112054 bk Legends EU 4/5/10 08:33 Page 5 Princess Marcelina Czartoryska. Here, Janotha plays For Liszt and pedagogues like Theodor Leschetizky and pupil, Friedheim became Liszt’s teaching assistant, Friedheim, born in St Petersburg. Twice offered the ADD from Chopin’s own manuscript of a Bach-inspired Anton Rubinstein, the piano was a one-piece orchestra, personal secretary, and confidant. He was probably the directorship of the New York Philharmonic, honoured at Legends of the Piano youthful work (with Chopin’s handwritten notations) the synthesizer of its time, to be “conducted” for a full closest student of all to Liszt, both in piano technique the Taft White House and the courts of Europe, 8.112054 given her by the princess. Even in an age of range of colour and effect through rubato, individual (the sweeping “grand manner”) and general Friedheim was banned from the concert stage and eccentricity, Mme Janotha stood apart: as Mark accentuations, and pedal artistry. In the twentieth temperament (intensely philosophical, with spiritual reduced overnight to playing for the silent movies and Hambourg observed, her concerts were always adorned century, these two approaches survived in the mellow overtones), even sharing a physical resemblance. the vaudeville circuit. His combustible reading of by “a magnificent black cat, without which she declared singing line of Artur Rubinstein, protégé of Joseph “Friedheim’s recital,” to one newspaper critic in 1922, Hungarian Rhapsody No. 2, says a 1915 review in that it was impossible for her to play a single note, and Joachim, the great violinist and intimate of Brahms and “was more of a séance”. Wrote Louis Karpath, “When I Variety, was a crowd-pleaser at New York’s Palace ACOUSTIC which sat plumply upon the piano in front of her.” Frau Schumann; and in the tempestuous fireworks of listen to Arthur Friedheim I close my eyes and I seem to Theatre. Michałowski, whose reputation was towering Vladimir Horowitz, student of a Leschetizky pupil at hear the Master, Franz Liszt.” In this recording, made out of financial desperation within Poland but almost non-existent without, received the Kiev Conservatory. Among our artists, A proponent of Dreyfus’s innocence, Friedheim for a pop music firm (Emerson was also Eddie Cantor’s RECORDINGS instruction from Karol Mikuli, Karl Tausig, and Ignaz Sapellnikoff, Lamond, and Friedheim most clearly dissolved his long friendship with Saint-Saëns after label around this time), the reluctant crossover star, true to Moscheles, eminent disciples of, respectively, Chopin, exemplify the Liszt-Leschetizky “school,” while Friedheim pressed him, unsuccessfully, to add his name Liszt’s precepts, brings out the colours of his instrument Liszt, and Beethoven. From Mikuli he learned Chopin’s Eibenschütz, Baumayer, Janotha, and Michałowski are to a defence of Dreyfus for publication in French while tossing off the bravura “gypsy” melody. Friedheim 1901-1924 ideas on interpretation; Michałowski likely most clearly of the Chopin-Schumann axis. newspapers. Ironically, this recording is the result of like remained in New York except for sojourns in Canada and approximates some aspects of the composer’s own Hambourg, a Russian emigrant to England, studied prejudice. The anti-German hysteria in North America California, where he played duets with Albert Einstein on playing. One pupil, the distinguished pianist/composer with Leschetizky (who told Hambourg he played occasioned by World War I — Karl Muck, the noted violin, but never again recorded. Władysław Szpilman (author of The Pianist and subject uncannily like Anton Rubinstein). As habitué of a conductor of the Boston Symphony, was interned as an of the film by the same name), recalled for these notes Chelsea salon, Hambourg mingled with Oscar Wilde, enemy alien — extended (because of his name) to Russell L. Caplan that Michałowski, nervous and all but blind toward the Bernard Shaw, Ellen Terry, and, on one afternoon, end of his life, played his scores from memory “with a Lenin. To stir pride in his adopted nation’s artistic great virtuosity” and created a “special atmosphere” at tradition during the Great War, Hambourg gave a series home. Listeners felt Brahms could knock on the door at of concerts for which he had delved into England’s any moment. musical history, poring over ancient manuscripts in the Source collections: Donald R. Hodgman; Capes-Openhym Collection, Historical Sound Recordings, GRIEG Koczalski spent four summers with Mikuli in British Museum. This 78 preserves a sampling of those Yale University Library; Ward Marston; International Piano Archives at Maryland. Lwów. “It was no trifle,” he remembered; “each lesson successful concerts, which featured works by Purcell, SAINT-SAËNS lasted two full hours, and these were daily lessons.… Bull, Gibbons, Byrd, Blow, and Arne — then seldom For assistance in preparing this album, including recording dates and related information, Nothing was neglected.” Koczalski was a prodigy’s played, now recognized masters of the English baroque. the producer thanks Richard Warren Jr., Curator, Historical Sound Recordings, Yale University Library; prodigy, making his début at four and, while still a Of those in Liszt’s circle who left recordings, Bob Dearling; Alan Kelly; James Methuen-Campbell; Brian Rust; Donald Manildi, Curator, D’INDY child, appointed court pianist to the Shah of Persia. He Frederic Lamond and Arthur Friedheim occupy the top International Piano Archives at Maryland; Jerry Fabris, Curator of Sound Recordings, had no teacher but Mikuli; both teacher and student rank. The Glaswegian Lamond (Liszt called him “der Edison National Historic Site, West Orange, New Jersey; and the late Neil Ratliff, apparently saw Koczalski as a specially equipped heir Schotte”), admired by Brahms, won fame as a Head of the Music Library and International Piano Archives at Maryland. CHAMINADE to the authentic Chopin tradition. In the light-fingered, Beethovenist. Adept also on the oboe and violin as well aristocratic phrasing of Michałowski and the brisk, well as a linguist competent in French, German, Russian, Executive producer: Russell L. Caplan articulated brushstrokes of Koczalski, we may glimpse Turkish, and Gaelic, Lamond taught, among others, Transfers: Richard Warren Jr. and Ward Marston GRANADOS their ancestor, fleet and dexterous. Victor Borge. Audio conservation: Ward Marston For Chopin and followers like Clara Schumann After an Arthur Friedheim performance of the Pitch stabilization for Grieg selections: Dimitrios Antsos (who heard Chopin play and had been among the first to Sonata in B minor at Weimar, Liszt turned to those EIBENSCHÜTZ perform his music in public), the piano was a single, around him and confided, “That is the way I thought the pure instrument, akin to the violin or the human voice. composition when I wrote it.” Accepted by Liszt as a FRIEDHEIM 8.112054 5 6 8.112054 112054 bk Legends EU 4/5/10 08:33 Page 2 LEGENDS OF THE PIANO: ACOUSTIC RECORDINGS 1901-1924 ARMAND GEORG RAOUL ARTHUR DE GREEF (1862-1940) ovations. It was during this triumphal visit that Grieg, aspects must be concealed; every note must be clear VON KOCZALSKI (1885-1948) ™ Grieg: Puck, from Lyric Pieces, Op. 71, No. 3 2:09 who rather enjoyed the drama, consented to make nine with a full, warm tone, carrying a touch that made every ( Chopin: Polonaise No. 6 in A flat major, HMV E301, matrix Bb 1898-I, CAMILLE SAINT-SAËNS (1835-1921) ILONA EIBENSCHÜTZ (1873-1967) sides, his only disc recordings. At the end of Gangar, melody ring out like a song. (This exactly describes the 1 Saint-Saëns: Marche militaire française, ! Brahms: Waltz in E major and Waltz in A flat major, Op. 53, ‘Héroique’ 6:03 recorded Hayes, Middlesex, Sept. 26, 1922 arr. from Suite algérienne, Op. 60 3:38 Op. 39, Nos. 2 and 15 2:11 Polydor 62441, matrices 1248 at and 1249 at, Grieg or his engineer can be heard. style of another Clara Schumann pupil and Brahms 2 Saint-Saëns: Rêverie du soir à Blidah, @ Brahms: Ballade in G minor, from Klavierstücke, recorded Berlin c. 1924 FREDERIC LAMOND (1868-1948) Paris-born Cécile Chaminade was hugely popular friend, the grim-visaged Marie Baumayer, herself an arr. from Suite algérienne 3:45 Op. 118, No. 3 (abbr.) 2:42 £ Liszt: Gnomenreigen 3:16 in her day, performed by everyone from Nellie Melba important teacher and Brahms exponent in Vienna.) French HMV DB-704 and DB-705, matrices Unissued G & T matrix 4755, VASSILY SAPELLNIKOFF (1868-1941) HMV 5665, matrix Bb 643-1, to John Philip Sousa. Like other French composers of la While under Frau Schumann’s tutelage, 03285v and 03284v, recorded Paris, Nov. 24, 1919 recorded London, Dec. 22, 1903 ) Tchaikovsky: Humoresque in G major, recorded Hayes, Middlesex, Nov. 7, 1921 belle époque, she often painted with exotic hues, as in Eibenschütz met Brahms, whose Klavierstücke, Opp. G & T 5559, matrix 4712, Op. 10, No. 2 2:32 one of her best-known pieces, the Spanish-tinged La 118 and 119, she premiered. “I became an ardent VINCENT D’INDY (1851-1931) recorded London, Dec. 16, 1903 Aeolian R-6129, matrix 03429, ARTHUR FRIEDHEIM (1859-1932) Lisonjera, also called L’Enjôleuse. Though she wrote a Brahmsian,” wrote Eibenschütz, and the respect was 3 D’Indy: Lac vert, from Tableaux de voyage, recorded London c. Jan. 1924 ¢ Liszt: Hungarian Rhapsody No. 2 (abbr.) 4:25 comic opera, chamber and orchestral music, a ballet, mutual: once, when Brahms was strolling with Op. 33, No. 4 3:02 ALFRED GRÜNFELD (1852-1924) Emerson 7235, matrices 2616-1 and 2617-2, and songs, about 350 compositions in all, Chaminade Eibenschütz and a few other friends, he pointed to her 4 D’Indy: Danses rythmiques, # Johann Strauss, Jr., arr. Grünfeld: MARK HAMBOURG (1879-1960) recorded New York c. 1917 was famed for her short, gossamer piano works.