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Download Booklet 111116 bk Moiseiwitsch10 9/6/06 11:33 AM Page 5 current recital programme opened with Bach’s recording was made and published. There were also two ADD Chromatic Fantasy and Fugue and Beethoven’s unissued recordings of Schumann’s Carnaval Op. 9 ‘Moonlight’ Sonata followed by a group of short pieces mentioned above whilst Brahms’s Variations and Great Pianists • Moiseiwitsch 10 8.111116 by Stravinsky, Eugene Goossens, Moszkowski, Chopin Fugue on a theme by Handel Op. 24, was first set down and Palmgren, with Liszt’s Mephisto Waltz concluding in January 1925, then as an early electric recording in the concert. October of the same year, but the published version was Two popular encores by Moszkowski and Delibes not made until March 1930. One major work that did were recorded in March 1922 whilst a session on 4th get issued was of Mendelssohn’s Piano Concerto No. 1 May produced Mussorgsky’s Gopak and Schumann’s in G minor Op. 25, recorded with the Royal Albert Hall ACOUSTIC Traumeswirren. Five days later Moiseiwitsch was at the Orchestra and Sir Landon Ronald in January 1925. In Salle Gaveau in Paris where he gave two recitals, the the 1924-1925 season Moiseiwitsch was playing five RECORDINGS second of which included Liszt’s Piano Sonata in B concertos, No. 1 in B flat minor Op. 23 by Tchaikovsky, minor, Schumann’s Kreisleriana Op. 16, and Chopin’s No. 2 in C minor Op. 18 by Rachmaninov, No. 1 in E Four Ballades. On 13th June he recorded a work that flat by Liszt, Schumann’s Concerto in A minor Op. 54, 1916-1925 he was not publicly performing at that time, the and Beethoven’s No. 5 in E flat, the ‘Emperor’. He was Barcarolle in F minor Op. 30 No. 1 by Anton not, however, publically performing the Piano Rubinstein. In the early part of his career Moiseiwitsch Concerto No. 1 by Mendelssohn at this time. Recorded had some unusual and contemporary works in his right at the end of the acoustic era these discs became repertoire; on 21st November 1921 with the London obsolete almost as soon as they were made owing to the Rameau Symphony Orchestra he played the Concerto vast improvement in sound quality that was obtainable Symphonique for piano and orchestra written that year with the introduction of electrical recording a few by Frédéric d’Erlanger, and on 22nd August 1922 the months later. It should not be dismissed, though, as it Weber Piano Concerto by Alexander Tcherepnin (completed shows the youthful energy and vitality of Moiseiwitsch 8.110776 only two years before) at a Queen’s Hall Prom. at the height of his early career and some poetic playing Mendelssohn Although Moiseiwitsch was active in the studio at in the slow movement. The work was more popular then this time many of the larger works he recorded were not than it is now and another recording of it was made by issued. He recorded Chopin’s complete Preludes, Op. Marie Novello for Edison Velvet Face in the same year. Brahms 28, three times between November 1921 and April 1924 but it was not until December 1948 that a successful © 2006 Jonathan Summers Scriabin Debussy Ravel 8.111115 The Naxos Historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of Benno respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Moiseiwitsch 8.111116 5 6 8.111116 111116 bk Moiseiwitsch10 9/6/06 11:33 AM Page 2 ACOUSTIC RECORDINGS 1916-1925 PALMGREN: DEBUSSY: Great Pianists: Benno Moiseiwitsch (1890-1963), Volume 10 % The Sea 1:21 ) Jardins sous la pluie (from Estampes) 3:15 ACOUSTIC RECORDINGS 1916-1925 RAMEAU: BRAHMS: Recorded 31st May 1918 in Room 1, Hayes Recorded 10th May 1916 in Room 1, Hayes 1 Gavotte et Variations 4:03 8 Capriccio in B minor, Op. 76 No. 2 3:12 Mat. Ho 3307 af; Cat. D 58 Mat. Ho 1844 ac; Cat. D 59 Benno Moiseiwitsch was born in ‘the cradle of Russian single session in 1917, and three from a single session Recorded 11th June 1919 in Room 1, Hayes Recorded 6th December 1916 in Room 1, Hayes pianism’ Odessa, in 1890. At the age of nine he won the in 1918. At this last session Moiseiwitsch recorded Mat. Ho 3761 af; Catalogue D 462 Mat. Bb 1684-2; Cat. E 265 PALMGREN: RAVEL: Anton Rubinstein prize, and after being told by the another quiet impressionistic piece, Debussy’s Clair de ^ Finnish Dance, Op. 31 No. 5 1:38 ¡ Jeux d’eau 4:18 Guildhall School of Music in London that they could lune and two pieces by the Finnish composer Selim DAQUIN: DELIBES: Recorded 19th September 1921 in Room 1, Hayes Recorded 10th May 1916 in Room 1, Hayes teach him nothing, he went, at the age of fourteen, to Palmgren. 2 Le coucou 2:01 9 Passepied 1:42 Mat. Cc 322-3; Cat. D 588 Mat. Ho 1846 ac; Cat. D 58 Vienna where he studied with the great teacher On 1st and 8th February 1919 Moiseiwitsch played (Premier livre de pièces de clavecin) (from Le Roi s’amuse: No. 6: Allegretto) Theodore Leschetizky. At first Leschetizky told young recitals in Liverpool and Brighton. The programme Recorded 13th April 1916 in Room 1, Hayes Recorded 7th March 1922 in Room 1, Hayes LESCHETIZKY: MENDELSSOHN: Benno that he could play better with his feet, but Benno opened with Pastorale and Capriccio by Scarlatti Mat. Ho 2776 ab; Cat. E 10 Mat. Bb 1071-2; Cat. E 256 & Arabesque en forme d’Etude, Op. 45 No. 1 1:42 Piano Concerto No. 1 in G minor, Op. 25 20:03 was undeterred and spent nearly two years in Vienna arranged by Tausig and Rameau’s Gavotte and Recorded 19th September 1921 in Room 1, Hayes ™ I. Molto allegro con fuoco 7:22 perfecting his art with the great master. His British Variations. He recorded these works for HMV on 3rd SCARLATTI arr. TAUSIG: MOSZKOWSKI: Mat. Cc 322-3; Cat. D 588 £ II. Andante 6:32 debut was in Reading in 1908 and his London debut February, but they were not issued. He returned on 11th 3 Pastorale and Capriccio 4:20 0 La Jongleuse, Op. 52 No. 4 1:44 ¢ III. Presto - Molto allegro e vivace 6:09 took place two years later. From 1919 he toured Europe June and made successful recordings of these works Recorded 11th June 1919 in Room 1, Hayes Recorded 7th March 1922 in Room 1, Hayes DEBUSSY: Royal Albert Hall Orchestra and the United States regularly and had an international together with Debussy’s Minstrels, written only nine Mat. Ho 3762 af; Catalogue D 462 Mat. Bb 1072-2; Cat. E 256 * Minstrels (from Préludes Book I) 2:14 Landon Ronald career that took him to every corner of the world. years before, and Liszt’s arrangement of Schubert’s Recorded 11th June 1919 in Room 1, Hayes Recorded 27th January 1925 in Room 1, Hayes This volume of Moiseiwitsch’s recordings contains Hark! Hark! the lark. Two more sessions were SCHUBERT arr. LISZT: RUBINSTEIN: Mat. Ho 4941 ae; Cat. E 216 Mats. CC 5655-3, 5656-2, 5657-1, 5658-1, all of his discs made by the acoustic process of scheduled in 1919 in which he recorded Schumann’s 4 Horch! Horch! der Lerch!, S.558 No. 9 3:04 ! Barcarolle in F minor, Op. 30 No. 1 4:20 5659-2, 5660-2; Cats. D 969-971 composers other than Chopin. Moiseiwitsch made his Carnaval, Op.9, twice, but it was never issued and he Recorded 11th September 1919 in Room 1, Hayes Recorded 13th June 1922 in Room 1, Hayes DEBUSSY: first recordings in April 1916 when he was 26. Within did not record the work again until the LP era (for Mat. Ho 4943 ae; Cat. E 216 Mat. Cc 1462-2; Cat. D 676 ( Clair de lune (from Suite bergamasque) 4:16 the six years since he made his London début, American Decca). Recorded 31st May 1918 in Room 1, Hayes Moiseiwitsch had already built a firm reputation so it is Between the end of November 1919 and April 1920 WEBER: MUSSORGSKY: Mat. Ho 3306 af; Cat. D 59 not surprising that he was signed by HMV, the largest Moiseiwitsch toured America giving no less than four 5 Perpetuum mobile 3:45 @ Gopak (from Sorochinsky Fair) 1:35 company at the time. recitals at New York’s Carnegie Hall. From May to (from Sonata No. 1 in C, J. 138: Presto) Recorded 4th May 1922 in Room 1, Hayes Before 1924, the recording process was a primitive September 1920 he toured Australia and from October Recorded 19th September 1921 in Room 1, Hayes Mat. Bb 1287-3; Cat. E 319 Special thanks to Donald Manildi affair where the sound was captured by a horn and these began another tour of the United States beginning on the Mat. Cc 321-3; Cat. D 735 vibrations transmitted to the wax via a diaphragm and west coast, not returning to England until April 1921. SCRIABIN: cutting stylus. The piano was a notoriously difficult He had been on tour for eighteen months, and after SCHUMANN: # Nocturne for the left hand in D flat, Op. 9 No. 2 4:23 instrument to capture, particularly the high notes and arriving at Southampton on the Adriatic on 15th April 6 Traumes Wirren 2:50 Recorded 6th December 1916 in Room 1, Hayes upper frequencies, so it is surprising that HMV had 1921 after only one week’s rest he was playing a recital (from Fantasiestücke Op.
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