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

LESTER DONAHUE DUO-ART PIANO ROLLS CDR

 

LESTER DONAHUE (1892 – 1964)

 

 

 

 

He was born into a family of Charles E. and Jennie Margaret (McCarthy) Donahue. A protégé of the actress Madame Helena Modjeska, Donahue studied piano in Los Angeles, Berlin, and Switzerland. His teachers included Martin Krause, Egon Petri and Rudolph Ganz. His first concert tour was in the United States, with the coloratura soprano Ellen Beach Yaw; this was only the first of many tours throughout the United States and also Europe for Donahue in the 1910s and 1920s. He was a member of Los Angeles Municipal Art Commission (served as president 1948-1953).

 

TRACKLIST

 

 

5931 DUO-ART BRAHMS – Ballade, Op. 10, No. l, d “Edward”

6194 DUO-ART BORTKIEWICZ – Etude, Op. 15, No. 8

6310 DUO-ART MENDELSSOHN – Wedding March; Elfin Chorus (“Midsummer Night’s”)

61713 AMPICO Rhapsodie No. 3 C Major (Dohnanyi)

ROBERT LORTAT DUO-ART PIANO ROLLS CDR

 

ROBERT LORTAT (PARIS, FRANCE SEPTEMBER 12, 1885 – PARIS, FRANCE MAY 1938)

 

 

 

 

He studied at the Paris Conservatoire under Diémer and won multiple prizes during his time there. He debuted in Paris in 1910 and later toured Germany. Lortat served in World War I, but was wounded and discharged. He returned to performing and made his U.S. debut in 1916. Although he played music of many composers, Lortat’s recordings, made in the late 1920s, are devoted entirely to Chopin.

 

 

TRACKLIST

 

 

5901 DUO-ART  FRANCK – Prélude, Chorale and Fugue: Chorale

5906 DUO-ART  FRANCK – Prélude, Chorale and Fugue: Fugue

5923 DUO-ART  FAURE – Impromptu, Op. 31, No. 2, f

5929 DUO-ART  DINDY – “Poème des montagnes”, Op. 15, No. 3: Plein air

6061 DUO-ART SEVERAC – Le Retour des muletiers (The Muleteers’ Return)

6131 DUO-ART DEBUSSY – “Estampes” – No. 3: Jardins sous la pluie (Gardens Under the Rain)

RUDOLPH GANZ DUO-ART PIANO ROLLS CDR

 

RUDOLPH GANZ (ZURICH, 24 FEBRUARY, 1877 – CHICAGO, 2 AUGUST, 1972)

 

 

 

 

The distinguished Swiss-American pianist, conductor, and pedagogue, Rudolph [Rudolf] Ganz, studied music assiduously, first as a cellist (with Friedrich Hegar), then as a pianist (with Robert Freund) in Zürich. He also took composition lessons with Charles Blanchet at the Lausanne Conservatory. In 1897-1898 he studied piano with F. Blumer in Strasbourg, and in 1899 took a course in advanced piano playing with Ferruccio Busoni in Berlin. Rudolph Ganz made his first public appearance at the age of 12 as a cellist, and at 16 as a pianist. In 1899 he was the soloist in L.v. Beethoven’s Emperor Concerto and Frédéric Chopin’s E-minor Concerto with the Berliner Philharmoniker, and in May 1900 the Berliner Philharmoniker performed his 1st Symphony. In 1901 he went to the USA and was engaged as a professor of piano at the Chicago Musical College. Between 1905 and 1908 he made several tours of the USA and Canada, and from 1908 to 19V toured Europe. After 1912 he toured in both Europe and America. From 1921 to 1927 he was music director of the Saint Louis Symphony Orchestra. From 1938 to 1949 he conducted a highly successful series of Young People’s Concerts with the New York Philharmonic Orchestra. Concurrently  (1929-1954)  he served as director of the Chicago Musical College. He played first performances of many important works, including those of Ferruccio Busoni, Ravel, and Béla Bartók. He was a highly successful pedagogue, and continued to teach almost to the time of his death, at the age of 95. Besides the early symphony, Rudolph Ganz wrote a lively suite of 20 pieces for Orchestra, Animal Pictures (Detroit, January 19, 1933, composer conducting); Piano Concerto (Chicago, February 20, 1941, composer soloist); Laughter-Yet Love, Overture to an Unwritten Comedy (1950); solo piano pieces; and about 200 songs to German, French, English, Swiss, and Alsatian texts. He published Rudolph Ganz Evaluates Modern Piano Music (New York, 1968).

 

 

TRACKLIST

 

 

3044 DEBUSSY- Préludes, Bk 2, No. 5 Bruyères; Bk. 1, No. 6 General Lavine

3050 GLAZOUNOV – Etude ( Charakterstück) The Night

3052 GODARD – Mazurka No. 5, Op. 127, a

3057 LISZT – Album Leaves, Ab

3059 LISZT – Sonetto 104 del Petrarca (Anneés de Pelèrinage – 2nd Yr. Italy, No. 5)

3060 MASSENET – “Scenes pittorèsques”- Orch. Suite No. 4, No. 2 Air de ballet

3061 MOSZKOWSKI – Valse de concert, Op. 69, F

3063 SCHUMANN-RAFF – Paraphrase on Evening Song, Op. 85, No. 12

3064 WAGNER – “Wesen donck” Lieder – No. 5 Träume (Dreams)

3825 PALMGREN – May Night

3932 LISZT – Valse oublieé (Forgotten Waltz) No. 1, F#

3934 SCOTT – Courante

3946 CHOPIN – Mazurka, e

PAUL STRECKER WELTE-MIGNON PIANO ROLLS CDR

 

PAUL STRECKER

 

 

 

He taught at the Talmud-Tora-Schule in Hamburg. One of his pupils was American pianist Bernhard Abramowitsch.

 

 

TRACKLIST

 

 

3856 WELTE-MIGNON BRAHMS – Piano Sonata No. 2, Op. 2, f# 2nd and 3r d mvts.

3863 WELTE-MIGNON LIAPOUNOV – Piano Sonata, Op. 27, f 1st mvt.

3865 WELTE-MIGNON LIAPOUNOV – Piano Sonata, Op. 27, f 3rd and 4th mvts.

3867 WELTE-MIGNON MOZART – Piano Sonata, K. 283 3rd mvt.

3869 WELTE-MIGNON RACHMANINOFF – Piano Sonata No. 2, Op. 36, b-b 1st mvt.

3870 WELTE-MIGNON RACHMANINOFF – Piano Sonata No. 2, Op. 36, b-b 2nd mvt.

3871 WELTE-MIGNON RACHMANINOFF – Piano Sonata No. 2, Op. 36, b-b 3rd mvt.

3879 WELTE-MIGNON SCOTT – “Egypt Suite”, No. 4 Funeral March of Great Rameses

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

 

 

 

 

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

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

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

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

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

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

EMIL PAUR WELTE-MIGNON PIANO ROLLS VOL. 2 CDR

 

EMIL PAUR (CZERNOWITZ, AUSTRIA, NOW CHERNIVTSI, UKRAINE, JULY 19, 1855 – MÍSTEK, CZECHOSLOVAKIA, NOW THE CZECH REPUBLIC, JUNE 7, 1932)

 

 

 

 

Paur was born in Czernowitz, Austria, now Chernivtsi, Ukraine, to a Romanian family, and trained in Vienna before working as a conductor in Kassel, Königsberg and Leipzig. He then emigrated to the United States where he led the Boston Symphony Orchestra from 1893 to 1898, New York Philharmonic from 1898 to 1902 and Pittsburgh Symphony from 1904 to 1910. He was married to pianist Maria Burger from 1862 until her death in 1899. After returning to Germany, he went on to conduct the Berlin State Opera. Paur was considered a serious conductor, favouring the works of Johannes Brahms, which were at the time considered heavy listening. He played both the violin and piano. He recorded 23 works on Welte-Mignon reproducing piano rolls. Paur died in Místek, Czechoslovakia, now the Czech Republic.

 

 

TRACKLIST

 

 

2561 R. STRAUSS – Waltz from the Opera “Der Rosenkavalier”

2562 WAGNER – Elsa’s Song to the Winds from the Opera “Lohengrin”

2563 WAGNER – Lohengrin’s Farewell from the Opera “Lohengrin”

2564 WAGNER – Lohengrin’s Warning to Elsa from the Opera “Lohengrin”

2565 WAGNER – Siegfried’s Funeral March from the Opera “Die Götterdämmerung”

2566 WAGNER – Waldweben (Forest Murmurs) from the Opera “Siegfried”

2568 WAGNER – Introduction to Act III of “Tannhäuser” (Pilgrimage)

EMIL PAUR WELTE-MIGNON PIANO ROLLS VOL. 1 CDR

 

EMIL PAUR (CZERNOWITZ, AUSTRIA, NOW CHERNIVTSI, UKRAINE, JULY 19, 1855 – MÍSTEK, CZECHOSLOVAKIA, NOW THE CZECH REPUBLIC, JUNE 7, 1932)

 

 

 

 

Paur was born in Czernowitz, Austria, now Chernivtsi, Ukraine, to a Romanian family, and trained in Vienna before working as a conductor in Kassel, Königsberg and Leipzig. He then emigrated to the United States where he led the Boston Symphony Orchestra from 1893 to 1898, New York Philharmonic from 1898 to 1902 and Pittsburgh Symphony from 1904 to 1910. He was married to pianist Maria Burger from 1862 until her death in 1899. After returning to Germany, he went on to conduct the Berlin State Opera. Paur was considered a serious conductor, favouring the works of Johannes Brahms, which were at the time considered heavy listening. He played both the violin and piano. He recorded 23 works on Welte-Mignon reproducing piano rolls. Paur died in Místek, Czechoslovakia, now the Czech Republic.

 

 

TRACKLIST

 

  

2551 BEETHOVEN – Variations & Fugue, Op. 35, Eb “Eroica” Part Two

2552 BRAHMS – Capriccio, Op. 76, No. 1, f#

2553 BRAHMS – Intermezzo, Op. 76, No. 3, Ab

2555 BRAHMS – Intermezzo, Op. 117, No. 2, b-b

2556 MASSENET – Fantasie on the Meditation from the Opera “Thais”

2557 DONIZETTI – Fantasie on Themes from the Opera “Lucia di Lammermoor”

2560 PUCCINI – Fantasie on Themes from the Opera “La Tosca”

SUZANNE GODENNE WELTE-MIGNON PIANO ROLLS CDR

 

SUZANNE GODENNE

 

 

 

 

Who knows César Franck in Germany? His symphonic variations performed for the first time in Leipzig by an excellent pianist from Brussels, Suzanne Godenne 

 

Le Mercure Musical (La Revue Musicale S.I.M.), Volume 7, May 15, 1911, Paris

 

  

At the same concert, Godenne achieved legitimate success in piano pieces by Liszt. She has a remarkable technique, serving a powerful temperament and a very cultivated sensitivity. It is rare that a woman interprets works of broad inspiration and robust writing with such character and understanding. Miss Godenneis certainly one of our best virtuosos; she’s also an artist, which is better.

Le Mercure Musical (La Revue Musicale S.I.M.), Volume 8, March 15, 1912, Paris

 

 

TRACKLIST

  

 

2919 WELTE-MIGNON CHOPIN – Andante spianato and Grande Polonaise, Op. 22, Eb

2920 WELTE-MIGNON DEBUSSY – “Suite Bergamasque” No. 3: Clair de lune (Moonlight)

2928 WELTE-MIGNON MOSZKOWSKI – Complainte, Op. 87

2930 WELTE-MIGNON PUGNO – “Tintements de clochette”: Paysages (Landscapes)

WASSILY SAPELLNIKOFF WELTE-MIGNON PIANO ROLLS CDR

 

VASSILY SAPELLNIKOFF (VASILY LVOVICH SAPELNIKOV) (ODESSA, UKRAINE 2 NOVEMBER [O.S. 21 OCTOBER] 1867 – SAN REMO, ITALY 17 MARCH 1941)

 

 

 

 

Sapellnikoff was born in Odessa. He studied at the Odessa Conservatory under Louis Brassin and Sophie Menter, and became professor of piano at Moscow Conservatory in 1897. He eventually moved to Leipzig and finally settled in Munich. He toured with Pyotr Ilyich Tchaikovsky in Germany, France and England. At his debut in Hamburg in 1888, he played Tchaikovsky’s Piano Concerto No. 1 in B-flat minor with the composer conducting. This concert was a great success and a catalyst for his budding career as a concert pianist in Western Europe. He was the first to play this concerto in England. He was the dedicatee of a piano piece by Tchaikovsky. Tchaikovsky wrote about him affectionately in his letters to his brother Modest, in terms such as:

Since the time of Kotek I have never loved anyone so warmly as him.

Because they spent so much time together on these tours, it is often asserted that he and Tchaikovsky were lovers. However, Alexander Poznansky, in Tchaikovsky: The Quest for the Inner Man, writes: “As in the case of Brandukov, it seems likely that an erotic element was present in Tchaikovsky’s friendship with Sapelnikov and that he recognised it as such. Both men were quite young and good-looking. Almost certainly, however, their relations remained chaste.”

Sapellnikoff first appeared in England in 1889 playing the Tchaikovsky concerto at a Royal Philharmonic concert, under the composer’s baton. He became a favourite at Philharmonic concerts, and created a furore in 1892 by his performance of Franz Liszt’s E-flat Concerto, accepting a second engagement for the same season. In 1902 he delivered the first performance in England of Sergei Rachmaninoff’s 2nd Piano Concerto. In December 1912 he gave Frédéric Chopin’s E minor Concerto, under Percy Pitt: in January 1914 the Rachmaninoff again, under Willem Mengelberg: in November 1914 the Liszt A major Concerto, under Thomas Beecham, a performance repeated in January 1915; and the Second Suite by Rachmaninoff (for two pianofortes) with Simeon Rumschisky in December 1915. He performed the Rachmaninoff concerto again for the RPO with Landon Ronald in January 1923. In England he amazed George Bernard Shaw with his playing of the octave left-hand passages in Chopin’s Polonaise in A-flat Heroic. Shaw referred to his left-hand playing as “a marvel even among right hands for delicacy of touch and independence and swiftness of action”.

Between 1897 and 1899 he was a professor at the Moscow Conservatory, where his students included Nikolai Medtner. In spring 1910 Sapellnikoff recorded 12 pieces for the reproducing piano Welte-Mignon, six from his own works. He also made various gramophone records for the Vocalion label, and recorded the 2nd Piano Concerto of Rachmaninoff for Decca Records in 1929 under Basil Cameron, though this recording was never issued and is thought now to be lost. He died in San Remo, Italy.

 

 

TRACKLIST

 

 

WELTE-MIGNON 939 J. STRAUSS,JR. – TAUSIG-Nachtfalter (The Moth) Op. 157, E

WELTE-MIGNON 941 SAPELLNIKOFF – Valse-caprice, Op. 5, Db

WELTE-MIGNON 942 SAPELLNIKOFF – Waltz, Op. 1, Eb

WELTE-MIGNON 944 SAPELLNIKOFF – Polka miniature, Op. 6, No. 2, Ab

WELTE-MIGNON 950 SCHUBERT- Impromptu, Op. 90, No. 3, G

WELTE-MIGNON 951 LISZT – Liebestraum (Nocturne) No. 1, Ab “ Hohe Liebe” (Exalted Love)

WELTE-MIGNON 952 LISZT – Rhapsodie Espagñole, c#

WELTE-MIGNON 953 ROSSINI-LISZT – Overture to the Opera “William Tell”