JORGE BOLET Vol. III

Beethoven | Chopin | Debussy | Schumann , 1961 - 1974 Franck | Grieg | Godowsky | Liszt | Dello Joio FRÉDÉRIC CHOPIN (1810-1849) 12 Études, Op. 25 Étude in A-flat major, Op. 25/1 ‘Aeolian Harp’ • Allegro sostenuto 2:37 Étude in F minor, Op. 25/2 • Presto 1:36 Étude in F major, Op. 25/3 • Allegro 2:15 Étude in A minor, Op. 25/4 • Agitato 2:03 Étude in E minor, Op. 25/5 • Vivace 3:25 Étude in G-sharp minor, Op. 25/6 • Allegro 2:03 Étude in C-sharp minor, Op. 25/7 • Lento 5:29 Étude in D-flat major, Op. 25/8 • Vivace 1:18 Étude in G-flat major, Op. 25/9 • Allegro assai 1:01 Étude in B minor, Op. 25/10 • Allegro con fuoco 4:54 Étude in A minor, Op. 25/11 ‘Winter Wind’ • Lento 4:03 Étude in C minor, Op. 25/12 • Allegro molto con fuoco 2:42 recording: April 24, 1968 • Haus des Rundfunks, Saal 3 (stereo)

LUDWIG VAN BEETHOVEN (1770-1827) Piano Concerto No. 5 in E-flat major, Op. 73 ‘Emperor’ I. Allegro 23:29 II. Adagio un poco mosso – attacca: 8:24 III. Rondo. Allegro 10:19 Radio-Symphonie-Orchester Berlin Moshe Atzmon, conductor live recording: December 3, 1974 • Paris ORTF (stereo)

ROBERT SCHUMANN (1810-1856) Piano Sonata No. 3 in F minor, Op. 14 I. Allegro 7:48 II. Scherzo. Molto comodo 4:46 III. Quasi Variazioni. Andantino de Clara Wieck 8:50 IV. Finale. Prestissimo possible 5:26 recording: March 11, 1964 • Haus des Rundfunks, Saal 3 (mono) EDVARD GRIEG (1843-1907) Ballad in G minor, Op. 24 (excerpts) I. Andante espressivo 1:11 II. Poco meno andante, ma molto tranquillo 0:47 III. Allegro agitato 0:35 IV. Adagio 1:30 V. Allegro capriccioso 0:27 VI. Piu lento 1:27 VII. Allegro scherzando 0:53 VIII. Lento 1:57 IX. Un poco andante 1:30 X. Un poco allegro e alla burla 1:17 XI. Piu animato 1:57 XIII. Allegro furioso – Prestissimo – Andante espressivo 1:58 recording: October 2, 1961 • Haus des Rundfunks, Saal 3 (mono)

CÉSAR FRANCK (1822-1890) Prélude, Aria et Final, FWV 23 I. Prélude. Allegro moderato e maestoso 10:22 II. Aria. Lento 6:30 III. Final. Allegro molto ed agitato 7:08 recording: March 26, 1962 • Haus des Rundfunks, Saal 3 (mono)

FRÉDÉRIC CHOPIN (1810-1849) Fantaisie-Impromptu in C-sharp minor, Op. 66 4:55 recording: February 21, 1963 • Haus des Rundfunks, Saal 3 (mono)

Grand Polonaise in E-flat major, Op. 22 13:21 I. Andante spianato 4:04 II. Polonaise 9:17 recording: March 3, 1971 • Haus des Rundfunks, Saal 3 (stereo)

Polonaise No. 3 in A major, Op. 40/1 ‘Military’ 4:54 Polonaise No. 4 in C minor, Op. 40/2 6:18 Polonaise No. 6 in A-flat major, Op. 53 ‘Heroic’ 7:06 recording: December 2, 1966 • Haus des Rundfunks, Saal 3 (stereo) , arr. (1811-1886) ‘Frühlingsnacht’, S 568 (Liederkreis, Op. 39/12) 2:42 recording: December 2, 1966 • Haus des Rundfunks, Saal 3 (stereo)

CLAUDE DEBUSSY (1862-1918) Images pour Piano II I. Cloches à travers les feuilles (Bells through the leaves) • Lent 4:46 II. Et la lune descend sur le temple qui fut (And the moon descends on the temple that was) • Lent 5:31 III. Poissons d’or (Golden fishes) • Animé 3:56

Masques Très vif et fantasque 5:33 recording: October 2, 1961 • Haus des Rundfunks, Saal 3 (mono)

NORMAN DELLO JOIO (1913-2008) Sonata for Piano No. 2 I. Presto martellato 2:46 II. Adagio 5:40 III. Vivace spiritoso 3:50 recording: January 6, 1966 • Haus des Rundfunks, Saal 3 (stereo)

LEOPOLD GODOWSKY (1870-1938) Symphonic Metamorphosis of themes by Johann Strauss No. 2 ‘Die Fledermaus’ (The Bat) 10:47 recording: February 21, 1963 • Haus des Rundfunks, Saal 3 (mono) Willmes, Kassel, 2008, p. 91. p. 2008, Kassel, G. Willmes, and .Harden byI ed. Aufnahmen, ihre Stil, ihr Biografie, Ihre Interpreten: 600 Pianisten-Profile. in: Bolet” “Jorge Harden, 1 Ingo he appeared in a “Concert with fiveAmerican soloists” underthe baton of Arthur Rother atthe newly opened concerthall ofthe Hoch 1954 on 7 April city; divided of the programmes and radio schedule concert in the presence continued Bolet’s note to it is amazing Berlin, to travel musicians after the withdrawal of the Soviet Kommandatura. On the other side of the cultural-political consequences of the Cold War, which saw many American (Masuren Rundfunks des Haus at the Berlin, Freies Sender by the made recordings the on focuses one two boxed this (audite sets first 21.438the andWhilst recordings, 97.738)RIAS assured. present and stylistically inquisitive to be characteristically execution industry”). “fast but nothing demonstrated playing his that claiming aside an with snubbed was in time Cherkassky 1965; first the for published Present], the “I believe a musician is a person who, first of all, has an open mind about everything in connection with music […], willing to study and consider all angles and and music angles allwith and[…], consider tostudy in connection willing everything about mind anopen has of all, first who, is a person a believe musician “I Berlin Freies Sender at recordings Bolet’s –Jorge music all about Open-minded represent fairly dogmatic aesthetics, didrepresent not dogmatic fairly at aesthetics, mention Bolet all in any of the editions ofbook his influential times even programmed pieces by Boulez and Stockhausen. (This openness did not always prove popular: the Germansome criticwho and Joachim Kaiser,Institute, who tendedCurtis to ’s at Saperton David pedagogue piano famous the by taught been senior,also hadhis who five years Cherkassky, demon thus who put his superior talents into the service of conveying the most diverse soundworlds and a modesmusician music), ofdepict expression from contemporary the classical (including age up tostyles modernism, diverse towards attitude unprejudiced and his programmes, concert of traditional paths well-trodden was a serious, strict virtuoso who primarily sought to elucidate compositional architecture.” in Bolet’s playing, which can be described as ‘eloquent’, ‘expressive’ or even ‘symphonic’, took a back seat to an apparently controlled interpretation. Bolet which, stylistically, seems quite score ‘modern’the towards and which lends his playingsincerity a sense of classical modernity.straightforward This a by becomes all the moredetermined apparentalways as musicalwas elements text’, the to ‘faithfulness superficial against strictly was he although playing, his this, younger age, he showed little interest in the circus and effects idiosyncracies which characterised the playing of many ‘old school’ virtuosos. In contrast to approach which had to manifest started itself the after First World War. Ingo Harden concisely summarised this ambivalence in Bolet’s “Even at artistry: a such as Chopin, Liszt and Schumann; however, the way in which Bolet realised them demonstrates the lasting influence of an objectivising interpretationalheroes piano romantic had produced that century nineteenth the age” piano, of “golden the in the were rooted These and ideals. own his goals characterising was he of course, and foremost, First Marcus. Adele awith during the ofrole amusician 1978 interview defined is howto This music.” Bolet Jorge approaches This third and final volume of Jorge Bolet’s (West) Berlin recordings and concert recordings made between 1961between made and recordings and1974 concert its and of music choice recordings (West)showshis Berlin Bolet’s ofJorge volume and final third This strating to his listeners the incredibly manifold nature of piano music since the baroque period. In this respect, Bolet was surpassed only by Shura Shura by only surpassed was Bolet respect, this In period. baroque the since music piano of nature manifold incredibly the listeners his to ­strating 1 Bolet’s determination to explore repertoire away from the in Charlottenburg) of district Berlin the in ­allee, Große Pianisten der Gegenwart Gegenwart der Pianisten Große [Great of of Pianists [Great ­schule für Musik, 1957, - JORGE BOLET in D major, D850, Liszt arrangements of Schubert songs as well as Wagner’s as well as songs Schubert of arrangements Liszt major,D D850, in This took place atPhilharmonie on 8 Berlin the June 1989, only a few before months Fall the of Wall, the Sonata Piano programme the featuring Schubert’s Rachmaninov’s performing and produced a reference recording of Reger’s of recording reference a produced and of mergingperiments harmony into an and indivisible linearity entity. Bolet masterpiece late Franck’s of interpretation his is respect this in [1940-2001]). Teresa Dr Escandon Cuban the friend, longstanding his by published were which and fingerings and notes interpretational Bolet’s on based are which Schumann, and Grieg Liszt, in isdocumented performances peak such preceding work and reflection immense sponta and vivacity of sense a create the of tradition performance older an employed he that apparent becomes It perceptible. never are difficulties technical horrendous whose work, this of readings different completely two produced durations, overall identical almost maintaining maus a further mention folkevise norsk 1876 Grieg’s as such Berlin, in gems piano romantic recorded also Bolet that, of top On 52035-2.) no catalogue Edition, brillante minor, F Op. in Sonata Piano Third Schumann’s as such additions, new several boast also can music, piano romantic repertoire, main his But aplomb. with mastered Bolet Jojo Dello Norman composer American (1943) the by Sonata Piano Second ofDebussy’s recordings defined clearly and shaped perfectly music: century twentieth include releases first other discography; Bolet’s to new addition is a valuable recording The Bünte.) August by Carl conducted Orchester, Atzmon, in a Paris concert recording from 1974. (Bolet had played the concerto for the firsttime in 1960 Moshe inBerlin conductor alongside Israeli and thethe Berliner Berlin RSO the Symphonisches with 73, Op. Concerto, Piano of Fifth Beethoven’s performance an excellent – namely era classical from the horse The recordings of works by Godowsky, Grieg and Franck attest to Bolet’s fondness for densely intricate textures, rich in contrasts. Especially impressive impressive Especially contrasts. in rich textures, intricate densely for fondness Bolet’s to attest Franck and Grieg Godowsky, by works of recordings The . Comparing the SFB recording of February 1963 with the RIAS recording (audite 21.438) made one year later, it is astonishing to observe how Bolet, – closed a circle, then his choice of the Schubert sonata revealed that he had never lost sight of musical classi musical of sight lost never had he that revealed sonata Schubert the of choice his then circle, a closed – , Op. 22, as a concert recording made in Bloomington in 1971, and the Impromptu Op. 66 are already available as part of the Marston Records Bolet Bolet Records Marston of the part as in 1971,available are already 66 Op. Impromptu in Bloomington made the and recording a as concert 22, , Op. (“Ballad in the form of variations on a Norwegian folk tune”) in G minor, Op. 24, and César Franck’s Franck’s César and 24, minor, G Op. in tune”) folk Norwegian a on variations of form the in (“Ballad 14, Chopin’s Polonaises Nos 3, 4 and 6 and, particularly, the complete cycle of his Op. 25 Études. (The (The Études. 25 Op. his of cycle complete the particularly, and, 6 and 4 3, Nos 14,Polonaises Chopin’s pièce de résistance de résistance pièce Rhapsody on a Theme of Paganini of Theme a on Rhapsody in his repertoire, ’s Godowsky’s Leopold in repertoire, his neity in his performance which would soon have the listener forget about the fact that it was a studio recording. (The (The recording. studio a was it that fact the about forget listener the have soon would which performance his in ­neity TelemannVariations . As chance would have it, Bolet also gave the final recital of his 63-year concert career in Berlin. Berlin. in career concert 63-year his of recital final the gave also Bolet haveit, would chance As . Prélude, Aria et Final et Aria Prélude, – did of not, course, intend merely to demonstrate his impeccable virtuosity for its own Masques

– who also work, played demanding partner the equally (1913-2008), whose rugged – partly modernist, partly expressionist – soundscape soundscape – expressionist partly modernist, partly – rugged whose (1913-2008), Symphonic Metamorphoses , a subtle interpretation of the French composer’s composer’s French of the interpretation , a subtle Tann­ Jorge Bolet Memorial Editions Editions Memorial Bolet Jorge häuser , whose piano writing imagines the organ, anticipating Reger’s Max ex overture. If the last work – Bolet’s possibly most impressive war impressive most possibly Bolet’s – work last the If overture. tempo rubato tempo on themes from Johann Strauss from Johann on themes and quasi improvisatory use of tempi specifically to featuring works and transcriptions by Chopin, Chopin, by transcriptions and works featuring cism. This release also includes a work work a includes also release This ­cism. Prélude, Aria et Final Final et Aria Prélude, Andante spianato et Grande polonaise polonaise Grande et spianato Andante Ballade i form av variasjoner over en Images Images Prélude, Chorale et Fugue et Chorale Prélude,

II’s operetta II’s operetta (Vol. (1886/87), not to to not (1886/87),

2), as well as the the as well as 2), Die Fleder­ - - , JORGE BOLET particular challenge, virtuosity poetically elevating the musical content. That is why Bolet’s interpretations of Beethoven, Chopin and Schumann are of great great of are Schumann and Chopin Beethoven, of interpretations Bolet’s why is That content. musical the elevating poetically virtuosity challenge, particular of Schumann’s arrangement an with tribute he pays (to whom Liszt of Franz descendants pianistic important most of the one for him, thus And shine. it make to and music, of this diversity the and colours the emphasise to it used instead but sake, pianists to attain such a perfect balance. aperfect such attain to pianists limits, all burst to seem which sonata the of passages those even tame to anticipating manages Scriabin, thanks to his piano, infallible the sense of of proportion and beautiful seigneur sound. It was the preserve grand of only a very small number Bolet, of twentieth century Jorge yet And melancholy. and ecstasy of extremes the between ranging soundworld, a fantastical into intensity incredible with himself plunges Bolet recording), a studio (evenit was though everything risking performance, magnificent this In movement. a final in cut the and features version initial on Schumann’s is based recording this Wieck, by Clara theme on a a of set variations movement, central of the exception the (1836/1853). with orchestre” times: sans work several this revised “Concert called Schumann music. the of core classicist the to also composer, but a as genius Chopin’s to only not tribute paying – quality sound luminous a and balance at aims performance Bolet’s fore, the to music this of elegance and Nos in Études and Anda, Études, minor-mode three in last the precipices existential exposes Arrau whilst But pedals). use of the involves subtle also (which modelling and tone original, to the faithfulness security, technical more “complete”,of ultimate in terms appears playing Bolet’s 195523.409), of (audite recording WDR Anda’simpressive Géza 1956, or of recording Columbia famous Arrau’s Claudio to Compared approach. different however,entirely an we find Études, 25 Chopin’s Op. In technique. inimitable his to thanks lustre triumphant with theme the bestowing leadership, assume firmly he does finale rondo the in only and orchestra, by the developed aura romantic the continues he delicately meanwhile, movement, second the In architecture. overall symphonic, almost conceived, broadly the into piano the of sound the integrate to able movement, opening the in therefore, is He characters. movement of the each to adapted perspective, for a three-stage opts Bolet Concerto Piano Fifth In Beethoven’s of art. his all admirers to interest A third aspect of Bolet’s is art revealed in his interpretation of Robert Schumann’s third (strictly speaking his second) Sonata in Wolfgang Rathert Wolfgang Translation: Translation: Viola Scheffel Viola Frühlingsnacht Frühlingsnacht from the the from Eichendorff Liederkreis Eichendorff

4, 5 and 8, brings all the sophistication sophistication all the 5brings 4, and 8, F minor, Op. 14, the so- ), these works posed a posed works ), these

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.

recordings: P 1961-1974 Sender Freies Berlin, today: Rundfunk Berlin-Brandenburg (rbb), licensed by rbb media GmbH remastering: Ludger Böckenhoff, 2019 rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation 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 MASTERst analogue tapes, which attain an astonishingly high quality, even measured by RELEASE today’s standards, with their tape speed of up to 76 cm/sec. The remastering – ORIGINAL TAPES professionally competent and sensitively applied – also uncovers previously hidden details of the interpretations. Thus, a sound of superior quality results. Publications 1based on private recordings from broadcasts cannot be compared with these.

We have made every attempt to clear rights for all material presented here. Should you none- theless believe that we have accidentally infringed your rights, please let us know at your earli- est convenience. We will endeavour to resolve any issues immediately. photos: IIPAM p. 9: Francesco Scavullo p. 11: photographed by Jorge Bolet art direction and design: AB-Design HD-DOWNLOADS

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