THE ART OF PIANO ROLLS

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Saturday, May 16, 2026

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.

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”

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. 2 CDR

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

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. 1 CDR

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

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.

Saturday, May 9, 2026

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.

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

SANDRA DROUCKER WELTE-MIGNON PIANO ROLLS CDR

SANDRA DROUCKER (SAINT PETERSBURG, MAY 7, 1875 - HAMAR, APRIL 1, 1944)

Droucker grew up in Russia, the child of a German-Jewish father and a Russian aristocratic mother. She was a student of Anton Rubinstein at the Saint Petersburg Conservatory. In 1904 she published a book about her training with Rubinstein, which conveys Rubinstein's teaching methods. Extensive concert tours from 1894 made her well known not only in Russia, but also in England, Italy and Germany and especially in Scandinavia. Droucker spoke six languages, she had lived permanently in Berlin since around 1894, where the then 28-year-old was a teacher at the Stern Conservatory from 1904 to 1906. She also taught atPetersen Academy of Music. On March 3, 1905, she was one of the first pianists to record 12 pieces for Welte-Mignon , for which only first-class pianists were selected. From 1905 she taught piano to Princess Viktoria Luise of Prussia. From 1910 to 1918 she was married to the Austrian pianist Gottfried Galston, during which time she called herself Droucker-Galston. On March 27, 1913, she made her debut with the Berlin Philharmonic, which she also accompanied as a soloist on a tour of Scandinavia. In the 1930s she met Oswald Jonas, who was a student of Heinrich Schenker and represented his theories, and also taught at the Stern Conservatory from 1930 to 1934. Jonas calls her his student in 1932 and mentions a lecture she gave in Oslo. Probably stateless since the end of the First World War, she went to Norway after Hitler seized power, she was banned from working in Germany . Droucker was fluent in Norwegian and had a number of Norwegian students, including Anne-Marie Ørbeck, from her time as a piano professor. Bjørn Bjørnson procured her and Ignaz Friedmana residence permit. In 1938 she became a Norwegian citizen under Prime Minister Mowinckel after prominent Norwegians such as Aslaug Mohr and the composer Edvard Sylou-Creutz campaigned for her. She died in 1944 in the Red Cross Hospital in Hamar, as the hospitals in Oslo were no longer accepting patients due to the war.

TRACKLIST

1. 265 WELTE-MIGNON CHOPIN - Scherzo No. 3, Op. 39, c#

2. 266 WELTE-MIGNON CHOPIN - Nocturne, Op. 37, No. 2, G

3. 270 WELTE-MIGNON SCHUMANN - Arabesque, Op. 18, C

4. 271 WELTE-MIGNON TCHAIKOVSKY - Momento lirico (Lyrical Moment)

5. 274 WELTE-MIGNON LISZT- Gnomenreigen (Gnomes’ Round Dance) - Concert Etude No. 2, f

RICHARD EPSTEIN WELTE-MIGNON PIANO ROLLS VOL. 2 CDR

RICHARD EPSTEIN (VIENNA, AUSTRIA JANUARY 26, 1869 – NEW YORK, USA AUGUST 1, 1919)

His father was the famous pianist and pedagogue Julius Epstein (1832-1926), the teacher of Gustav Mahler. He was a pupil at the Vienna Conservatory, of his father and R. Fuchs (composition). He was a professor of piano at the Vienna Conservatory, then lived in London (1904–1914) and later in New York. He excelled as an accompanist, in which capacity he was frequently heard with such artists as Sembrich, Fremstad, Culp, Gerhardt, Destinn, Elman, and Kreisler; and as assisting artist with famous chamber music organizations, including the Joachim, Rose, and Bohemian Quartets.

TRACKLIST

2270 J. STRAUSS, JR. – Wine, Women and Song (Reminiscences)

2271 J. STRAUSS, JR. – O Schöner Mai! from the Operetta “Prinz Methusalem”

2272 OFFENBACH – Olympia’s Waltz from the Opera “The Tales of Hoffman”

2273 Klein – Im Irrgarten (In The Puzzle Garden), Polka française.

2902 J. STRAUSS, JR. – Roses from the South – Waltzes, Op. 388

2906 Hellmesberger – Das Veilchenmädl [1904] (The Violet Girl), Veilchenmädl-Walzer a. d. Operette

2907 J. STRAUSS, JR. – Morgenblätter (Morning Papers) – Waltzes, Op. 279

2908 MASSENET – Selections from the Opera “Manon”

RICHARD EPSTEIN WELTE-MIGNON PIANO ROLLS VOL. 1 CDR

RICHARD EPSTEIN (VIENNA, AUSTRIA JANUARY 26, 1869 – NEW YORK, USA AUGUST 1, 1919)

TRACKLIST

2254 PUCCINI – Selections from the Opera “Madama Butterfly”

2255 PUCCINI – Selections from the Opera “La Boheme”

2256 Händel – Messias (The Messiah) [1742 72], Teil 1 No. 9 The People That Walked In Darkness a. d. Oratorium.

2258 ELGAR – The Angels’ Farewell from the Oratorio “Dream of Gerontius”

2259 ELGAR – Prelude to the Oratorio “The Dream of Gerontius”

2260 SAINT-SAENS – My Heart at Thy Sweet Voice from “Samson et Dalila”

2261 Wiener Walzer

2268 Thurban – Billy Possum, Two-Step.

2269 BEETHOVEN – German Dance No. 1, C

LEFF POUISHNOFF WELTE-MIGNON PIANO ROLLS CDR

LEFF NICOLAS POUISHNOFF (ODESSA, UKRAINE 11 OCTOBER 1891 – LONDON, UNITED KINGDOM 28 MAY 1959)

He was born into an aristocratic Russian family in either Kiev or Odessa, was drawn to the piano as a young child, and, having acquired some aptitude before the age of ten, gave two public concerts. His parents, not wishing him to be exploited, discouraged this, but after his father's death (when Leff was 9), financial constraints led to his accepting concert engagements, and he rapidly gained a reputation. Special arrangements were made for his schooling, where he had a particular interest in chemistry. At the age of 14 he joined the State Opera Company orchestra, but a chance meeting with Feodor Chaliapin persuaded him to pursue his piano studies. He studied at the Saint Petersburg Conservatory under Anna Yesipova (piano), with instruction from Rimsky-Korsakov, Liadov and Glazunov (composition) and Nikolai Tcherepnin (conducting). He was one of the most brilliant students of his time, and emerged in 1910 with a first class diploma, a Gold Medal, and a cash prize equivalent to £120 for a voyage to Europe. In that year he competed for the St Petersburg Rubinstein Prize against Arthur Rubinstein, Alexander Borovsky, Julius Isserlis, Edwin Fischer and Alfred Hoehn (the winner). However, instead of embarking at once on a high-profile recital career, he chose instead to make a musical tour through various European countries, studying their music and meeting their musicians, which greatly broadened his experience. Returning to Russia, he made a recital tour with the distinguished Hungarian violinist Leopold Auer, and followed this with a solo tour giving piano recitals, which resulted in many offers of engagements in the major European centres. His international reputation was growing when World War I interrupted his progress. Owing to short-sightedness, he was exempt from military service but, being confined to Russia, he played in military camps and gave a series of concerts for wounded and convalescent men in hospitals. He remained in Russia through the Russian Revolution, suffering considerable want, and in 1919 had the opportunity to make a concert tour in Persia (Iran), the first eminent European pianist to do so. After his successful completion of it he returned and soon afterwards escaped across the Russian frontier and made his way to Paris. In 1920 he moved on to London, where he was unknown, but gave his first and highly acclaimed recital at the Wigmore Hall on 2 February 1921, where he was greatly admired by Ernest Newman. From this point he made his home in Britain. His career now burst upon the European scene. He made numerous orchestral appearances in Britain, in London at the Queen's Hall and Royal Albert Hall, with the Hallé Orchestra in Manchester and with the Scottish Orchestra. His many compositions for orchestra, violin and piano were still in MS in 1924, but his piano pieces were by then being published. He began to make regular visits to the principal cities of France, Germany, Belgium and the Netherlands, and was in the United States in the seasons of 1924-5 and 1925-6, when he toured major cities. His career eventually became worldwide. In summer 1926 he devoted a whole week of recitals to playing over seventy of the principal works of Chopin, and repeated this in 1927 to much acclaim. In recordings he is heard around 1930 as an extremely articulate and intelligent accompanist to Frank Titterton in Schubert song repertoire. He was among the earliest pianists to broadcast from Savoy Hill in 1925, and in 1938 he became the first to be broadcast on television, from Alexandra Palace. During World War II he gave concerts to factory workers, miners and dockers, and made extensive tours among the forces in the Middle East. Pouishnoff made a substantial number of recordings, especially of Chopin and Liszt. He had a very extensive technique, and a delicacy and sensitivity of nuance without effeminacy which won extremely high praise from some critics. He ended his own life, in London. His widow Dorothy (née Hildreth), a former pupil, died only three weeks after he did.

TRACKLIST

1. 1959 WELTE-MIGNON RACHMANINOFF - “Fantasy Pieces”, Op. 3, No. 4, f# Polichinelle

2. 7000 WELTE-MIGNON ALBENIZ-GODOWSKY - Tango in D

3. 7013 WELTE-MIGNON CHOPIN - Etude, Op. 25, No. 9, Gb “Butterfly”

4. 7033 WELTE-MIGNON DELIBES-DOHNANYI - Flower Waltz from the ballet “Naila”

5. 7049 WELTE-MIGNON MENDELSSOHN - Rondo Capriccioso, Op. 14, E

6. 7123 WELTE-MIGNON SCHUBERT-GODOWSKY - Moment Musical, Op. 94, No. 3, f

7. 7487 WELTE-MIGNON POUISHNOFF - Petite valse; Musical Box (Une tabatière à musique)

8. 7542 WELTE-MIGNON POULENC - Mouvements perpetuels, Nos. 1, 2 and 3

9. 7580 WELTE-MIGNON SCRIABIN - Désir, Op. 57, No. l; Caresse dansée, Op. 57, No. 2

CLOTILDE KLEEBERG WELTE-MIGNON PIANO ROLLS CDR

CLOTILDE KLEEBERG (CLOTILDE KLEEBERG-SAMUEL) (PARIS, 27 JUNE 1866 – BRUSSELS, 7 FEBRUARY 1909)

The daughter of Martin Kleeberg and Henriette Cahn, natives of Germany, she was born in Paris. She began taking private piano lessons at the age of five and later studied at the Conservatoire de Paris with Louise Massart. She received first prizes at the Conservatoire in 1877 and 1878 and went on to further studies with Théodore Dubois. She performed her first concert in Paris in December 1878 in front of an audience of 4000 people. She went on to perform throughout Europe from 1881 to 1909. She was also very popular in England. Théodore Dubois dedicated his Six Poèmes Sylvestres to Kleeberg. As well as works by composers such as Beethoven, Mendelssohn, Schumann and Chopin, she also played compositions by Cécile Chaminade, Camille Saint-Saëns, Friedrich Gernsheim, Max d'Ollone, Eduard Schütt and Ernst Eduard Taubert. In 1894, she was named an Officier d'Académie and, in 1900, an Officier de l'Instruction Publique. The French composer Camille Saint-Saëns considered her to be a brilliant pianist and Clara Schumann also commented favourably on her playing. In 1900, she married Belgian sculptor Charles Samuel. The couple settled in Brussels. Kleeburg died in Brussels at the age of 42 following a tour through Switzerland, possibly from pneumonia.

TRACKLIST

Clotilde Kleeberg made 8 Welte-Mignon piano rolls

1. 449 WELTE-MIGNON MOSZKOWSKI - Liebeswalzer (Love-Waltz) Op. 57, No. 5

2. 451 WELTE-MIGNON SAINT-SAENS - Valse mignonne, Op. 104, Eb

3. 454 WELTE-MIGNON CHOPIN - Etude, Op. 10, No. 8, F

4. 455 WELTE-MIGNON CHOPIN - Impromptu No. 1, Op. 29, Ab

5. 457 WELTE-MIGNON BEETHOVEN - Variations on an Original Theme, Op. 34, F

6. 458 WELTE-MIGNON MENDELSSOHN - Duetto, Op. 38, No. 6, Ab (Songs w o Words)

ERNST VON DOHNANYI THE COMPLETE WELTE-MIGNON PIANO ROLLS CDR

ERNST VON DOHNANYI, HUNGARIAN ERNŐ DOHNÁNYI (JULY 27, 1877, POZSONY, HUNG.— FEB. 9, 1960, NEW YORK, N.Y., U.S.)

Dohnanyi studied in Budapest at the Royal Academy of Music, where his first symphony was performed in 1897. As a pianist he traveled widely and established a reputation as one of the best performers of his day. He taught at the Berlin Academy for Music (1908–15) and was conductor of the Budapest Philharmonic and associate director of the Budapest Academy of Music (1919). In 1931 Dohnanyi was musical director of Hungarian radio. In 1948 he left Hungary as a political exile; his influence under the prewar regime was held against him, and his music was banned in communist Hungary for more than 10 years. He taught in Argentina and from 1949 held the position of composer-in-residence at Florida State University. He became a U.S. citizen in 1955. Dohnányi’s music, which was chiefly influenced by Johannes Brahms, was late Romantic and conservative in style, and after 1910 he occupied only a minor place among contemporary Hungarian composers. His works include the Ruralia Hungarica for violin, three symphonies, a ballet, the Suite in F-sharp Minor, three operas, and chamber works, notably the Second String Quartet and the two piano and string quintets.

TRACKLIST

1. WELTE-MIGNON 489 SCHUBERT - Piano Sonata, Op. 42, a 2nd mvt.

2. WELTE-MIGNON 490 SCHUBERT - Piano Sonata, Op. 42, a 3rd mvt.

3. WELTE-MIGNON 491 LISZT - Consolation No. 3, Db

4. WELTE-MIGNON 492 LISZT - Hungarian Rhapsody No. 15, a “Rakoczy March”

5. WELTE-MIGNON 493 BACH - Organ Fantasia and Fugue on the name B-A-C-H

6. WELTE-MIGNON 494 LISZT - Hungarian Rhapsody No. 13, a

7. WELTE-MIGNON 495 BEETHOVEN - Piano Sonata, Op. 78, F# lst mvt.

8. WELTE-MIGNON 496 SCHUBERT-LISZT - Soireés de Viennes (Vienna Evenings) No. 4, Db

9. WELTE-MIGNON 497 BRAHMS - Capriccio, Op. 76, No. 2, b

10. WELTE-MIGNON 498 CHOPIN - Waltz, Op. 64, No. 2, c#

11. WELTE-MIGNON 500 DOHNANYI - Gavotte and Musette

12. WELTE-MIGNON 501 SCHUMANN - Romance, Op. 28, No. 2, F#

13. WELTE-MIGNON 502 DOHNANYI - Capriccio, Op. 2, No. 4, b

VLADIMIR DROZDOV WELTE-MIGNON PIANO ROLLS CDR

VLADIMIR NIKOLAEVICH DROZDOV (SARATOV, RUSSIAN EMPIRE, MAY 25, 1882 - NEW YORK, NEW YORK, USA, MARCH, 11, 1960)

He was born in the family of Nikolai Vasilyevich Drozdov (pianist and composer) and Olga Aleksandrovna Balmasheva-Drozdova (music teacher at the Saratov Musical College). He was the eldest child of three sons who became musicians. He received his general education at the Saratov Real School, studied music at the Saratov College of Music (now the Saratov Conservatory) and at the St. Petersburg Conservatory, where he studied piano with Anna Esipova and composition with Nikolai Rimsky-Korsakov. Later he improved with T. Leshetitsky in Vienna. Vladimir Drozdov gave concerts in Russia and abroad. From 1907 he was a teacher (in 1914-1917 - professor) of the Petrograd Conservatory. From 1923 he lived abroad, settling in the USA, where he gave concerts and taught in his own studio in New York. He died March 11, 1960 in New York. The original manuscripts of the composer are in the Scientific Library of the St. Petersburg Conservatory and in the personal collection of the family. He was married to Anna Drozdova, a talented graduate of the St. Petersburg Conservatory. Their children, daughter Natalya and son Pavel, studied music in their father's studio. They gave concerts both together and individually. He was co-founder of the Pushkin Society of America.

TRACKLIST

1953 WELTE-MIGNON DROZDOV – Marionettentanz (Marionette Dance) D-Dur.

1955 WELTE-MIGNON TCHAIKOVSKY – Meditation, Op. 72, No. 5, D

1956 TCHAIKOVSKY – “The Months”, Op. 37a, No. 11 November (Troika)

1957 WELTE-MIGNON LIAPOUNOFF – Transcendental Etudes, Op. 11, No. 3 Carillon

Tuesday, April 14, 2026

CARL WENDLING WELTE-MIGNON PIANO ROLLS CDR

CARL WENDLING (FRANKENTHAL, GERMANY, 14 NOVEMBER 1857 – LEIPZIG, GERMANY, 20 JUNE 1918)

He graduated from the Leipzig Conservatory (1881), where he was a student of Johannes Weidenbach (piano) and Salomon Jadassohn (theory). For three years he taught in Mainz, and from 1884 at the Leipzig Conservatory. Among his students were Cornelis Dopper, Wilhelm Rettich, Russian musicians Alexander Moiseevich Veprik, Vera Zastrabskaya and Erika Voskoboinikova. As a pianist, he is best known for his appeal to the experimental keyboard invented by Paul von Jankó. As an accompanist, he performed, in particular, with singers Katharina Klafsky and Fanny Moran-Olden, violinist Teresina Tua.

TRACKLIST

Carl Wendling made 9 Welte-Mignon piano rolls

375 SINDING – Frühlingsrauschen (Rustle of Spring) Op. 32, No. 3, Db

376 WAGNER-LISZT – Elsa’s Bridal Procession from the Opera “Lohengrin”

377 SCHUETT – Etude mignonne, Op. 16, No. 1, D

378 GRIEG – Wedding Day at Troldhaugen, Op. 65, No. 6 “Lyric Pieces”

379 GRIEG – Berceuse (Cradle Song) Op. 38, No. 1, g “Lyric Pieces”

380 JENSEN – Murmuring Zephyrs, Op. 21, No. 4, G

424 RAFF – La fileuse (The Spinner) Op. 157, No. 2, F#

427 BIZET – Menuett fr “L’Arlésienne” – Suite No. l, No. 2