Wolfgang Amadeus Mozart Sonata for Two Pianos in D Major (K.448) Pierre Luboshutz, Piano / , Piano

1 I. Allegro con spirito 08:01

2 II. Andante 07:52

3 III. Allegro molto 05:57

Frédéric Chopin Pierre Luboshutz, Piano / Genia Nemenoff, Piano

4 Rondo for Two Pianos in C Major, Op. 73 09:24

Richard Strauss, arr. by Pierre Luboshutz Pierre Luboshutz, Piano / Genia Nemenoff, Piano

5 The Bat - A Fantasy from Strauss’ 09:28 “Die Fledermaus” DUO PIANO RECITAL everything.” At another time, he wrote that that emotional detachment in Mozart when LUBOSHUTZ / NEMENOFF, Pianists “if a painter wanted to portray the devil to it came to matters of life and even of love: the life, he would have to choose her face.” he wrote better music for the ugly and exas- Mozart: Sonata for Two Pianos in Fraulein Aurnhammer was evidently secretly perating Miss Aurnhammer than for his dear D Major (K. 448) in love with Mozart, and circulated rumors Constanze.” Chopin: Rondo for Two Pianos in about Vienna that they were to be married. C Major, Op. 73 The irate young man lost no time in quashing Luboshutz: “The Bat,” A Fantasy these stories and in speaking his mind quite Chopin: Rondo for Two Pianos in C Major, from Johann Strauss’ “Die Fleder- plainly to his love-struck keyboard part- Op. 73 maus” ner. He even threatened to stop seeing her altogether. Her attractiveness as a pianist, Just about everything Chopin ever composed Pierre Luboshutz and Genia however, must have outweighed her unat- made use of the piano in one rote or another, Nemenoff, duo-pianists tractiveness as a woman, for Mozart con- in most instances as an unaccompanied solo- tinued to visit the Aurnhammer home, and ist. It is somewhat surprising, therefore, The dazzling performances of two perfectly gave several public concerts with Josepha. At that to the best of our knowledge, he wrote matched artists playing chamber music one of these, in 1782, the two pianists intro- only one work for two pianos – the Rondo for two keyboards – music full of spirit and duced the Sonata in D Major. Nevertheless, in C Major, Op. 73. And even this ingratiat- melody – that is what you will hear in this his abhorrence of Josepha as a woman ulti- ing piece seems to have been written origi- duo piano recital. And because of the care- mately propelled him into marrying another, nally for a single instrument. In the fall of fully engineered Everest sound, you will hear Constanze Weber. 1828, the eighteen-year-old Chopin wrote these performances with such tonal fidelity to his friend, Titus Woyciechowski, that he that the pianos themselves will seem to have The D Major Sonata, which was composed had rewritten – or rather, arranged – the replaced the loudspeakers in your listening in. November, 1781, elicited these words Rondo for Two Pianos during the preceding room. of praise from the eminent Mozart Scholar, summer. He appeared to be quite pleased Dr. Alfred Einstein: “This work is galant with the work, which he tried over with from beginning to end; it has the form and another friend at a Mozart: Sonata for Two Pianos in D Major thematic material of an ideal sinfonia for an (K. 448) opera buffa; no cloud obscures its gaiety. But piano warehouse, and contemplated intro- the art with which the two parts are made ducing it to the public. Evidently, he changed Mozart’s two best-known works for two completely equal, the play of the dialogue, his mind, because the Rondo was not heard pianos, the Concerto in E flat Major (K. the delicacy and refinement of the figura- until it was posthumously published in 1855. 365) and the Sonata in D Major (K. 448), tion, the feeling for sonority in the combina- Today, this smooth-flowing, melodious com- seem to owe their existence largely to one tion and exploitation of the different regis- position is a favorite of two-piano teams eve- of the composer’s Viennese pupils, Josepha ters of the two instruments-all these things rywhere. Aurnhammer, for it was with her as his key- exhibit such mastery that this apparently board partner that he introduced both the ‘superficial’ and entertaining work is at the Concerto and the Sonata to the public. same time one of the most profound and Luboshutz: “The Bat” most mature of all Mozart’s compositions.” · About Josepha Mozart had this to say: “The One of the most successful works in Luboshutz young lady is a fright, but plays enchant- An observation of a different sort came from and Nemenoff’s repertoire is Mr. Luboshutz’s ingly, though in cantabile playing she has not another distinguished Mozart authority, Eric “The Bat,” A Fantasy from Johann Strauss’ got the real delicate singing style. She clips Blom. “Once again,” he wrote, “one notices “Die Fledermaus.” Mr. Luboshutz has taken a group of the principal themes in the popular South Africa, and they have appeared with operetta by the younger Johann Strauss and most of the leading symphony orchestras. has written a paraphrase on them. In its new Besides, they own the rare distinction of guise, this “champagne music” emerges with having been the only duo-pianists ever to bubbling new life; but in so doing, it makes play under the baton of . tremendous virtuosic demands upon the two When they are not touring, “home” is either keyboard executants. Since Mr. Luboshutz an apartment in New York or a house in wrote the Fantasy for himself and his wife Camden, Maine. In both places they have to play, he knew that they could meet the three grand pianos-one for individual demands. of the music. Audiences the world practice, the other two for joint rehearsal. over have responded with enthusiasm when- Though they always insist upon achieving ever this brilliant showpiece has been per- perfect rapport between their two instru- formed. Russian-born Pierre Luboshutz and ments, Luboshutz and Nemenoff believe that Genia Nemenoff, a Parisian of Russian herit- each piano must have its own individual tone age, met in , where Luboshutz, already quality. In that way, they are not making two a prominent pianist, had been invited to pianos sound as one but are expanding their conduct a master class for a small group of tonal scope. professionals. Mlle. Nemenoff, herself a con- cert artist of no mean ability, was one of the members of that group. Teacher and pupil soon fell in love. But Luboshutz had to leave to fulfill a concert engagement in the . Upon his arrival in New York, he sent Mlle. Nemenoff a 96-word cablegram asking her to come to America and marry him. A week later she arrived, and they were mar- ried. After only three days of connubial bliss, however, Luboshutz had to depart for a con- cert tour. When he returned, the couple had only another few days together before his wife had to set out for a concert tour of her own. The only way to stay together and still make music, they decided, was to form a two-piano team. They began by playing only for friends, but before long they were per- forming in public.

For more than two decades now, Luboshutz and Nemenoff have been thrilling audiences with their artistry on two keyboards. Their tours have taken them all over the United States and , as well as to Israel and Some notes on the history of Everest method of magnetic recording developed by sprocket gears engage these sprocket holes BELOCK Recording studios is utilized for Records and the digital remastering EVEREST utilizing 35 mm magnetic film. affording a smoothness of motion that reduces recordings made anywhere in the world. By “wow and flutter” to an absolute minimum. utilizing specially designed portable versions When Everest Records was founded by Below is a graphic representation of this The film has another advantage in its great of EVEREST 35 mm equipment, EVEREST Harry Belock in 1958 as a division of Belock new material. What you see here, your ears tensile strength which effectively eliminates engineers are able to make recordings and Instrument Corp., the aim was to produce a will quickly verify when you listen to an pitch changes due to “tape stretch”, a condi- maintain the rigid standards and excellence catalogue of stereo recordings of the highest EVEREST recording. tion heretofore almost impossible to control. of quality available in the Studios. possible technical standard, with interesting and innovative classical repertoire played by Notice that now EVEREST engineers have Drawing on the extensive experience in The advanced engineering and special equip- some of the best artists and orchestras. over 3 times the normal space available the motion picture sound field BELOCK ment, in addition to meticulous attention [than] on ¼” tape. This means distortion free, INSTRUMENT (of which EVEREST is a divi- to detail, results in the EVEREST sound, a For the first Everest recording sessions in perfect sound. 35 mm magnetic film allows sion), requested Westrex Corporation to build sound that has been acclaimed as superb by 1958, an Ampex 300-3 half-inch three- EVEREST engineers to make recordings with special equipment to EVEREST’S exacting critics and record enthusiasts throughout the channel recorder was used. Later on the label specifications in order to accomplish these world. moved to use a Westrex 35 mm 3-track mag- • No distortion from print through advantages. This equipment includes the use netic film recorder, which had a wider possible • No distortion from lack of channel width of special recording heads which afford com- dynamic range, less print-through, less tape • Absolute minimum of “wow or flutter” plete wide band frequency response beyond stretch and less ‘wow and flutter’, and which • Highest possible signal to noise ratio that normally specified in any present-day was the basis for the highly acclaimed typical • Greatest quality and dynamic range ever motion picture recording. It is of interest to “Everest-sound”. recorded note, that when soundtracks of great motion pictures originally recorded on 35 mm mag- For the process of digital remastering of the With 35 mm magnetic film, the base mate- netic film are released as phonograph records, Executive Producer: Mark Jenkins for Countdown 35 mm master tapes a modified Albrecht MB rial on which the magnetic oxide is coated that normal technique is to re-record the Media/Everest • Digital Transfers and Remastering: 51 machine was used for analog playback. is five times thicker than conventional tape sound from 35 mm magnetic film to conven- Lutz Rippe at Countdown Media using the original The MB 51 was equipped with a specially and is similar to the film used for motion pic- tional tape. EVEREST, through its advanced master tapes • Artwork preparation: Eckhard designed Laser Shrinkage Detector (L.S.D.) tures. This thickness permits the recording of processes and equipment, is the only record Volk at Countdown Media • Digital Booklet: which allows optimal playback of shrunk extremely high sound intensities without the company able to transfer all Master Records böing gestaltung • Original Producer: Bert Whyte magnetic film. The output was captured in danger of layer-to-layer “print-through”. The directly from the 35 mm magnetic film to the for Everest Records • Recording Date: 1960 • Original Recordings on 35 mm magnetic film, highest digital resolution of 192 kHz sam- width of 35 mm magnetic film is such that recording heads. originally released in 1960 as SDBR 3076 • pling rate and 24 bit word length using state- it can accommodate three channels, each of Analog playback of original master tapes on a of-the-art converters. In the digital domain which is as wide as the standard ¼” record- To assure maintaining the high quality of modified Albrecht MB 51, equipped with a specially the recording was carefully restored and ing tape. Because of this great channel width, EVEREST sound on every EVEREST record- designed Laser Shrinkage Detector (L.S.D.). remastered using top-quality mastering and it is possible to produce stereo recordings in ing, the same equipment that is used in the ℗ & © Countdown Media GmbH restoration equipment.. which the usual background noise is inaudi- ble. Another similarity of magnetic film to …from the original LP release: motion picture is that it has sprocket holes cut along each edge. The drive mechanism is “The remarkable EVEREST sound on this also similar to motion picture cameras in that EVEREST is recorded on tape 35 mm wide record is the result of a revolutionary new

½” Tape used for Conventional stereo recording Standard ¼” Recording Tape Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.everestrecords.com

SDBR-3001 Prokofiev : Chout (“The Buffoon”), Ballet Suite, Op. 21a SDBR-3016 Villa-Lobos: Uirapurú & Modinha (from Bachianas London Symphony Orchestra & Sir Eugene Goossens, Brasileiras No. 1) & Prokofiev: Cinderella (Ballet Suite) Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3002 Copland: Appalachian Spring & Gould: Spirituals for String Choir and Orchestra SDBR-3017 Milhaud: La Création du Monde / Stravinsky: L’Histoire London Symphony Orchestra & Walter Susskind, Conductor du Soldat London Symphony Orchestra Chamber Group & John Carewe, SDBR-3003 Antill: Corroboree - Ginastera: Panambi Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3018 Copland: Symphony No. 3 London Symphony Orchestra & Aaron Copland, Conductor SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3021 Arnold: 4 Scottish Dances / Symphony No. 3 Conductor London Philharmonic Orchestra & Malcolm Arnold, Conductor SDBR-3006 Vaughan Williams: Symphony No. 9 in E Minor London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Conductor London Philharmonic Orchestra & János Ferencsik, Conductor SDBR-3007 Shostakovitch: Symphony No. 6 in B Minor, Op. 54 London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3023 Strauss: Till Eulenspiegel / Salome / Don Juan Conductor Stadium Symphony Orchestra of New York & Leopold Stokowski, Conductor SDBR-3008 Hindemith: Symphony in E-flat Major London Philharmonic Orchestra & Sir Adrian Boult, SDBR-3025 Waltz Masterpieces Conductor Stadium Symphony Orchestra of New York & Raoul Poliakin, Conductor SDBR-3009 Stravinsky: Ebony Concerto & Symphony in 3 Movements SDBR-3026 Rimsky-Korsakov: Scheherazade Woody Herman and his Orchestra / London Symphony London Symphony Orchestra & Sir Eugene Goossens, Orchestra & Sir Eugene Goossens, Conductor Conductor

SDBR-3011 Tchaikovsky: Francesca da Rimini & Hamlet SDBR-3027 Raymond Paige’s Classical Spice Shelf Stadium Symphony Orchestra of New York & Leopold Stadium Symphony Orchestra of New York & Raymond Paige, Stokowski, Conductor Conductor

SDBR-3012 Charles K. L. Davis sings Romantic Arias from Favorite SDBR-3028 Strauss: A Night in Venice Operas Original Cast & Thomas Martin, Conductor Stadium Symphony Orchestra of New York, Wilfred Pelletier, Conductor & Charles K. L. Davis, Tenor SDBR-3030 Brahms: Symphony No. 3 in F Major, Op. 90 Houston Symphony Orchestra & Leopold Stokowski, SDBR-3014 Mahler: Symphony No. 5 in C-Sharp Minor Conductor London Symphony Orchestra & Sir Rudolf Schwarz, Conductor SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 SDBR-3015 Copland: Billy The Kid & Statements for Orchestra Houston Symphony Orchestra & Leopold Stokowski, London Symphony Orchestra & Aaron Copland, Conductor Conductor SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, Tone Houston Symphony Orchestra & Leopold Stokowski, Poem, Op. 112 Conductor London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin SDBR-3033 Stravinsky: Petrouchka London Symphony Orchestra & Sir Eugene Goossens, SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 Conductor “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir Malcolm Sargent, Conductor SDBR-3047 Stravinsky: The Rite of Spring (“Le Sacre du Printemps”) SDBR-3035 Tchaikovsky: Manfred Symphony London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 SDBR-3036 Schumann: Piano Concerto in A Minor, Op. 54 & & Melody, Op. 42/3 Franck: Variations Symphoniques London Symphony Orchestra, Walter Goehr, Conductor & London Symphony Orchestra, Sir Eugene Goossens, Tossy Spivakovsky, Violin Conductor & Peter Katin, Piano SDBR-3050 Mahler: Symphony No. 9 in D Minor SDBR-3037 Berlioz: Symphonie Fantastique London Symphony Orchestra & Leopold Ludwig, Conductor London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3051 Respighi: The Fountains of Rome & The Pines of Rome London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3038 Richard Strauss: Ein Heldenleben Conductor London Symphony Orchestra & Leopold Ludwig, Conductor SDBR-3052 Khatchaturian: Gayne (Ballet Suite) SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Anatole Fistoulari, London Symphony Orchestra & Sir Malcolm Sargent, Conductor Conductor SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night On Bald SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto Maountain London Symphony Orchestra, Sir Eugene Goossens, London Symphony Orchestra & Sir Malcolm Sargent, Conductor & Joseph Fuchs, Violin Conductor

SDBR-3041 Villa-Lobos: The Little Train of Caipira (from Bachianas SDBR-3054 Shostakovich: Symphony No. 9 & Lieutenant Kijé Suite Brasileiras No. 2) – Ginastera: Estancia & Panambi London Symphony Orchestra & Sir Malcolm Sargent, London Symphony Orchestra & Sir Eugene Goossens, Conductor Conductor SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in SDBR-3042 Mozart: Serenades No. 11 in E-flat major (K. 375) and D-flat Major No. 12 in C minor (K. 388) London Symphony Orchestra, Hugo Rignold, Conductor & Everest Woodwind Octet Peter Katin, Piano

SDBR-3043 Prokofiev: Peter and the Wolf, Op. 67 SDBR-3056 Dvorˇák: Symphony No. 9 in E Minor, Op. 95 “From the Stadium Symphony Orchestra of New York, Leopold New World” Stokowski, Conductor & Captain Kangaroo (Bob Keeshan), London Symphony Orchestra & Leopold Ludwig, Conductor Narrator SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and London Symphony Orchestra & Enrique Jordá, Conductor Orchestra in D Minor Rochester Philharmonic Orchestra & Ferde Grofé, SDBR-3058 Irving Berlin: Great Man of American Music - A New Conductor Interpretation Raoul Poliakin and his orchestra SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme (Psaume SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 130), Psaume 24, Psaume 129, Vieille Prière “Pastoral” Bouddhique & Pie Jesu London Symphony Orchestra & Josef Krips, Conductor Lamoureux Concert Association Orchestra, Elisabeth Brasseur Choir & Igor Markevtich, Conductor SDBR-3076 Duo Piano Recital: Pierre Luboshutz & Genia Nemenoff, Pianists SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie Espagnol Rochester Philharmonic Orchestra & Theodore Bloomfield, SDBR-3079 A Chopin Piano Recital Conductor Jorge Bolet, Piano

SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 Music for Piano London Symphony Orchestra & Josef Krips, Conductor Ernst von Dohnányi, Piano SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano London Symphony Orchestra & Josef Krips, Conductor Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 Symphony of the Air, Robert Irving, Conductor & Jorge London Symphony Orchestra & Josef Krips, Conductor Bolet, Piano SDBR-3089 Beethoven: Symphonies No. 1 & 8 SDBR-3063 Bennett: A Commemoration Symphony to Stephen London Symphony Orchestra & Josef Krips, Conductor Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 Pittsburgh & William Steinberg, Conductor “Choral” London Symphony Orchestra & Josef Krips, Conductor SDBR-3064 Liszt: Sonata in B Minor, Funerailles & Mephisto Waltz No. 1 SDBR-3113 Beethoven: Symphonies No. 2 & 4 Jorge Bolet, Piano London Symphony Orchestra & Josef Krips, Conductor

SDBR-3066 Brahms: Symphony No. 4 in E minor, Op. 98 Pittsburgh Symphony Orchestra & William Steinberg, Conductor

SDBR-3067 Gershwin: Rhapsody in Blue & An American in Paris Pittsburgh Symphony Orchestra, William Steinberg, Conductor & Jesus Maria Sanroma, Piano

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Finlandia, Op. 26 Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3069 Bartók: Concerto for Orchestra Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell - Chopin: Mazurkas, Op. 17, Preludes, Op. 28 & Waltzes, Op. 64 (transcribed for Orchestra) Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3071 Robert-Alexander Bohnke: The Great New Virtuoso