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CMYK NAXOS HistoricalNAXOS 8.111294 ADD W. A. MOZART Playing ൿ THIS COMPACTAND COPYING OF BROADCASTING DISC PROHIBITED. UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS ALLAND TEXTS ARTWORK, THIS SOUND RECORDING, RIGHTS IN 8.111294 & Artur Schnabel (1882-1951) Time Ꭿ 65:13 2008 Naxos Rights International Ltd. Piano Concerto No. 27 in B flat major, K.595 31:31 Not long after his February 1934 1 Allegro 12:57 London Queen’s Hall concert 2 Larghetto 10:53 comprising three Mozart concertos, 3 Allegro 7:41 Schnabel made his first recording of a London Symphony Orchestra • John Barbirolli Mozart piano concerto, No. 27 in B flat Recorded 2nd May, 1934 major, K.595, at the recently opened and SCHNABEL: W. A. Mozart in EMI Abbey Road Studio No. 1, London well equipped Abbey Road Studios. Completed in one session, this recording 4 Rondo in A minor, K.511 9:41 is notable not only for the excellence of Recorded 4th June, 1946 its sound but for the moulding of the in EMI Abbey Road Studio No. 3, London slow movement, taken at a slow tempo, but without any loss of the tension Concerto in E flat major for Two Pianos between successive notes or of the and Orchestra, K.365 24:01 coherence of harmonic progressions. 5 Allegro 9:12 Schnabel’s recording of the Concerto for 6 Andante 8:21 two pianos, with his son Karl Ulrich, is SCHNABEL: W. A. Mozart 7 Rondeau: Allegro 6:28 made up entirely of first takes. In the with Karl Ulrich Schnabel, piano Rondo in A minor, K.511, Schnabel London Symphony Orchestra • Adrian Boult beautifully shapes the phrases and Recorded 28th October, 1936 avoids sentimentality or overt intensity in EMI Abbey Road Studio No. 1, London MADE IN of expression. GERMANY Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Nathan Brown, Donald Manildi, Charles Niss and the International Piano Archives at the University of Maryland (IPAM) 8.111294 www.naxos.com Cover Image: Artur Schnabel, 1947 (Private Collection) NAXOS HistoricalNAXOS.

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A Discography
effort for sound recordings, continued research and ARTUR SCHNABEl: A DISCOGRAPHY development to achieve archival transfer and storage ~edia BY DAVID BLOESCH for sound recordings, improved training and profess1onal support for sound archivists, promotio~ of recommended practices--including transfer documen~atlon--and Sta~dards for the preservation of sound record1ngs, and cont1nued generation of reference mater~als--including, p~rt.icularly, compilation of a national ducography--to fac1lltate the PREFACE preservation process. BY FLORENCE KIRSCH NOTES It is well over half a century since Artur Schnabel began to record the thirty-two 1. The project was originally approved for t~e period Beethoven Sonatas in lonoon. This event coincided with his performances of these works in a January 1986 - June 30, 1987; a 90-day extens1o~ ~t no series of concerts in Berlin. The two events were not dissimilar. for at that time recordings increase in budget was approved by NEH to fac1l1tate were mfKJe as performances, without the safety valve of correct ions. preparation of the final report, which is now due by December 31, 1987. Thirty-six years ago, in 1951 , Artur Schnabel died. By then he had recorded a large 2. Four formal meetings were originally projected, but NEH number of w_orks, the ~tails of which the discography will show. It is not surprising that approved a fifth at AAA request. these recordmgs are shll sought for inspiration, insight and enlightenment. They remain a 3. NEH approved partial travel expenses for two persons ~or tr~ure of musical ideas, of spontaneity, daring and deep inner devotion to this great music.
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