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Download Booklet 110690 bk Friedman3 EC 5|12|02 3:35 PM Page 5 Ignaz Friedman 8 Mazurka, Op. 7, No. 2 in A minor 2:30 Appendix: ADD Complete Recordings, Volume 3 ( Friedman speaks on Chopin 5:11 English Columbia 1928-1930 9 Mazurka, Op. 33, No. 2 in D major 2:04 Recorded November 1940 Great Pianists • Friedman 8.110690 Recorded 13th September 1930 New Zealand Radio transcription disc 1928 Matrix 5211-5 (Catalogue LX99) Gluck/Brahms: Discographic information taken from 1 Gavotte 2:47 0 Mazurka, Op. 33, No. 4 in B minor 4:08 “Ignaz Friedman: A Discography, Part 1”, Recorded 9th February 1928 Recorded 13th September 1930 compiled by D.H. Mason and Gregor Benko. CHOPIN Matrix WA6943-1 (Catalogue D1651) Matrix 5209-5 (Catalogue LX100) Please thank: Donald Manildi and Gluck/Friedman: ! Mazurka, Op. 24, No. 4 in B flat major 3:44 Raymond Edwards. Mazurkas 2 Menuet (Judgement of Paris) 2:55 Recorded 13th September 1930 Recorded 10th February 1928 Matrix 5208-6 (Catalogue LX100) Polonaise in B flat Matrix WA6945-2 (Catalogue D1640) @ Mazurka, Op. 41, No. 1 in C sharp minor 3:02 Schubert/Liszt: Recorded 10th October 1929 3 Hark, hark, the lark 2:55 Matrix 5207-2 Recorded 10th February 1928 (issued only in U.S. Catalogue 67950) SCHUBERT Matrix WA6947-1 (Catalogue D1636) # Mazurka, Op. 41, No. 1 in C sharp minor 3:00 Hark, hark the lark Schubert/Friedman: Recorded 17th September 1930 4 Alt Wien 7:08 Matrix 5207-9 (Catalogue LX101) Recorded 2nd March 1928 Alt Wien Matrix WAX3341-1, 3342-2 (Catalogue L2107) $ Mazurka, Op. 50, No. 2 in A flat major 3:01 Recorded 13th September 1930 1929 Matrix 5206-6 (Catalogue LX101) Chopin: 5 Polonaise in B flat major 6:37 % Mazurka, Op. 63, No. 3 in C sharp 2:14 GLUCK Recorded 15th February 1929 Matrix WAX4666-3, 4667-3 (Catalogue L2339) ^ Mazurka, Op. 67, No. 3 in C major 1:10 Gavotte Recorded 13th September 1930 1930 Matrix 5210-9 (Catalogue LX102) Chopin: 6 Mazurka, Op. 7, No. 3 in F minor 1:52 & Mazurka, Op. 67, No. 4 in A minor 1:59 7 Mazurka, Op. 7, No. 1 in B flat major 1:54 * Mazurka, Op. 68, No. 2 in A minor 2:29 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Recorded 13th September 1930 Recorded 13th September 1930 and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of Ignaz Friedman Matrix 5205-8 (Catalogue LX99) Matrix 5212-9 (Catalogue LX102) respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Piano 8.110690 5 6 8.110690 110690 bk Friedman3 EC 5|12|02 3:35 PM Page 2 Great Pianists • Ignaz Friedman where several times he rushed an accelerando in a way to record the Mozart or Brahms but instead asked for Ward Marston Complete Recordings, Vol. 3 that destroyed its own effect, had counterparts in other encore pieces and arrangements. The recording of exaggerations of dynamic gradation and expression. Gluck’s Gavotte in an arrangement by Brahms comes In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on Ignaz Friedman was born, as was Josef Hofmann, in broadcast regularly in Australia and New Zealand. The difference between piano and forte was extreme…” from a recording session of 9th February 1928, a BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender Podgorze, a suburb of Krakow, Poland, in 1882. His Partial paralysis of his left hand made him retire in 1943 In the days of recording 78s problems were often session that also included a recording of Friedman’s loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him father was a musician who played in a local theatre (he was only just over sixty) and he died in Sydney in caused by the recording process itself; even if an artist own Barcarolle that was not issued. Friedman as ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, orchestra and after piano lessons with a local teacher January 1948. approved a side for release, if it was not technically arranger of Gluck was recorded the next day in the guise honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also Flora Grzywinska, Friedman left Krakow in 1900 to Probably Friedman’s most famous recordings are acceptable to the engineers it would not be published. of the Minuet from the Judgement of Paris and a few served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov study composition at the Leipzig Conservatory with the set of a dozen Chopin Mazurkas he recorded for the As Bryan Crimp has discovered, the reasons for so weeks later he recorded his arrangement of Schubert recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed Hugo Riemann. It was not until 1901, when he was Columbia Company in London in 1930. These classic many attempts at recording these twelve Mazurkas were titled Alt Wien. Liszt had arranged some of Schubert’s tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student already nineteen, that he decided to go to Vienna for recordings are imbued with Polish spirit and are a lesson purely technical. In fact, the recordings from the first music as nine Soirées de Vienne, Valses-Caprices at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known lessons with Theodore Leschetizky. As with in the subtleties of rhythmic rubato. Although the session of October 1929 were approved by Friedman, d’aprés Franz Schubert and Friedman published two in stereo recording made by the Bell Telephone Laboratories in 1932. In the past, Ward Marston has produced records Moiseiwitsch, Leschetizky was not enthusiastic when performances sound natural and inspired, the recordings but the engineers described the surfaces as ‘rough and similar vein as Alt-Wien – zwei Walzersuiten nach for a number of major and specialist record companies. Now he is bringing his distinctive sonic vision to bear on the young Friedman presented himself, but after three of this selection of Mazurkas were fraught with snappy’, so the sides were not released. Although the Tanzen von Franz Schubert bearbeitet von Ignaz recordings released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as years of study (also becoming Leschetizky’s teaching difficulties. On 10th October 1929 Friedman recorded first few sessions were recorded in the acoustically Friedman. They were published in 1928 (the year of the natural as possible and true to life by ‘lifting the voices’ off his old 78rpm recordings. His aim is to promote the assistant), Friedman was ready to make his Vienna two takes of each Mazurka and three of Op.63 No.3 and superior Central Hall, Westminster, the sides that were recording) and both are heard, one on each side of the importance of preserving old recordings and make available the works of great musicians who need to be heard. début in November 1904 at which he played the D Op.67 No.2, but these were all rejected, so on the 15th eventually published were recorded in Columbia’s Petty original disc. As in Friedman’s inimitably Polish minor Concerto of Brahms, Tchaikovsky’s First October he tried two more takes of Op.7 and three more France studios. Mazurkas one can again hear Friedman’s natural and Concerto and the E flat Concerto of Liszt. This début of Op.67 No.4 and Op.68 No.2. All were rejected, and it Some of the earlier takes have survived as test instinctive rhythm, this time of old Vienna, and it is a launched a touring career that began in 1905, and for the was not until February 1930 that he was able to record pressings and in the case of Op.41 No.1 the approved great pity that his recordings of his own arrangements of next forty years Friedman seemed to be perpetually on again all the twelve Mazurkas, two takes of each side. take was published in Britain, but in America take two Strauss Waltzes made in 1931 have not survived. tour; he visited the United States twelve times, South For some reason all of these sides were rejected; so far from the first session of October 1929 was published so It is interesting to hear Friedman speak briefly in a America seven times, and Europe every year, as well as Friedman had recorded forty sides of Mazurkas, none of a comparison can be made. New Zealand radio broadcast, but sad to think that of Iceland, Turkey, Egypt, South Africa, Palestine, Japan, which were approved for release. At the end of January 1928 Friedman was in the many recitals and concertos he recorded for Australia and New Zealand. Although he did not often Seven months later on 13th September 1930, London where he gave a recital at the Royal Albert Hall Australian and New Zealand radio, none have survived. perform chamber music in public he collaborated with Friedman recorded two or three more takes of each side in which he played Mozart’s Rondo in A minor, Brahms the greatest instrumentalists of the day, Casals, and from this session a take of each was approved, with Variations and Fugue on a theme of Handel and a Huberman, Feuermann, Morini, Elman, Auer and the exception of Op.41 No.1.
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