Wanda Landowska, Being an Interpreter [1950S]

Landowska, Wanda

Banyuls-sur-Mer in June 1941, "… ne discutons pas da- vantage. Continuez a jouer Bach a votre façon et moi, a sa façon” (The Oxford Dictionary of American Quotati- ons, ed. Hugh Rawson, Margaret Miner, 2nd Edition. New York: Oxford University Press, 2006. p. 66). In terms of content, the statement certainly stands in contradiction to Landowska's own conception of interpretation in later years: "When I play, there is always a frame, although I do not care any longer about the rules of interpretation." (Wanda Landowska, Being an Interpreter [1950s]. In: Denise Restout (Ed.). Landowska on Music. New York: Stein and Day 1964, p. 407)

Profile

Despite the variety of her talents and activities, Wanda Landowska preferred to regard herself as an interpreter. In resumes that she authorised, her attempts at establishing herself as a composer during her younger years were always left out. Instead, she emphasised her early ent- husiasm for Early Music, and not least for Johann Sebas- tian Bach. The basis for this lifelong occupation and, connected with it, the interest in the then-forgotten harp- Die Cembalistin und Pianistin Wanda Landowska. sichord was already recognisable in Wanda Landowska's childhood and youth in Warsaw and Berlin. Nonetheless, Wanda Landowska there exist numerous compositions from the Berlin years and the first years in Paris that are attributable to the sty- * 5 July 1879 in Warschau, Polen le and form of the late-romantic tradition. The piano pie- † 16 August 1959 in Lakeville, Connecticut, USA ces from this period, however, must have only been performed by Landowska herself. Harpsichordist, pianist, composer, harpsichord- and When Landowska turned away from composition in fa- piano pedagogue, concert organiser, music researcher, vour of performance, preferably on the harpsichord, star- music author, professor of harpsichord, pioneer of the ting in about 1903, she saw herself confronted with male Early Music movement, correspondent and female competitors who also increasingly preferred the harpsichord to the piano. But none of these harpsi- Numerous anecdotes in connection with Landowska's ar- chordists set themselves the goal, to the extent that Wan- tistic surroundings have been handed down; they were da Landowska did, of establishing the harpsichord as a frequently used in an incorrect context, such as the state- solo instrument. With a few exceptions, most of Landows- ment: ka's concert appearances are to be evaluated as solo recitals. Landowska and her harpsichord were relatively rare- "You play Bach your way and I’ll play him his way." ly represented at performances of chamber or orchestral Wanda Landowska, 1941 music. From the very beginning, however, already from 1904 onwards, she was known as "the" Bach interpreter. Allegedly Landowska made this statement to her compe- In the pursuit of her aim to present the repertoire of the titor, the pianist and Bach interpreter Rosalyn Turek past to the public - which was accustomed to virtuoso (1913-2003); it thus served to express, to posterity, the music presentations - as music to be discovered anew th- competition amongst musicians of that time. In fact, the rough her special approach, Wanda Landowska was led remark was addressed to the cellist Pablo Casals, to by her artistic calling without compromise, even though whom Landowska literally said, in a discussion about the she had to literally conquer her terrain and take some execution of Bach's ornaments at a musical gathering in harsh criticism. Regarding the use of historical instru-

– 1 – Landowska, Wanda ments, however, she did indeed make daring compromi- ki (?-1916) and the translator Ewa Landowska née Lau- ses - from today's standpoint - for she always worked on tenberg (1859-1925). The family, to which the brothers the "improvement" of the modern harpsichord. In 1904 Paul (1882-1937) and André also belonged, was Catholic and the years thereafter, Landowska played an instru- with Jewish-Polish roots. Wanda grew up in an environment of the Pleyel firm, as was also used by other harpsi- ment that fostered culture and, already as a little girl, sho- chordists of that time, at least since it was presented at wed great talent for music. At the age of four, she was al- the Paris World's Fair in 1889 (see Elste 2010 and Bat- ready attracting attention for her piano playing. In War- tault 2011). Soon, however, this instrument no longer saw, Wanda Landowska was initially a pupil of Jan Klec- met Landowska's demands or corresponded to her ideal zyński (1837-1895), then of Aleksander Michałowski conceptions of sound. Wanda Landowska thus had the (1851-1938). Alongside the intensive occupation with Pleyel firm construct an instrument that would, ultimate- Frédéric Chopin demanded by her teachers, Wanda de- ly, also put an end to the criticism of the harpsichord's monstrated great interest in the music of Johann Sebasti- sound for being too soft and incapable of nuances. This an Bach already at this time. "Grand Modèle de Concert" (also called Landowska model) came into use beginning in 1912 and accompanied Education in Berlin Landowska on her concert tours and in her emigration. In late 1895 Wanda Landowska continued her musical Despite her preference for the harpsichord, Landowska education in Berlin. Her teachers were Heinrich Urban also remained faithful to piano playing, and at the end of (1837-1901) in composition and Moritz (Maurice) Mosz- her career included piano works of Mozart, for example, kowski (1854-1925) in piano. During this time, Wanda re- on her harpsichord recitals which were dominated by ba- peatedly appeared as a composer and pianist. Some of roque works. her compositions were published. Her concert program- mes contained her own works, late romantic piano works Cities an countries as well as works of J.S. Bach. Wanda Landowska's first appearances as a pianist were She was apparently advised and also supported by her in Warsaw and Berlin, where also her first compositions mother in her ambitions to establish herself as a compo- were performed during the 1890s. Her career as a composer. In letters to Edvard Grieg, it was her intention to con- ser continued in Paris starting in 1900, but was replaced vince the latter to appraise the compositions that she by solo performances on the harpsichord beginning in sent him. After an inquiry written by Wanda Landowska about 1903. From then on, there followed active interna- to Grieg and the consignment of her "own piano pieces" tional concertising activity on the harpsichord, taking dated 6 September 1897 (see Harer 2011), her mother al- Landowska to Germany and Austria in 1904, and to Rus- so appealed to the composer as follows: "She [Wanda] li- sia in 1907 and 1909. Beginning in 1913, Berlin was the ves as a student in Berlin, Steglitzer 58, and does not centre of her artistic life until she returned to Paris in know that I have so plucked up my courage to turn to 1920. During the ensuing decades, there was hardly a co- you, great master, in the hope that Peer Gynt's creator untry in which Landowska did not perform; her exten- will, after all, be able to pardon a mother! I am firmly ded concert tours also included South America and the convinced that if you knew this youthful composer, pia- USA. With the establishment of her "École de Musique nist and singer better, you would be surprised by her pro- Ancienne" in Saint-Leu-la-Forêt near Paris, there follo- found, utterly musical soul; she has composed over 50 wed intensive pedagogical activities beginning in 1926 Lieder of which not a single one was ‘made’ but all of connected with the organisation of concerts, so that the them ardently felt, Variations for 1 und 2 pianos, several premises together with the music hall became a magnet works for string orchestra, etc. If Wanda's lucky star for those members of the musical world interested in Ear- should bring you, her master, loved and admired since ly Music. After her expulsion by the Nazi regime and her childhood, to Berlin, then I dare to request the great flight to the USA in 1941, Landowska's concert and tea- joy of an audience for the young girl! Now I am certain to ching activities were restricted to North America. have done her the best service through this letter, and be- seech for you, noble, courageous and everywhere admi- Biography red tone poet, the very best. In the most profound homa- Wanda Landowska was born in Warsaw, in those days in ge, E.[wa] Landowska. Warsaw 14 October 1899." Russia, as the daughter of the attorney Marian Landows-

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Composer, Pianist and Harpsichordist in Paris Her achievements as a composer were mentioned with Wanda's mother Ewa Landowska also informed Grieg of high praise and she was continually accredited with extra- Wanda's move to Paris one year later: "She is now living ordinary talent. Furthermore, two of her piano pieces we- in Paris, 117 avenue de Clichy, and is now of legal age; re printed in 1904 and 1909 in the "Album Musica": "Feu now I shall unfortunately see her less often than before, Follet" and "Valse" (see Catalogue of Works). In her first and really don't know where she got the courage to want years in Paris, Landowska continually performed works to make a name for herself in Paris. I am writing all this of her own; for example, a concert review in 1902 of the to you, benevolent master, so that Wanda, should you daily press reads as follows: "Les artistes les plus émin- ever visit Paris, will dare to introduce herself to you, ents […] Wanda Landowska, qui s‘est révélée comme show you her numerous works and also play some Bach. compositeur de grand talent dans sa ,Reverie d´autom- […] Your servant [Ewa] Landowska. Warsaw, 3 Novem- ne‘ et ses ,Variations polonaises‘ jouées a deux pianos ber 1900." avec le pianiste Alfred Casella;" ("The most eminent ar- tists […] Wanda Landowska, who excelled as a composer In Paris, Wanda had already married Henri (Henryk) with great talent in her 'Reverie d´automne' and her 'Va- Lew (1874-1919) on 10 May 1900. Whereas Wanda kept riations polonaises', [the latter] played on two pianos wi- her maiden name, her husband, who supported her in th the pianists Alfred Casella." "Le Figaro" 48/3/76. 17 her further artistic ambitions and was to direct her care- March 1902, p. 5) er, went by the name of Lew-Landowski. Various factors were conducive to the young artist's development during Advertisements in "Musica" show, however, that Lan- these first years. The special cultural climate of Paris dowska gave private instruction in piano beginning in around 1900 particularly included a network of persons 1903, probably for financial reasons. Soon, the journal in the cultural life of the city who largely shared the Je- "Musica" was no longer bringing the composer, but rat- wish and Polish background of the Landowskis. Particu- her the interpreter Landowska to the fore. Amongst ot- larly worthy of mention in this connection is Gabriel Ast- hers, an article about Wanda Landowska appeared in ruc (1864-1938), who had connections to the publishing 1905 (see "Sources. B. Secondary Literature", Brussels house Enoch and, as the editor of the journal "Musica", 1905). She rapidly became known in Parisian music circ- continually gave space to Wanda Landowska and her mu- les as a Bach interpreter, as can be gathered from nume- sical-artistic aims in precisely this medium. The publis- rous annotations in reviews. Thus, for example, one hing house Enoch concluded a contract with Wanda Lan- could read in 1904: "Mme Wanda Landowska, que le dowska as a composer already in 1901 and published se- Tout-Paris musical a déjà applaudi chez Lamoureux et à veral works from her first years in Paris. In 1903 Lan- la Schola Cantorum, se fera entendre demain soir, à la dowska was introduced in "Musica" as a highly promi- salle Erard, dans les œuvres de son maître préféré, Jean- sing "compositeur et pianiste" ("composer and pianist"). Sébastien Bach, dont elle est considérée comme l‘interpè- The full-page portrait photo thus designated was com- te idéale." ("Madame Wanda Landowska, whom all of Pa- mented on as follows: "[…] Est-elle plus compositeur que ris applauded at the Lamoureux [Concerts], can be heard virtuose ou plus virtuose que compositeur? L’avenir le di- tomorrow with compositions by her preferred master, Jo- ra: peut-être est-elle les deux avec un égal talent." (" […] hann Sebastian Bach, of whose works she is regarded as is she rather a composer than a virtuoso or rather a vir- the ideal interpreter." "Le Figaro" 50/3/34 . 3 February tuoso than a composer? This the future will show: perh- 1904, p. 4) aps she is both with the same talent." "Musica" 5/2. 1903, p. 73) Things were to turn out differently, however. Her first performances as a harpsichordist took place in Wanda Landowska was able to enjoy initial successes as the years 1903 and 1904. At the first demonstrable con- a composer. In 1904, in a composition competition orga- cert at which the harpsichord was used, organised by the nised and executed by the journal "Musica" called "Tour- Schola Cantorum on 12 November 1903, Wanda Lan- noi Musical International 1904", she was awarded the 1st dowska herself primarily played the piano, performing prize (ex aequo) for her composition "Feu Follet" (in the only one work on the harpsichord (Programme facsimile category of "Piano-concert piece, high degree of difficul- in Elste 2010, p. 34). In the later years of her concert ca- ty") and the 2nd prize for "Querelle" (category "Lied with reer, too, Landowska held firm to the concept of playing piano accompaniment") ("Musica" 16/1. 1904, p. 244). the piano and the harpsichord at the same recital al-

– 3 – Landowska, Wanda though the piano receded into the background in favour cert tours on which the now more robust instrument had of the harpsichord. At the same time as her increasing oc- to be transported. This instrument was intentionally pro- cupation with the harpsichord, and with writing about pagated by the Landowskis (Elste 2010, p. 82-83). Thus the interpretation of Early Music connected with it, one a Pleyel harpsichord was recommended to the Academy notes a definite decrease in the number of compositions of Music in Berlin, where Wanda Landowska taught a by Landowska beginning in about 1904. In later years, class in harpsichord set up especially for her in 1913. Be- the craft of composing – with few exception – was only cause of the difficult conditions due to the First World reflected in adaptations of works for keyboard instru- War – the Landowskis were Russian citizens – Wanda ments and in the writing of cadenzas to piano concertos Landowska had to end her activity as a harpsichord pro- of Haydn and Mozart. fessor; in addition to this, she lost her husband, who was killed in a traffic accident in 1919 (according to official re- Making the harpsichord and, in particular, the solo litera- ports). It was never clarified whether this was a political- ture for the harpsichord more familiar to the uninformed ly motivated, violently caused death or not. public of the early 20th century became the leitmotif of Wanda Landowska's comprehensive cultural activity. Having returned to Paris in 1920, Landowska resumed Her aim was to perform a body of Early Music that could her teaching, lecturing, writing and concertising activi- only come to fruition on the instrument that was adequa- ties there. For example, she taught at the École Normale te for the music. During the Paris years beginning in de Musique. She soon arrived at the decision to establish 1904, there followed numerous concert tours throughout a refuge for her manifold artistic activities and research, Europe and abroad (see "Repertoire/Chronology of the set up outside Paris especially in accordance with her Concerts"). Landowska's journeys to Russia became le- conceptions. The building housing her "École de Musi- gendary, especially her visits to Leo Tolstoy. (For photos que Ancienne" in Saint-Leu-la-Forêt, including a garden, and newspaper articles see "Sources. A. Sources and Wri- was expanded to include a concert hall of her own, called tings", Landowska 1908 as well as "Sources. B. Seconda- "Temple de la musique" (Battault and Parmiani 2011, p. ry Literature", Goldenring 1908.) 155-162). In addition, the premises offered space for the ever-growing collection of musical instruments, inclu- Wanda Landowska was always accompanied by her hus- ding valuable historical keyboard instruments. In additi- band when searching for historical instruments and origi- on, there was an extensive library, also housing rare prin- nal scores in European museums and private collections, ted music and manuscripts (see Marty 2011). Landows- as well as on concert tours. Together with him, she wrote ka's courses, e.g. "On the Performance of the Masters of the book "Musique Ancienne" (1909); in addition, Henri the 17th and 18th Centuries", and the concerts given and Lew-Landowski undertook the correspondence necessa- organised by her found lively approval by an internatio- ry to arrange important concerts, including, for example, nal public and circle of pupils until the invasion of the those with the Parisian piano firm Pleyel (see Elste National Socialists put an end to this productive phase. 2010.) On the one hand, Wanda Landowska played exclu- Her studio recordings of Scarlatti sonatas bear witness to sively on instruments of this firm that she also recom- the war situation in Paris in 1940 with their clearly audib- mended to her pupils; on the other hand, the Pleyel firm le bombs as background noise; at the same time, they im- complied with the Landowskis' wishes as far as the buil- pressively document Landowska's passionate concentrati- ding of harpsichords was concerned (see Battault 2011). on on the music. According to Denise Restout's accounts, Wanda Lan- From Berlin back to Paris dowska had not wanted to acknowledge the growing th- The Pleyel harpsichord "Grand Modèle de Concert" (also reat of danger due to the National Socialists. The two wo- called the Landowska model) built according to Landows- men ultimately left Saint-Leu-la-Forêt on 10 June 1940 ka's conceptions, was presented at the Bach Festival in heading south, having to leave the entire property be- Breslau in 1912. For the intensification of dynamics and hind. Landowska spent some time in the south of France sound production, the "Grand Modèle de Concert" had 7 – without a harpsichord (see de Vries 2004, p. 208-211.). pedals, as well as one 16, two 8 and one 4-foot stop plus With the support of the sculptor Aristide Maillol a lute stop. In addition, this instrument was equipped wi- (1861-1944), the two women ultimately spent a year in th an iron frame that made possible the numerous con- Banyuls-sur-Mer. After a Pleyel harpsichord was obtai-

– 4 – Landowska, Wanda ned, Landowska played concerts again in Switzerland in order to earn money for her passage to America. After With her consistent approach (in sound, words and writ- Landowska indirectly found out that her home in Saint- ings), namely using the analysis and research of practical Leu-la-Forêt had been pillaged by an action of the "Speci- musical sources as the basis for the sonic realisation of a al Staff for Music" and all her possessions carted away, work of music, she established the method, still valid, of this sad certainty could only be followed by the definitive creating a dialogue between research and practice, as flight to the USA. Landowska's belongings, including the well as between the past and present, as it is still cultiva- valuable collection of old instruments, collections of sco- ted by the representatives of the Early Music movement res and source materials as well as the extensive library, in their approach as a matter of principle. In connection were irretrievably lost, and Wanda Landowska did not re- with the triumph of the harpsichord in the 20th century, ceive any appropriate compensation after the war. Only Wanda Landowska's influence on harpsichord building, during the 1990s were the individual objects of this uni- in particular, cannot be overlooked; it had an especially que collection intensively traced. The energetic participa- strong effect on the production and sale of harpsichords tion of the musicologist Wolfgang Boetticher of the Pleyel piano firm in Paris (Harer 2014). (1914-2002) become manifest whilst coming to terms with the events surrounding the pillage (see de Vries 1998, The functioning network that Wanda Landowska knew p. 316). how to use of at the beginning of her career ultimately led also to interplay, interaction and cooperation with USA contemporary artistic personalities such as Pablo Casals, On 28 November 1941, Landowska and Restout succee- Claude Debussy, Manuel de Falla, Francis Poulenc, Rai- ded in fleeing France via Lisbon, with the help of the ner Maria Rilke, Auguste Rodin and Albert Schweitzer. "Emergency Rescue Committees" under the direction of We must consider Landowska's outstanding achieve- the American journalist Varian Fry (1907-1967); they ar- ment, however, to be the uninterrupted endurance, quan- rived on 7 December 1941 in the USA, where Landowska tity and intertwining of her varied activities. Alongside initially settled in New York and continued her artistic the influence that she generally exercised on her artistic work without interruption. She ultimately moved with environment, there are her concert appearances, record- her long-time companions Elsa Schunicke and Denise ings, writings and teaching activities that she pursued Restout (1915-2004) to Lakewood, Ct., where she conti- consistently up to a ripe old age - and all this despite dra- nued to receive pupils and where her final recordings matic, life-threatening personal circumstances. (1959) were made. Reception On 21 February 1954 Landowska performed for the last time at the concerts in the Frick Collection. She died on Pianist and Composer 16 August 1959 in Lakeville. Her urn was interred in In her early years, Wanda Landowska appeared primari- France, in accordance with her wishes, at Taverny ceme- ly as a pianist and composer, first in the musical life of tery near Saint-Leu-la-Forêt. Warsaw and Berlin and then also in Paris, She thorough- ly enjoyed the reputation of the young, talented and am- Appreciation bitious composer and pianist, attempting to establish her- Wanda Landowska is one of the female artistic personali- self in both areas. Her ambitions as a composer were re- ties of the 20th century who not only influenced musical warded in 1901 when she obtained a contract from the life, but also permanently changed it. This can especially Enoch publishing house for the publication of her works be seen in the area of musical interpretation: Wanda Lan- and won the first prize in the 1904 competition of the dowska is not only the main actor participating in the so- journal "Musica". called revival of the harpsichord during the 20th century, which ultimately led to today's standardised use of this Harpsichordist instrument in certain areas of the repertoire and to its es- Landowska's personal commitment to the harpsichord tablishment as a university subject. At the same time, did not occur without contradictions. At the beginning of Landowska, as a pioneer in this sector, caused the occu- the 20th century, the acoustic and visual image of the pation with questions of interpretation to be generally gi- harpsichord was burdened with the aura of a long-forgot- ven higher priority. ten era, either in the negative or in the positive sense. In

– 5 – Landowska, Wanda addition, the harpsichord was accused of having too little "grandchildren" through them; on the other hand, a furt- self-assertion, and its sound was felt to be whirring or re- her development took place that was already recognisab- sembling a sewing machine. Then there was also the con- le before Landowska's death: the modernised Pleyel harp- notation that the instrument represented something typi- sichord had served its function and given way to instru- cal of women. The commitment to the "further develop- ments built according to historical models. The liberties ment" of the harpsichord represents a rapprochement wi- in interpretation taken by Wanda Landowska were critici- th the type of sound required in the twentieth century. sed and felt to be a contradiction to the attempt at an his- Nevertheless, this development today appears as a con- torical reconstruction of performance practice. tradiction to Landowska's studies orientated on historical models and the insights gained from them. Writings, Sound Documents, Pictures, Posterity Landowska's writings give us an idea of what instructi- Several appearances – especially in the area of Bach in- ons her pupils, as well as the concert-going public, recei- terpretation – meanwhile went down as legendary events ved. The fact that these writings were published in va- in the history of interpretation of the 20th century. rious languages shows once again with what energy Lan- Amongst these was the first use of the harpsichord (inste- dowska strove to spread her ideas. Her "Musique Ancien- ad of a piano) at a performance of the St. Matthew Passi- ne", published in 1909, is considered one of the first on of J.S. Bach in 1919 in Basle, at which Landowska books dedicated to the field of Early Music in the 20th played the continuo harpsichord. Also to be emphasised century. It was reprinted in several editions and publis- is Landowska's performance of Bach's "Goldberg Variati- hed in English in 1924. ons" in its entirety, by no means a matter of course in those days. Landowska's performance on 14 May 1933 in The recordings made by Wanda Landowska bear witness Saint-Leu-la-Forêt was, however, erroneously documen- to the musician's art of playing the harpsichord and the ted as being the first complete performance (Elste 2010, piano. Already at the beginning of her career as a harpsi- p. 205). chordist, record companies were interested in recordings of the "high priestess of the harpsichord". The sound do- Part of her success was also the fact that Landowska un- cuments, extending from 1905 (piano roll) and 1908 (fir- derstood how to celebrate and stage her performances. st recording on a phonograph cylinder ever made of a This was accomplished with an appearance and an order harpsichord) until shortly before her death in 1959, repre- of events at concerts that became her "trademarks", sent the artist's concert repertoire (including the record- which is also to be seen from today's vantage point in the ings on which Landowska played the piano). sense of a specifically "female" staging" (clothing, shoes, gestures, see also Fauser 2006). Most of her concerts Works dedicated to and/or composed for Landowska pro- must have been designed as lecture-recitals, so as not to vide evidence of her influence on the contemporary mu- miss the opportunity of verbally preparing the audience sic of her time and of the appreciation shown her within for the new listening experience in relation to the instru- her musical surroundings. Prominent painters made por- ment and repertoire. She always understood how to gain traits and paintings, of which those by Valentin Serov numerous helpers for herself and her work, above all her (1907, see Restout 1964) and Leonid Pasternak the Elder assistants Denise Restout and Elsa Schunicke. (Landowska in Moscow 1907, Tretyakov Gallery in Mos- cow) are the best known. Pupils and Posterity Landowska left behind a generation of pupils, including On the occasions of the jubilee years 1979 and 2009, Alice Ehlers (1887-1981), Marcelle de Lacour Wanda Landowska's complete work as a musician was (1896-1997), Clifford Curzon (1907-1982), Ralph Kirkpat- subject to a new, intensive analysis, reflected in several rick (1911-1984), Rafael Puyana (1931-2013), Eta Harich publications as well as multi-medial presentations. Schneider (1897-1986), Isabel Nef (1898-1976), Edith Research Weiss-Mann (1885-1951) and Ruggero Gerlin (1899-1983). On the one hand, Landowska's characteri- The current state of research on Wanda Landowska's life stic playing traits and her principles of an historic ap- and achievements as an interpreter is represented by the proach to the music were passed on to a generation of publications of Martin Elste and Jean-Jacques Eigeldin-

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ger, who most recently organised congresses in honour not so far been catalogued in its individual contents. of Landowska in 2009. Another gap in the research undertaken so far is the lis- Gender-specific aspects in the artistic career of Wanda ting of pupils, connected with questions of Landowska's Landowska are discussed in the research projects of Ali- pedagogical influence on successive generations. Al- ce Hudnall Cash and Annegret Fauser. David Kjar (2011) though controversial, there is a lack of attempts at trac- has occupied himself with the re-evaluation of Landows- ing this influence, as regards harpsichord playing, on per- ka's role in the Early Music movement of the 20th centu- sons and schools of thought. ry. Concerning the role of the musician in the 19th centu- Authority control ry, see Harer 2011, regarding the influence of Wanda Lan- dowska on the Pleyel firm, see Harer 2014. Virtual International Authority File (VIAF): http://viaf.org/viaf/66652279 Need for Research Deutsche Nationalbibliothek (GND): The fascination with the person Wanda Landowska has http://d-nb.info/gnd/119037890 continued to motivate research projects right up to the Library of Congress (LCCN): present day. Most of these were and are depictions explai- http://lccn.loc.gov/n83121776 ning Landowska's achievements as a harpsichordist and Author(s) pioneer of the Early Music movement. Landowska's youthful years have rarely been subject to closer examinati- Ingeborg Harer on. These include the years of her first piano instruction Editing status in Warsaw and composition instruction in Berlin. The qu- estion as to why Landowska originally aspired towards a Editorial staff: Regina Back career as a composer and ultimately gave up this goal Translation: David Babcock has hardly been posed so far. Likewise, it has apparently First edit 10/11/2013 not appeared appropriate, due to the priority of her role Last edit 14/03/2018 as a harpsichordist, to provide a list, as complete as possible, of the works of the composer Landowska. This at- mugi.hfmt-hamburg.de tempt is being made for the first time in the present artic- Forschungsprojekt an der le. A complete verification of the works as regards their Hochschule für Musik und Theater Hamburg actual existence, as well as a comprehensive occupation Projektleitung: Prof. Dr. Beatrix Borchard with Landowska's role as a composer, remain a research Harvestehuder Weg 12 desideratum. D – 20148 Hamburg As far as Wanda Landowska's writings are concerned, he- re, too, there is little clarity concerning the exact number of contributions, their translations into other languages or contemporary reprints and any possible textual over- laps. The existing sources concerning Wanda Landowska as a musician are, on the other hand, extremely rich, for the artist meticulously documented her activities and left behind a large number of written testimonies (letters, printed and handwritten documents) that impressively document her artistic thinking. Since these materials are scat- tered in numerous libraries or archives, however, and in some cases are in private possession of the subsequent generation of pupils, it has not so far been possible to un- dertake a complete accessing. Since her estate was only officially passed on to the Library of Congress (Washing- ton D.C.) in 2004, following the death of Denise Restout, this source has also remained largely unedited and has

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