 1921, she was the first musician to give a piano recital in Westminster Abbey; she also gave many recitals in the church of St. Martin-in-the-Fields and is believed to be the first woman to play piano in a church. Sir Edward Elgar dedicated his Concert Allegro Op. 46 to her. One of her students was Kathleen Dale.

 

 

TRACKLIST

 

 

1772 WELTE-MIGNON SCHUMANN -”Kinderscenen” (Childhood Scenes) Op. 15, Nos. 1-6

1773 WELTE-MIGNON BRAHMS - Intermezzo, Op. 116, No. 4, Eb

1773 WELTE-MIGNON SCHUMANN -”Kinderscenen” (Childhood Scenes) Op. 15, Nos. 7-13

1774 WELTE-MIGNON BRAHMS - Intermezzo, Op. 119, No. 2, e

1777 WELTE-MIGNON GHEYN Prelude, Coucou (Carillon)


FANNY DAVIES WELTE-MIGNON PIANO ROLLS CDR

FANNIE BLOOMFIELD ZEISLER WELTE-MIGNON PIANO ROLLS 2 CDR

 



FANNIE BLOOMFIELD ZEISLER (JULY 16, 1863, BIELSKO, POLAND – AUGUST 20, 1927, CHICAGO, ILLINOIS, UNITED STATES)

 

 

 

 

Zeisler was born Fannie Blumenfeld on July 16, 1863, in Bielitz, Austrian Silesia to Jewish parents. She emigrated to the United States with her family at the age of 4 in 1867. The family settled in Chicago, Illinois where they later changed their name to Bloomfield. She was the sister of Maurice Bloomfield and the aunt of Leonard Bloomfield. At the age of six, before receiving any musical instruction, she began picking out tunes on the piano. Her first teachers were in Chicago; Bernard Ziehn and Carl Wolfsohn. In 1877, Annette Essipova, then on tour in the United States, heard her play and advised that she became a pupil of Theodor Leschetizky. She made her debut at the age of 11 in February 1875. In 1878, she returned to Austria to study in Vienna, under Leschetizky. While in Austria, she changed her name from Blumenfeld to Bloomfield. She returned to Chicago in 1883. Bloomfield performed in concert in Chicago in April 1884. In January 1885, she debuted in New York City. Around the turn of the century, she made piano rolls of various piano compositions, Chopin's Waltz No. 11 in G minor being among them. Bloomfeld married the attorney Sigmund Zeisler in 1885 and had three sons: Leonard, Paul and Ernest. In 1888, she returned to Vienna to study with Leschetizky. She also began to tour in Europe and the United States, with the Chicago Symphony Orchestra. Her last performance was in February 1925 in Chicago. She played the Beethoven Andante Favori and concertos by Chopin and Schumann. Zeisler died in Chicago, Illinois on August 20, 1927.

 

 

TRACKLIST

  

 

1. Croquis et silhouettes Op. 87, No. 4 (Schütt) Welte-Mignon 2597

2. Dance of the blessed spirits from Orfeo (Gluck-Sgambati) Welte-Mignon 1461

3. Gondoliera Op.41 (Moszkowski) Welte-Mignon 1469

4. Juggleress Op.52 No.4 (Moszkowski) Welte-Mignon 6963

5. Love-Waltz Op.57 No. 5 (Moszkowski) Welte-Mignon 6979

6. Nocturne C Minor Op. 48 No 1 (Chopin) Welte-Mignon 6960

7. Nocturne in C Sharp Minor Op.27 No.1 (Chopin) Welte-Mignon 6978

8. Nocturne In D Flat Major Op.27 No.2 (Chopin) Welte-Mignon 7002

9. Piano Sonata No.2 Op.35 In B Flat Minor- 1st Movement - Grave...Doppio Movim

10. Piano Sonata No.2 Op.35 In B Flat Minor- 2nd Movement - Scherzo Welte-Mignon

11. Piano Sonata No.2 Op.35 In B Flat Minor- 3rd Movement - Lento; Marche Funebr

12. Piano Sonata No.2 Op.35 In B Flat Minor- 4th Movement Welte-Mignon 2589

13. Scherzo in B Flat Minor Op.31 (Chopin) Welte-Mignon 1464

14. Serenade Op. 28. (Brockway) Welte-Mignon 6961

15. Toccata & Fugue in D Minor (Bach-Tausig) Welte-Mignon 2593


FANNIE BLOOMFIELD ZEISLER WELTE-MIGNON PIANO ROLLS 2 CDR

Thursday, July 3, 2025

CORNELIUS RÜBNER WELTE-MIGNON PIANO ROLLS CDR

 



PETER MARTIN CORNELIUS RÜBNER, ALSO RYBNER, AMERICAN RUBNER (COPENHAGEN, OCTOBER 26, 1853 – NEW YORK CITY, JANUARY 21, 1929)





Rübner studied from January 1869 to December 1871 at the Royal Conservatory in Copenhagen with Niels Wilhelm Gade and Johan Christian Gebauer (1808-1884). In 1880 he became Felix Mottl's assistant at the Grand Ducal Baden court orchestra in Karlsruhe, and from around 1884 to 1886 he also worked as the Grand Ducal Baden court pianist in Baden-Baden. In 1892 he became director of the Philharmonic Society and teacher at the Grand Ducal Conservatory in Karlsruhe. In the empire he gained fame , among other things, because he set the poem Our Emperor by the poet Otto Julius Bierbaum to music , which was a hit with the public. He also wrote numerous tribute pieces for the Baden dynasty. Like Felix Mottl and Louis Brassin, Rübner created transcriptions for piano based on Richard Wagner's operas. In 1905, Columbia University in New York appointed Rübner as Edward MacDowell's successor, where he taught as a professor until 1919.

 

 

TRACKLIST

  

 

Cornelius Rübner made 5 Welte-Mignon piano rolls

1. 3019 WELTE-MIGNON WAGNER-RYBNER - Paraphrase on Themes from Opera “Die Meistersinger”

2. 3021 WELTE-MIGNON WAGNER-RYBNER - Siegfried’s Funeral March from”Götterdämmerung”

3. 3022 WELTE-MIGNON WAGNER-RYBNER - Paraphrase onThemes from Opera”Tristan und Isolde”

4. 3023 WELTE-MIGNON WAGNER-RYBNER - Wotan’s Farewell; Magic Fire Music


CORNELIUS RÜBNER WELTE-MIGNON PIANO ROLLS CDR

CARL REINECKE THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

 



CARL HEINRICH CARSTEN REINECKE (HAMBURG, GERMANY 23 JUNE 1824 – LEIPZIG, GERMANY 10 MARCH 1910)



 

 

Reinecke was born in what is today Hamburg, Germany province of Altona; technically he was born a Dane, as until 1864 the town was under Danish rule. He received all his musical instruction from his father, (Johann Peter) Rudolf Reinecke (22 November 1795 – 14 August 1883), a music teacher and writer on musical subjects. Carl first devoted himself to violin-playing, but later on turned his attention to the piano. He began to compose at the age of seven, and his first public appearance as a pianist was when he was twelve years old. At the age of 19, he undertook his first concert tour as a pianist in 1843, through Denmark and Sweden, after which he lived for a long time in Leipzig, where he studied under Felix Mendelssohn, Robert Schumann and Franz Liszt; he entered into friendly relations with the former two. After the stay in Leipzig, Reinecke went on tour with Königslöw and Wilhelm Joseph von Wasielewski (later Schumann's biographer), in North Germany and Denmark. In 1846, Reinecke was appointed Court Pianist for Christian VIII in Copenhagen. There he remained until 1848, when he resigned and went to Paris. Overall he wrote four concertos for his instrument (and many cadenzas for others' works, including a large set published as his Opus 87), as well as concertos for violin, cello, harp and flute. In the winter of 1850/51, Carl Schurz reports attending weekly "musical evenings" in Paris where Reinecke was in attendance. In 1851, Reinecke became a professor at the Cologne Conservatory. In ensuing years he was appointed musical director at the German metropolis of Barmen, and became the academic, musical director and conductor of the Singakademie at Breslau. In 1860, Reinecke was appointed director of the Gewandhaus Orchestra concerts in Leipzig, and professor of composition and piano at the Conservatorium. He led the orchestra for more than three decades, until 1895. He conducted premieres such as the full seven-movement version of Brahms's A German Requiem (1869). In 1865 the Gewandhaus-Quartett premiered his piano quintet, and in 1892 his D major string quartet. Reinecke is best known for his flute sonata "Undine", but he is also remembered as one of the most influential and versatile musicians of his time. He served as a teacher for 35 years, until his retirement in 1902. His students included Edvard Grieg, Basil Harwood, Charles Villiers Stanford, Christian Sinding, Leoš Janáček, Constanta Erbiceanu, Isaac Albéniz, August Max Fiedler, Walter Niemann, Johan Svendsen, Richard Franck, Felix Weingartner, Max Bruch, Mikalojus Konstantinas Čiurlionis, Ernest Hutcheson, Felix Fox, August Winding and many others. After retirement from the conservatory, Reinecke devoted his time to composition, resulting in almost three hundred published works. He wrote several operas (none of which are performed today) including König Manfred. During this time, he frequently made concert tours to England and elsewhere. His piano playing belonged to a school in which grace and neatness were characteristic, and at one time he was probably unrivaled as a Mozart player and an accompanist.

 

 

TRACKLIST


 

1. 168 WELTE-MIGNON SCHUMANN - “Fantasiestücke”, Op. 12, No. 3 Warum (Why)

2. 181 WELTE-MIGNON MOZART - Piano Sonata, K. 333, Bb 2nd mvt

3. 182 WELTE-MIGNON MOZART - Piano Sonata, K. 331, A 3rd mvt. “Rondo à la Turque”

4. 184 WELTE-MIGNON BEETHOVEN - Ecossaisen (Scottish Dances), Eb, WoO 86

5. 204 WELTE-MIGNON REINECKE - Gondoliera, Op. 86, No. 3

6. 219 WELTE-MIGNON REINECKE - Prelude to  Act V of the Opera “King Manfred”

7. 237 WELTE-MIGNON MOZART - Piano Concerto No. 26 in D Major, K. 537, Coronation II. Larghetto


CARL REINECKE THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

Wednesday, July 2, 2025

ARTUR LEMBA THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

 



ARTUR LEMBA (24 SEPTEMBER 1885, TALLINN – 21 NOVEMBER 1963, TALLINN)

 

 

 

 

Artur Lemba was an Estonian composer and piano teacher, and one of the most important figures in Estonian classical music. Artur and his older brother Theodor (1876-1962) were the first professional pianists in Estonia to give concerts abroad. Artur's 1905 opera Sabina was the first opera composed by an Estonian. His Symphony No. 1 in 1908 was the first symphony composed by an Estonian. Lemba was a finalist in the prestigious Anton Rubinstein Competition and later a professor at the Saint Petersburg Conservatory. Artur Lemba learned piano from his brother Theodor Lemba. In 1899, following in his brother's footsteps, he enrolled at the St. Petersburg Conservatory. There he studied piano with Carl van Arck, Prof. V. Tolstov and I. Borovka. His composition teacher was Nicolai Soloviev and he studied music theory with Alexander Lyadov, Alexander Glazunov and Nikolai Rimsky-Korsakov. In 1908, he graduated, receiving a gold medal in piano, a silver medal in composition, and the Anton Rubinstein prize (a Schröder piano). At his graduation ceremony, Lemba performed his Piano Concerto No. 1. In 1910, Artur Lemba participated in the Anton Rubinstein Competition for pianists, where he placed among the eight finalists, including Arthur Rubinstein and Edwin Fischer. After his graduation in 1908, Lemba became a piano teacher at the St. Petersburg Conservatory. In 1915 he became a professor. He taught and gave concerts in Saint Petersburg until 1920. Returning to Estonia, Lemba worked as a piano teacher, eventually becoming head of the piano department at the Tallinn Conservatory. Notable students included Elsa Avesson, Olav Roots, Villem Reimann, Veera Lensin, Kirill Raudsepp and others. In addition to the concerts in Estonia, Lemba performed in Saint Petersburg, Riga, Moscow, Odessa, Budapest, Helsinki and Stockholm. Lemba's Piano Concerto No. 1 in G major (1905) is often regarded as his best known work, described as having a memorable melody. Lemba's Poéme d’amour (1916) for violin and piano is also popular in the violin repertoire. Lemba composed in almost every genre, with two symphonies (the first of which is the earliest example by an Estonian composer), three overtures, four operas, three cantatas, chamber music for different ensembles and 30 choral works. For the piano, Lemba wrote five piano concertos, two sonatas, two sonatinas, two preludes and more than 20 études.

 

 

TRACKLIST

 

 

1. WELTE-MIGNON 1990 GLAZOUNOV-BLUMENFELD - Grande Concert Waltz, Op. 47, D

2. WELTE-MIGNON 2156 GLAZOUNOV - Piano Sonata No. 2, Op. 75, e lst mvt.

3. WELTE-MIGNON 2157 GLAZOUNOV - Piano Sonata No. 2, Op. 75, e 2nd mvt.

4. WELTE-MIGNON 2158 GLAZOUNOV - Piano Sonata No. 2, Op. 75, e 3rd mvt.


ARTUR LEMBA THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

Tuesday, July 1, 2025

ADRIANO ARIANI AMPICO AND DUO-ART PIANO ROLLS CDR

 



ADRIANO ARIANI (ROME, 25 NOVEMBER, 1877 – PESARO, 28 JANUARY 28, 1935)

 

 

 

 

Born in Rome on November 25th. 1877, he studied piano at the Rossini musical high school in Pesaro with M. Vitali and composition with P. Mascagni, graduating in August 1901. After perfecting himself with F. Busoni, G. Sgambati and A. Rendano, in 1905 he won the first prize of the Accademia di S. Cecilia with a Suite for orchestra, which was partially performed in a concert conducted by P. Mascagni at the Academy of St. Cecilia. There he subsequently devoted himself to concert pianist and performed several times in Rome and in the main Italian cities, enjoying success. After moving to New York, the A. instead he engaged in orchestral conducting, and for six consecutive seasons he figured alongside A. Toscanini in the Choral Institution. In 1916 one of his oratorios for soloists, choir and orchestra, San Francesco, was performed at Camegie Hall; later, in 1920, the A. he also conducted an important season of Italian operas at the Academy of Music theater in Brooklyn (New York). In 1932, returned to Italy, the A. he was taught piano and appointed deputy director at the Pesaro music high school, where he died on 28 January. 1935. In addition to the works already mentioned, we recall two Symphonies, Masses, vocal chamber music, piano selections, etc., and a reduction for solo piano of P. Mascagni's opera Amica (Paris 1905).

 

 

TRACKLIST

 

 

Hungarian Rhapsody No. 6, Db (Liszt) Ampico 5078

Sonata No. 2 in B flat minor, Op. 35 Marche Funebre (Chopin) Ampico 5039

Nocturne, Op. 27, No. 2 Db (Chopin) Duo-Art 5566

Valse, Op. 64, No. 2, c# (Chopin) Duo-Art 5568


ADRIANO ARIANI AMPICO AND DUO-ART PIANO ROLLS CDR

ANATOL VON ROESSEL WELTE-MIGNON PIANO ROLLS CDR

 



ANATOL VON ROESSEL (BUDAPEST, AUSTRIA-HUNGARY, NOVEMBER 4, 1877 – OBER-HAMBACH, TODAY HEPPENHEIM (BERGSTRAßE), OCTOBER 30, 1967)

 

 

 

 

His father was Austrian, his mother Russian, and one of his grandmothers was Alsatian. His father was also a concert pianist and from 1877 to 1878 he was a student of Franz Liszt, who was also the godfather of Anatol von Roessel. Soon after Anatol’s birth, the family moved to Odessa, where the father had become the Imperial Russian Music Director. Roessel was raised Russian Orthodox. He grew up trilingual, in addition to Russian, German and Ukrainian, French was added at high school, which he soon mastered perfectly. After graduating from high school in Odessa, he gave concerts in southern Russia to get the funds to study at the Leipzig Conservatory. In 1905 he was invited several times to record a total of 25 pieces for the Welte-Mignon reproduction piano. In Leipzig he studied with the famous pianist Alfred Reisenauer . He completed his studies at the end of 1904 and won the Mozart Prize there. Reisenauer appointed him the only assistant at his master school, where he worked until Reisenauer’s early death in 1907. He apparently went to Erfurt shortly thereafter. According to press reports, he performed for the first time on November 14, 1907 at the Erfurt Musikverein. In 1913 the “Erfurter Allgemeineanzeiger” recognized his 25th concert. From 1910 to 1914 he was head of the training class at the Erfurt “Akademie der Tonkunst” at Gartenstraße 52. He also undertook concert tours through Germany, France, Sweden and Russia, where he achieved significant pianistic successes. It is conceivable that in March 1913, when he was saying farewell with the director of the Erfurt Conservatory, the music teacher Walter Hansmann (1875-1963), in the hall of the “Europäischer Hof” on Meister-Eckehart-Strasse, he entered private life withdrew. He obviously did not have to take part in the First World War. In any case, from May to November 1914 he worked as a builder and had a villa built in Erfurt’s best residential area, which he largely designed himself. The money for building the house at Cyriakstraße 21 apparently came from his father-in-law. His name was not only Müller, but he was also the miller at the Kartäusermühle (Erfurt) . The proceeds from the sale of the mill to Adolf Filß probably made it possible for his daughter Anna, who had married Anatol, to finance it. In any case, in 1925 he sold the house on Cyriakstrasse to the pianist and officer’s widow von Dosky, left Erfurt and went to Paris. Roessel was a Russian citizen but became stateless in Russia after the October Revolution. In Paris he worked as a music critic. He wrote for the international music press, including the magazine L’art musical and was a correspondent for the Neue Magazin für Musik, he was also vice-president of the Critique étrangère en France. Divorced in the meantime, he returned to Germany in July 1939 to settle private matters. Here he also experienced the outbreak of war in September 1939. In 1940 he went back to Paris for a short time, but soon withdrew to the Bavarian countryside, deprived of his livelihood. As a stateless person, his status in Nazi Germany was not easy. The internationally renowned musician and critic found refuge in the Landschulheim Neubeuern near Rosenheim, where he worked as a piano teacher and concertmaster. In 1941, the National Socialists closed the boarding school as “politically unreliable”. At the invitation of the Odenwald School he was able to move to Ober-Hambach in the same year to also work as a piano teacher there. Roessel worked in the Odenwald School until old age, his livelihood was secured by the school community.

 

 

TRACKLIST

 

 

195 CHOPIN – Etude, Op. 25, No. 7, c#

234 RACHMANINOFF – “Fantasy Pieces”, Op. 3, No. 2, c# Prelude

303 BRAHMS – Rhapsody, Op. 79, No. 1, b

304 LISZT – Hungarian Rhapsody No. 5, e “Héroide-Elégiaque”

305 MOSZKOWSKI – GODOWSKY – Spanish Dance, Op. 21, No. 3, f#

307 TCHAIKOVSKY – Tender Reproaches, Op. 72, No. 3, c#

309 J. STRAUSS, JR. – GOLDSTEIN – (Thousan d & One Nights, Op. 346)

503 REBIKOV – Chanson triste (Song of Sadness) Op. 6, No. 2

507 TCHAIKOVSKY – Berceuse (Cradle Song) Op. 72, No. 2, Ab

1040 TCHAIKOVSKY – Theme and Variations, Op. 19, No. 6, F

1045 SCHUMANN-LISZT – Widmung (Dedication) Op. 25, No. 1

1046 GLAZOUNOV – Gavotte, Op. 49, No. 3, D

1265 GRIEG – Norwegian Dance, Op. 35, No. 2, A



ANATOL VON ROESSEL WELTE-MIGNON PIANO ROLLS CDR