MARK HAMBOURG AMPICO AND WELTE-MIGNON PIANO ROLLS CDR

 

MARK HAMBOURG (BOGUCHAR, RUSSIA, MAY 31 (OR JUNE 1), 1879 – CAMBRIDGE, ENGLAND, AUGUST 26, 1960)

 

 

 

 

The Russian pianist, Mark Hambourg, was born into a musical family. His father, Michael [Mikhail] Hambourg (1855-1916) was a pianist and a teacher. Mark studied with his father, made his debut in Moscow in 1888, at age 9. Then he went to Vienna to study with the celebrated pedagogue Theodor Leschetizky. It was Leschetizky who prepared Hambourg for his Vienna debut in 1894 with the Wiener Philharmoniker under Hans Richter, playing Frédéric Chopin’s First Piano Concerto. The following year he made his first appearance with the Berliner Philharmoniker playing Johannes Brahms’ First Piano Concerto – unknown to him until after the performance, the composer had been in attendance! Mark’s pianistic hero in the earliest phase of his career was Paderewski. Later he became a close friend of both Ferruccio Busoni and Moriz Rosenthal. He performed the titanic F. Busoni Piano Concerto under the baton of the composer and replaced him on tour with violinist Ysa e during 1901. Mark Hambourg soon began performing as a concerto player throughout the major cities of Europe. Eventually he settled in London, England and, along with occasional orchestral engagements, he primarily focused on recital-giving, and toured all over the world. Mark Hambourg performed a very wide repertoire ranging from J.S. Bach to contemporary, and winning acclaim for his zigeuner-like personality (as demonstrated in his recordings of Franz Liszt’s Hungarian Rhapsodies and Dvorák’s Slavonic Dances). Among other works he was the dedicatee of F. Busoni’s forward-looking Sonatina seconda (1912) and claimed to have given the British premieres of Ravel’s Gaspard de la nuit (he also recorded Ondine for the first time) and Jeux d’eau, as well as of the transcription of Debussy’s Prélude à l’après-midi d’un faune by Leonard Borwick (which he also recorded). He recorded Falla’s Fantasia baetica in 1923, two years before Rubinstein gave its ‘official premiere’, and showed an affinity for Iberian and South American music through his advocacy of unfamiliar works by Heitor Villa-Lobos, Albéniz and Enrique Granados. Between about 1909 and 1933, Mark Hambourg recorded copiously for the Gramophone Company (HMV). He made over 200 recordings for the gramophone between 1910 and 1935. Their quality is variable and suggests that he was essentially an artist dependent on the spontaneity of the moment. They also reveal his avowed dislike of the recording process. He continued to perform in public until the late 1950’s. Mark Hambourg occupies a unique place in early 20th-century pianism, and was regarded by his contemporaries as an artist of the first rank. Mark Hambourg’s younger brothers were also successful performing musicians. Jan (1882-1947) was a violinist and Boris (1885-1954) was a cellist. Mark Hambourg’s daughter Michal (1919-2004) was also a pianist and for some time they played and recorded together as piano duo.

 

 

TRACKLIST

 

55574 AMPICO LISZT – Etude In D Flat

931 WELTE-MIGNON CHOPIN – Mazurka, Op. 17, No. 4, a

934 WELTE-MIGNON A. RUBINSTEIN-Le bal (The Ball)-Valse de concert, Op. 14, No. 4, Ab

936 WELTE-MIGNON LISZT – Polonaise No. 2, E

5699 DUO-ART LESCHETIZKY – La Source (The Spring) Op. 36, No. 4

MARK HAMBOURG AMPICO AND WELTE-MIGNON PIANO ROLLS CDR

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RENEÉ FLORIGNY DUO-ART PIANO ROLLS CDR

 

RENEÉ FLORIGNY

 

 

 

Renée Florigny was a celebrated French pianist and recording artist who was active in the early 20th century. She was known for performing classical music and was a popular vaudeville act in the United States and on a world tour in 1935. She was described in the press as the “feminine Paderewski,” referring to the famous Polish pianist and composer Ignacy Paderewski.

In 1896, when she was eleven years old, Renée Florigny won the highest honors bestowed by the Conservatory of Bordeaux, her native city. She was then sent to Paris, where she studied for four years at the Paris Conservatory under the personal guidance of the great pianist and teacher Raoul Pugno. In 1900 she won the Grand Prize in the exacting examinations of that institution.

In the following years she developed into a concert soloist and virtuoso of high rank, touring successfully in France, Italy, Spain, Switzerland, Egypt, and the United States. Her interpretations reveal an artist of superior qualifications, “possessed of an exceptionally large and varied repertoire.

 

 

TRACKLIST

 

5570 DUO-ART DEBUSSY – Arabesque No. l, E

5571 DUO-ART GRIEG – Berceuse (Cradle Song) Op. 38, No. l   “Lyric Pieces”

5572 DUO-ART RAFF – La Fileuse (The Spinner) Etude, Op. 157, No. 2, F#

RENEÉ FLORIGNY DUO-ART PIANO ROLLS CDR

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JOSEF WEISS WELTE-MIGNON PIANO ROLLS CDR

 

JOSEF WEISS (KOSICE, KINGDOM OF HUNGARY, MARCH 12, 1864 – BUDAPEST, HUNGARY, MARCH, 1945)

 

 

 

 

He studied music from the age of 11, received his initial education at home. In the 1870s he took piano lessons from F. Liszt. He studied for 4 years at the Budapest Academy of Music in class. piano F. Erkel and c. compositions by F. R. Folkman. Graduated from the Vienna Conservatory, class. composition theory by Franz Kren, after which he prepared a concert repertoire under the direction of M. Moszkowski in Germany. He taught at the Berlin New Academy of Music T. Kullak, and also taught his own piano courses. For two years he taught in Aberdeen, had over 100 students. At the St. Petersburg Conservatory: professor of the 2nd degree class. playing the piano (1891–1893). Conducted by class. piano and cl. ensemble. After 1893 he lived in Berlin for a long time, was engaged in performing and teaching activities. He gave concerts in Germany (Berlin, Leipzig, Schwerin), Hungary (Budapest), Russia (St. Petersburg), USA (New York, Albany), etc. Solo repertoire includes works by L. Beethoven, F. Mendelssohn, F. Chopin , R. Schumann, F. Liszt (original compositions and transcriptions), A. G. Rubinstein, I. Brahms, P. I. Tchaikovsky, own compositions. The chamber repertoire includes music by L. Boccherini, I. Brahms, K. Yu. Davydov, A. A. Brandukov and others. He performed in an ensemble with the German cellist H. Becker.

 

 

TRACKLIST

 

398 WELTE-MIGNON BACH-D’ALBERT – Passacaglia, c, S. 582

399 WELTE-MIGNON DOHNANYI – Rhapsody, Op. 11, No. 2 F#

400 WELTE-MIGNON WEISS – Frühlingsahnen (Presentiment of Spring)

3614 WELTE-MIGNON BIZET – Fantasie on Themes from the Opera “Carmen”

3617 WELTE-MIGNON J. STRAUSS,JR.-WEISS-KOSCHITZ – Roses from the South – Waltzes

3618 WELTE-MIGNON DVORAK – “Bohemian National Dances”, Op. 42, No. 1 Furiant

JOSEF WEISS WELTE-MIGNON PIANO ROLLS CDR

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FRANCIS PLANTÉ TRIPHONOLA PIANO ROLLS CDR

 

FRANCIS PLANTÉ (ORTHEZ, FRANCE 2 MARCH 1839 – ST.-AVIT, FRANCE 19 DECEMBER 1934)

 

 

 

 

He was a French pianist famed as one of the first ever recording artists. He was France’s most important pianist in the nineteenth century, apart from Chopin. He studied piano under Antoine Marmontel, his career beginning at the age of seven in Paris. While there he met and befriended many like-minded musicians who would have a long-lasting effect on his career. These included Franz Liszt, with whom he played arrangements of two of Liszt’s symphonic poems (Les Préludes, and Tasso, Lamento e Trionfo) for 2 pianos, Hector Berlioz, Gioachino Rossini, Charles Gounod, Felix Mendelssohn, Sigismond Thalberg and Charles-Marie Widor. It is also known that he himself heard Frédéric Chopin play, and because of this, his recordings – and indeed the one film available of him – are seen as a link to a ‘lost world’ of piano performance. He toured the concert platforms of Europe after leaving Paris, expanding his reputation for quality of tone and virtuosic, emotional interpretations. The death of his wife in 1908 resulted in him retiring from the stage, except for charity performances and concerts in aid of those wounded in the First World War. He had many pupils, including Alexander Brailowsky. He died in Saint-Avit. Francis Planté’s style is considered very different from modern-day recording artists. The recordings available suggest a more paced performance with a more prominent accent on each beat and with the notes more pronounced.

 

 

TRACKLIST

 

 

Concerto No. 1, Op. 11 – e-mi, Allegro maestoso (2nd Part) Triphonola 55759

Prelude & Fugue No. 3 in C-Sharp Major, BWV 848 (Bach) Triphonola 50499

Valse-Caprice (Rubinstein) Triphonola 57270

FRANCIS PLANTÉ TRIPHONOLA PIANO ROLLS CDR

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FERRUCCIO BUSONI AMPICO PIANO ROLLS CDR

 

FERRUCCIO BUSONI (EMPOLI, ITALY, 1 APRIL, 1866 – BERLIN, GERMANY, 27 JULY, 1924)

 

 

 

 

Ferruccio Busoni was the only child of two professional musicians: his Italian/German mother a pianist, his Italian father a clarinettist. They were often touring during his childhood, and he was brought up in Trieste for the most part. He was a child prodigy. He made his public debut on the piano with his parents, at the age of seven. A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and met F. Liszt, Johannes Brahms and Anton Rubinstein. Ferruccio Busoni had a brief period of study in Graz before leaving to Leipzig in 1886. He subsequently held several teaching posts, the first in 1888 at Helsinki, where he met his wife, Gerda Sjöstrand. He taught in Moscow in 1890, and in the USA from 1891 to 1894 where he also toured as a virtuoso pianist. In 1894 he settled in Berlin, giving a series of concerts there both as pianist and conductor. He particularly promoted contemporary music. He also continued to teach in a number of master-classes at Weimar, Vienna and Basel, among his pupils being Claudio Arrau and Egon Petri. During World War I, Ferruccio Busoni lived first in Bologna, where he directed the conservatory, and later in Zürich. He refused to perform in any countries that were involved in the war. He returned to Berlin in 1920 where he gave master-classes in composition. He had several composition pupils who went on to become famous, including Kurt Weill, Edgard Varèse and Stefan Wolpe. Ferruccio Busoni died in Berlin from a kidney disease. He was interred in the Städtischen Friedhof III, Berlin-Schöneberg, Stubenrauchstraße 43-45. He left a few recordings of his playing as well as a number of piano rolls. His compositions were largely neglected for many years after his death, but he was remembered as a great virtuoso and arranger of J.S. Bach for the piano. Around the 1980s there was a revival of interest in his compositions. He is commemorated by a plaque at the site of his last residence in Berlin-Schöneberg, Viktoria-Luise-Platz 11.

 

 

TRACKLIST

 

Ballade No. 1 in Gm Op. 23 (Chopin) Ampico 50047

Gnomenreigen No. 2 (Liszt) Ampico 51364

Rigoletto Paraphrase (Verdi-Liszt) Ampico 50676

FERRUCCIO BUSONI AMPICO PIANO ROLLS CDR

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FERRUCCIO BUSONI TRIPHONOLA PIANO ROLLS CDR

 

FERRUCCIO BUSONI (EMPOLI, ITALY, 1 APRIL, 1866 – BERLIN, GERMANY, 27 JULY, 1924)

 

 

 

 

Ferruccio Busoni was the only child of two professional musicians: his Italian/German mother a pianist, his Italian father a clarinettist. They were often touring during his childhood, and he was brought up in Trieste for the most part. He was a child prodigy. He made his public debut on the piano with his parents, at the age of seven. A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and met F. Liszt, Johannes Brahms and Anton Rubinstein. Ferruccio Busoni had a brief period of study in Graz before leaving to Leipzig in 1886. He subsequently held several teaching posts, the first in 1888 at Helsinki, where he met his wife, Gerda Sjöstrand. He taught in Moscow in 1890, and in the USA from 1891 to 1894 where he also toured as a virtuoso pianist. In 1894 he settled in Berlin, giving a series of concerts there both as pianist and conductor. He particularly promoted contemporary music. He also continued to teach in a number of master-classes at Weimar, Vienna and Basel, among his pupils being Claudio Arrau and Egon Petri. During World War I, Ferruccio Busoni lived first in Bologna, where he directed the conservatory, and later in Zürich. He refused to perform in any countries that were involved in the war. He returned to Berlin in 1920 where he gave master-classes in composition. He had several composition pupils who went on to become famous, including Kurt Weill, Edgard Varèse and Stefan Wolpe. Ferruccio Busoni died in Berlin from a kidney disease. He was interred in the Städtischen Friedhof III, Berlin-Schöneberg, Stubenrauchstraße 43-45. He left a few recordings of his playing as well as a number of piano rolls. His compositions were largely neglected for many years after his death, but he was remembered as a great virtuoso and arranger of J.S. Bach for the piano. Around the 1980s there was a revival of interest in his compositions. He is commemorated by a plaque at the site of his last residence in Berlin-Schöneberg, Viktoria-Luise-Platz 11.

 

 

TRACKLIST

 

 

TRIPHONOLA Ballade Op. 23 G Minor (Chopin) T50081 1910

TRIPHONOLA Rigoletto Concert Paraphrase on the Quartette (Verdi arr. Liszt) 50265 1910

TRIPHONOLA Legende No. 2 St Francois de Paule marchant sur les flots (Liszt) 51885 1910

FERRUCCIO BUSONI TRIPHONOLA PIANO ROLLS CDR

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FERRUCCIO BUSONI 1920-1921 AEOLIAN PIANO ROLLS CDR

 

FERRUCCIO BUSONI (EMPOLI, ITALY, 1 APRIL, 1866 – BERLIN, GERMANY, 27 JULY, 1924)

 

 

 

 

Ferruccio Busoni was the only child of two professional musicians: his Italian/German mother a pianist, his Italian father a clarinettist. They were often touring during his childhood, and he was brought up in Trieste for the most part. He was a child prodigy. He made his public debut on the piano with his parents, at the age of seven. A couple of years later he played some of his own compositions in Vienna where he heard Franz Liszt play, and met F. Liszt, Johannes Brahms and Anton Rubinstein. Ferruccio Busoni had a brief period of study in Graz before leaving to Leipzig in 1886. He subsequently held several teaching posts, the first in 1888 at Helsinki, where he met his wife, Gerda Sjöstrand. He taught in Moscow in 1890, and in the USA from 1891 to 1894 where he also toured as a virtuoso pianist. In 1894 he settled in Berlin, giving a series of concerts there both as pianist and conductor. He particularly promoted contemporary music. He also continued to teach in a number of master-classes at Weimar, Vienna and Basel, among his pupils being Claudio Arrau and Egon Petri. During World War I, Ferruccio Busoni lived first in Bologna, where he directed the conservatory, and later in Zürich. He refused to perform in any countries that were involved in the war. He returned to Berlin in 1920 where he gave master-classes in composition. He had several composition pupils who went on to become famous, including Kurt Weill, Edgard Varèse and Stefan Wolpe. Ferruccio Busoni died in Berlin from a kidney disease. He was interred in the Städtischen Friedhof III, Berlin-Schöneberg, Stubenrauchstraße 43-45. He left a few recordings of his playing as well as a number of piano rolls. His compositions were largely neglected for many years after his death, but he was remembered as a great virtuoso and arranger of J.S. Bach for the piano. Around the 1980s there was a revival of interest in his compositions. He is commemorated by a plaque at the site of his last residence in Berlin-Schöneberg, Viktoria-Luise-Platz 11.

 

 

TRACKLIST

 

AEOLIAN (UK) Prelude Op. 28 No. 16 (Chopin) bb35 1920

AEOLIAN (UK) Prelude Op. 28 No. 23 (Chopin) F39 1920

AEOLIAN (UK) Preludes Op. 28 Nos. 17 Ab; 18 f (Chopin) 36 1920

AEOLIAN (UK) Preludes Op. 28 Nos. 19 Eb; 20 c (Chopin) 37 1920

AEOLIAN (UK) Prelude Op. 28 No. 3 G (Chopin) 023brd 1921

AEOLIAN (UK) Preludes, Op. 28 – No. 12. G Sharp minor, No. 13. F Sharp (Chopin) U739F

AEOLIAN (UK) Preludes Op. 28 Nos. 14 eb; 15 Db “Raindrop” (Chopin) 033brd 1921

AEOLIAN (UK) Preludes Op. 28 Nos. 4 e; 5 D; 6 b (Chopin) 014brd 1921

AEOLIAN (UK) Preludes Op. 28 Nos. l C; 2 a (Chopin) 024brd 1921

FERRUCCIO BUSONI 1920-1921 AEOLIAN PIANO ROLLS CDR

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