JORGE BOLET Liszt | Chopin | Debussy | Moszkowski Vol. I Saint-Saëns | Godowsky | Schumann , 1962-1973 (1811-1886) Années de Pèlerinage. Première Année: Suisse, S. 160 (excerpts) I. La Chapelle de Guillaume Tell 6:44 II. Au lac de Wallenstadt 2:56 III. Pastorale 1:45 IV. Au bord d’une source 3:34 V. Orage 4:22 VI. Vallée d’Obermann 14:06 recording: March 15, 1963 • Siemensvilla, Berlin-Lankwitz

Études d’exécution transcendante, S. 139 (excerpts) I. Preludio 1:00 II. Molto vivace 2:46 XI. Harmonies du soir 10:13 XII. Chasse neige 5:09 IX. Ricordanza 10:53 VIII. Wilde Jagd 5:44 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7

Liebesträume. 3 Notturnos, S. 541 I. Hohe Liebe 6:44 II. Seliger Tod 4:40 III. O Lieb’, so lang du lieben kannst 5:03 recording: January 5, 1966 Siemensvilla, Berlin-Lankwitz

Rhapsodie espagnole, S. 254 13:01 (Folies d’espagne et Jota aragonesa) recording: March, 9, 1964 • RIAS Funkhaus, Berlin – Studio 7 MORITZ MOSZKOWSKI (1854-1925) En automne, Op. 36/4 2:16 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7

CAMILLE SAINT-SAËNS (1835-1921) Le cygne ‘The Swan’ / arr. (1870-1938) 2:32 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7

LEOPOLD GODOWSKY (1870-1938) Le Salon 2:49 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7

ROBERT SCHUMANN (1810-1856) Liebeslied, S 266 (Widmung, Op. 25/1) arr. Franz Liszt 3:44 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7

LEOPOLD GODOWSKY (1870-1938) Symphonic Metamorphosis on themes by Johann Strauss ‘Die Fledermaus’ (The Bat) 10:51 recording: March 9, 1964 • RIAS Funkhaus, Berlin – Studio 7

FRÉDÉRIC CHOPIN (1810-1849) Fantasia in F minor, Op. 49 12:51 recording: October 8, 1973 • RIAS Funkhaus, Berlin – Studio 10 FRÉDÉRIC CHOPIN Impromptu No. 1 in A-flat major, Op. 29 3:41 Impromptu No. 2 in F-sharp major, Op. 36 5:49 Impromptu No. 3 in G-flat major, Op. 51 5:15 Fantasie-Impromptu in C-sharp minor, Op. 66 4:25 recording: March 9, 1964 • RIAS Funkhaus, Berlin – Studio 7

Waltz in D-flat major, Op. 64/1 ‘Minute Waltz’ 1:55 Etude in G-flat major, Op. 10/5 1:51 recording: March 22, 1962 • RIAS Funkhaus, Berlin – Studio 7

CLAUDE DEBUSSY (1862-1918) Préludes. Premier Livre I. Danseuses de Delphes 3:39 IX. La sérénade interrompue 2:29 X. La Cathédrale engloutie 6:31 XII. Minstrels 2:12 recording: January 5, 1966, Siemensvilla, Berlin-Lankwitz

Préludes. Deuxième Livre VI. Général Lavine – eccentric 2:44 VII. La terrasse des audiences du clair de lune 4:48 VIII. Ondine 2:57 XII. Feux d’artifice 4:08 recording: January 5, 1966, Siemensvilla, Berlin-Lankwitz easily have become a “Latin lover” of the piano, following in the footsteps of Liberace who, with his version of showmanship, enjoyed enormous success in in success enormous enjoyed showmanship, of version his with who, Liberace of footsteps the in following piano, the of lover” a“Latin have become easily could Bolet Cuban-born star, the a Hollywood of looks the with Endowed birth. since possessed had he provoke to qualities were capacity and exerted he fascination The . of rarest the but by all unmatched beauty exquisite an of sounds forth brought he keyboard, the on hands his placed Bolet moment the But role. this into slipped had who diplomat senior or businessman adistinguished but all, at apianist not was performing man the that sensation paradoxical the with juxtaposed was impression this And culture. and world a long-vanished of representative the seemed he that perfectly and sonaturally grandeur and temperament understatement, and nobility composure, and concentration combined who artist an was Here imperceptibly. manner, almost different a completely in arose charisma Bolet’s audience. by the demanded even or today seen so often is as at, marvel to presence stage theatrical or any spectacular was there because –not memories their in linger forever will that impression the is this concert, in Bolet Jorge experience to enough fortunate anyone For Bolet Jorge of art the On piano. the of gentleman last The many documents at our disposal, including a series of interviews; four of these are cited below. Born in Havana as the eldest of eight children in the watershed watershed the in children eight of eldest the as Havana in below. Born cited are these of four interviews; of aseries including disposal, our at documents many legacy. his to highlights interpretative further 1962 1973, and between contributing are Berlin RIAS the for made arrangements, and encores virtuoso with along Debussy and Liszt, by Chopin, works piano major of recordings These discography. which fame, belated Bolet’s surreal. not if extraordinary, of short nothing seems this by thirty, marketable considered longer no is asoloist today, where business 20 the of company elite the among place Bolet’s securing preserved), been has recording the thankfully, (and, history piano of annals the in down gone has concert the of paraphrase Liszt’s Chopin, and by Bach-Busoni works with things. good the only remember to wants It weren’t for of themy kindness friends. They saw me through thoseyou ghastly, lean But know, years. the human disagreeable mind of things. hasforgetting the capacity response. ablank or nod, a faint elicit names whose of pianists demi-world to that be relegated he still might Were artist, or,a he man, lesser a lesser indeed, and frustrations. opportunities missed 1973 his entitled Gruen John critic music and culture Thus difficulties film Holly was it ironically, But 1937, in temptation. this Competition resisted Naumburg prestigious won the who Bolet, !) a phenomenal was immigrants, Polish and Italian of son the Las If we want to obtain a more detailed picture of Bolet’s place among the great pianists of the 20 the of pianists great the among place Bolet’s of picture detailed amore obtain to we want If The it if here be not would I fifties. and forties late the in came all That half-starvation. was There struggle. great was There years. terrible some had I it, deny not will I article: this in comments following the offered himself Bolet pianist, ayoung as endured he times hard the on back Looking At 58, Jorge Bolet has only of late received major recognition. While he has been a pianist for 52 of his 58 years, his ascent has been painfully slow, and fraught with Vegas without Song th lasted definitive century’s greatest pianists. After four more years, at the age of sixty-four, Bolet signed an exclusive contract with DECCA. In the context of the music music the of context the In DECCA. with contract exclusive an signed Bolet sixty-four, of age the at years, more four After pianists. greatest century’s and were up on until breakthrough mastered American , his with death his wood that launched his fame when he performed the piano scenes for leading actor in George Cukor’s 1960 George in Liszt Bogarde Dirk actor leading for scenes piano the performed he when fame his launched that ­wood with television name came in ease, 1990, appearing one after many was year the concert all later, in Second the the more at engagements credits. Carnegie World prolific, New YorkNew Times After War. Hall Tannhäuser as would (To this testified on February avoid demonstration follow, portrait of Bolet “Where have you been, Bolet?,” noting: Bolet?,” have you been, “Where Bolet of portrait Overture, and the Strauss paraphrases by Carl Tausig and Adolf Schulz-Evler. The The Schulz-Evler. Tausig Adolf by Carl and paraphrases Strauss the and Overture, by any concert but 25, misunderstandings: much 1974, of requests stylistically-confident time when th still century and his artistic convictions, we are fortunate to have to fortunate we are convictions, artistic his and century Bolet, throughout needed Liberace, in his to very the pass who Liszt world finest before was playing and form, born Bolet’s the in Władziu gave which completion greatness a sensational the Valentino greatest of was his piano Liberace recognized. impressive technical recital as

JORGE BOLET brought forth two other world-class pianists in and , he lost his teaching position in 1941. His remarkable 1952 1941.of in recordings position remarkable His teaching his lost he Cherkassky, Shura and Simon Abbey in pianists world-class other two forth brought he Bolet, Jorge to addition in though And 1918 in reasons. abruptly unknown for career concert his ended he Spanuth, August pupil by Liszt trained prodigy a child auspicious: less somewhat 1889, in was in born was who Sapirstein), (originally Saperton of career time).The atthe sum unimaginable an dollars, million one for insured were hands (Godowsky’s level. a new to piano the of possibilities expressive and technical the raised had he Etudes, Chopin the of arrangements his with Particularly pianism. of “Buddha” 1915, the since as regarded States was and United the in living been had Music, of Academy Vienna the at successor Busoni’s and professor appointed was 1900, in Berlin in debut his made had who pianist, Polish-Jewish The Godowsky. Leopold playing, piano of age golden the of legend another of son-in-law the Saperton, David of class the to assigned and accepted was Bolet apply. to permitted boy was the that result the with , in Music of Institute Curtis the of head was who directly, Hofmann Josef contacted she rolling: ball the set this and concert, house aprivate at play him heard acquaintances American parents’ his of One process. the in sight-read to learning playfully older), years eleven (she was year 2 1 audience: an to speaking to this likened Bolet freedom. interpretive individual any for precondition – the detail every you awaits literature piano whole and the and you go forth; one calling, has the sometime But your eyes open. with like that to go something into misguided extraordinarily or gifted extraordinarily you have to be I And either think one in thousand. ten perhaps are of success The chances profession: insane most world’s the have chosen they that […] spirit. great my and men of student tell very I worldly often very were and students so many of their and Liszt Rubinstein Anton as a result. people limited very and are profession: their of risks enormous the assess realistically to also but avant-garde, the to Baroque from music, of kinds all study to students his urged only not He Joio. Dello to Bach from ranging repertoire enormous by his to attested already is universality Bolet’s label. by this misled be to not careful be we should pianists, among Romantic” “last the as marketed later was Bolet if Even performance. every with revealed also is piece the of facet a different which in possible, work the of account thorough most the offering of – goal only – and actual the from distracting nothing with imagination, musical of power the into loss, any without cally Rachmaninov’s for, God? looking they are What heaven. to looks and head his lifts occasionally who pianist the me is to gets really What music. the in aren’t or that want don’tyou really that of stresses kinds all of playing and kinds notes all missing be to you’regoing that probability the even and possibility the increases alteration Such there. position your alter you keyboard, the at that and way keyboard the instrument: the at posture body correct namely teaching, Saperton’s of aspect afundamental manner, about dry typically his in –spoke, department knowledge the of asense get to us permits that document sound surviving only his are arrangements Strauss and Chopin Godowsky’s of some and Etudes Chopin the Dubal, p. 85. p. Dubal, 31. p. Mach, Bolet was not interested in portraying vague “feelings,” but rather in offering a view of the work that has been thoroughly examined and worked out in in out worked and examined thoroughly been has that work the of aview offering in rather but “feelings,” vague portraying in interested not was Bolet overpracticing are today pianists Many playing. to piano existence and whole life whole their and not to limit mind their to can broaden they everything to study them I tell by Saper introduced was he whom to Rachmaninov, however, Sergei model, role was pianistic important most Bolet’s on them put and up them bring then and relaxed, lap, your to hands your drop keyboard, the at position normal your take just should you that say to used [He] always of 1914, and Bolet’s […] And I believe the body should be kept relatively still, too. The more you move around, the more you’re asking for trouble. When you shift your body this this body your shift you When trouble. for you’re more asking the move you around, more The too. still, relatively kept be […] should body the I believe And piano technique musical playing he talent represented passed quickly on to 1 the became his perfect pupils. evident Bolet synthesis to – who his of family: stoic was first outer as a named five-year-old, calm Rudolf and dynamic Serkin’s he would inner assistant look movement: on and attentively later the himself energy during ton at the age of fourteen. For Bolet, Bolet, For fourteen. of age the at ­ton became of his the sister whole director Maria’s body of piano flows, Curtis’s lessons practi piano . - 2

JORGE BOLET since he felt that its soft pedal was not sensitive enough. Globally, he also saw the work of the pianist as a continual act of self-criticism: of act acontinual as pianist the of work the saw also he Globally, enough. sensitive not was pedal soft its that felt he since pianos, between construction of differences in interested also was He first! the in than faster be to perceived is music the row ahall, of back very the in Thus speed. playing the of perception his to proportional inversely is ment) playing. his restrained more and clearer the music, the emotionally-charged and “Romantic” more the Rachmaninov, Like interpretation. sparkling and layered answer. the to listen now question, answer. You and the heard aquestion of kind It’s different.” entirely it’s because one next the to Listen phrase? last the remember you Now, do beautiful? Isn’t this to this. “Listen listener, the be telling you in so have to, turn many words, you’re and every what at doing listener to the You have to communicate 5 4 3 interpretation. his and score the to approach this apply to again, follow. to hewants that road the and do to hewants what to as make achoice to learned sufficiently and ideas, all to open music, to approaches and angles all consider and study to willing is who a person surface; the on appear might it of how absurd amusician: of quality defining the be to considered Bolet what forget not us Let perspective. adifferent –from classicist! distinctly case this in is –which music the view to interpreter by the attempt an as but Debussy’s If devices. of use his in orator the of demanded rhetoric classical (aptum), as “aptly” it present to words, other – in thoroughness same very the with always and work, every arest. to comes line amelodic where places sound, of color, of variety avariety happening, something have always to You strive thing. to same have the exactly do they and phrase next the play and repeat they then and something do They today. hear I that playing much so in lacking really Ifind that something is That the do twice. cannot thing you same music, Romantic in especially is, students my telling keep I thing one The musical. is practicing my time the of percent ninety-eight that say would I […] failings. myof terrible one been always That’s heard. you’ve already what savoring and you’re on, stopping you’re going it not know you Before beautiful.” wasn’t that things start getting bogged down and stagnant. You lose your rhythmic propulsion. moving.” You Otherwise it boy. Keep good a start listening That’s moving. to it yourself keep and just linger, don’t listening on, go to on, a go particular on, go phrase and thinking, “Bolet, “Oh, myself: to saying keep to have I example, for nocturne, Chopin Marcus, Marcus, 17f. p. Noyle, 18. p. Noyle, Translation: Wolfgang and time which, form art the age, early an from photography to professionally himself devoted Bolet leisure, of moments rare his in that telling thus is It regardless toanything, tolisten whoiswilling He is aperson music. with inconnection everything about openmind an has of all, first who, is a person a I musician believe to pianistically, and stylistically both justice, do to tries he that is we remark thing one recordings, Berlin these in playing piano of art Bolet’s we study If a like something play I Whenever slowly. too play dawdle; to tendency a had always have I slow anything in is, that And problem. musical big one had always have I Rathert Thus performance. in do to have you what exactly That’s words. of means by you to I’m communicating that now, ideas Ihave Right speech. of aform basically is Performance couples But for p . 86. Bolet, Bolet faithfulness

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Thank you for your interest in this audite recording. Please note that this PDF version of the booklet is for your personal use only!

We gratefully acknowledge the generous support by Dr. Donald Manildi (International Piano Archives, University of Maryland - IPAM), who kindly gave the permission for the release of these recordings and the use of photo material from the estate of Jorge Bolet kept at IPAM.

recording producer: Wolfgang Buch CD 2 track 1-3 / CD 3 track 8-15 / Destinn CD 1 / CD 2 track 4-9 / CD 3 track 2-7 / Müller CD 3 track 1 recording engineer: Siegbert Bienert CD 2 track 1-3 / CD 3 track 8-15 / Heinz Opitz CD 2 track 4, 9 / CD 3 track 2 / Alfred Steinke CD 3 track 1

Eine Aufnahme von RIAS Berlin (lizenziert durch Deutschlandradio) recording: 1962 - 1973 Deutschlandradio research: Rüdiger Albrecht remastering: Ludger Böckenhoff, 2017 rights: audite claims all rights arising from copyright law and competition law in relation to research, compila- tion and re-mastering of the original audio tapes, as well as the publication of these takes. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, which MASTERst attain an astonishingly high quality, even measured by today’s standards, with their tape RELEASE speed of up to 76 cm/sec. The remastering – professionally competent and sensitively ORIGINAL TAPES applied – also uncovers previously hidden details of the interpretations. Thus, a sound of superior quality results. Publications based on private recordings from broadcasts cannot be com- 1pared with these.

We have made every attempt to clear rights for all material presented here. Should you nonetheless believe that we have accidentally infringed your rights, please let us know at your earliest convenience. We will endeavour to resolve any issues immediately. photos: IPAM / p. 24: Jorge Bolet further reading: Bibliographical notes on the interview excerpts: Dubal, David: The World of the Concert Pianist. London: Gollancz 1985, pp. 78-85. Mach, Elyse: Great Pianists Speak For Themselves. New York: Dover 1991, pp. 21-41. Marcus, Adele: Great Pianists Speak. New York: Paganiniana 1978, pp. 71-86. Noyle, Linda J.: Pianists on Playing. Interviews with Twelve Concert Pianists. Metuchen: Scarecrow Press 1987, pp. 14-25. art direction and design: AB-Design

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