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Wolfgang Amadeus Mozart Sonata for Two Pianos in D Major (K.448) Pierre Luboshutz, Piano / Genia Nemenoff, 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 Arturo Toscanini. 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 Paris, 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 United States. 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 Europe, 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.

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