8.111353 bk GiesekingBach_EU 4/15/09 12:11 PM Page 4

GREAT • WALTER GIESEKING ADD

Johann Sebastian BACH (1685-1750): ) VI: Tempo di gavotta 1:47 Great Pianists • Gieseking 8.111353 Concerto in the Italian Style, BWV 971, ¡ VII: Gigue 2:16 ‘Italian Concerto’ 11:58 Recorded on 28th February 1939, in New York 1 I: [Allegro] 3:36 Matrix: XCO 24541/44; 2 I: Andante 5:23 First issued on American Columbia 69617D/18D 3 III: Presto 2:59 Recorded in January 1940, Berlin French Suite No. 5 in G major, BWV 816 J. S. BACH Matrix: CR718/721 ™ VIII: Gigue 3:08 First issued on German Columbia LW33/34 Recorded on 5th April 1939, in New York Partitas Nos. 1, 5, 6 Matrix: XCO 24330; Partita No. 1 in B flat major, First issued on American Columbia 17150D ‘Italian Concerto’ BWV 825 (excerpts) * 8:31 4 I: Praeludium 1:47 Herz und Mund und Tat und Leben, BWV 147 5 IV: Sarabande 2:29 £ Jesu bleibet meine Freude 3:14 6 V: Menuet I-II 2:07 ‘Jesu Joy of Man’s Desiring’ (arr. M. Hess) 7 VI: Giga 2:08 Recorded on 5th April 1939, in New York Recorded in January 1939, in Berlin (Tracks 4-5) Matrix: XCO 24329; BEETHOVEN and August 1934, in Vienna (Tracks 6-7) First issued on American Columbia 17150D Matrix: CRX127-1 (Tracks 4-5) and Piano Sonata No. 17 CHAX52 (Tracks 6-7) (1770-1827): First issued on German Columbia LWX336 Piano Sonata No. 17 in D minor, Op. 31, No. 2, ‘Tempest’ 17:21 Op. 31, No. 2, ‘Tempest’ Partita No. 5 in G major, BWV 829 13:59 ¢ I: Largo - Allegro 5:08 8 I: Preambulum 1:59 ∞ II: Adagio 8:02 9 II: Allemande 1:44 § III: Allegretto 4:10 0 III: Corrente 1:29 Recorded on 13th March 1931, ! IV: Sarabande 2:26 in Westminster Central Hall, London @ V: Tempo di Minuetta 1:31 Matrix: WAX6012/15; # VI: Passepied 1:37 First issued on English Columbia DX277/78 $ VII: Gigue 3:12 Recorded on 5th April 1939, in New York 7 Bagatelles, Op. 33 Matrix: WXCO 24331/34; ¶ No. 1 in E flat major 3:56 First issued on American Columbia 71274D/5D Recorded on 11th August 1938, in Westminster Central Hall, London Partita No. 6 in E minor, BWV 830 17:10 Matrix: CRX94; % I: Toccata 5:35 First issued on English Columbia LX783 ^ II: Allemande 1:14 & III: Corrente 1:49 * Producer’s Note: * IV: Air 1:32 Gieseking only recorded these movements Walter Gieseking ( V: Sarabande 2:57 from Bach’s B flat Partita. Historical Recordings 1931-1940 8.111353 4 8.111353 bk GiesekingBach_EU 4/15/09 12:11 PM Page 2

broken out) he recorded the Italian Concerto in the Wood: this performance was so enthusiastically Walter Gieseking (1895-1956) same city. The remaining Bach recordings heard on received that Gieseking gave an encore of Reflets dans J.S. BACH: Partitas Nos. 1, 5, 6 - Italian Concerto • BEETHOVEN: Piano Sonata No. 17, ‘Tempest’ this compact disc were made in New York in 1939. At l’eau by Debussy. In addition to these two orchestral the beginning of February 1939 Gieseking performed performances, within a few days Gieseking also gave an Gieseking’s father was a distinguished German doctor Schumann, Beethoven, Mozart and Bach, and Rachmaninov’s Piano Concerto No. 3 in D minor, afternoon solo recital at the Wigmore Hall amusingly with a keen interest in entomology who travelled in championed contemporary composers such as Busoni, Op. 30, twice with the New York Philharmonic described by one critic as ‘long and arduous for a piano France and Italy. As a result, his son Walter was born in Hindemith, Korngold, Krenek, Poulenc, Pfitzner, Orchestra and John Barbirolli and in the middle of recital between tea and dinner’. At this time always a Lyons, France in 1895, and spent the first sixteen years Schoenberg and Stravinsky, many of whom dedicated March he gave a recital at Town Hall where he played keen promoter of new music, Gieseking played the of his life in southern France and Italy. Although the works to him. Gieseking became known for his wide works by Scarlatti, Schumann and Debussy. Between Sonatine Transatlantique by and young Gieseking played the piano from the age of four, palette of tone and dynamics. these appearances Gieseking recorded the Partita No. 6 Walter Niemann’s Garden Music in addition to he had no proper tuition until his family moved to After Gieseking’s London début recital, where his in E minor on 28th February. The way Gieseking plays Schumann’s Fantasie, Op. 17. The day after his two Hanover in 1911 where, at the age of sixteen, he became programme included Bach’s English Suite in D minor, the Courante brings Glenn Gould to mind and these concerto performances Gieseking went to Central Hall, a pupil of Karl Leimer at the Hanover Conservatory Scriabin’s Piano Sonata No. 4, Op. 30, and Schumann’s recordings of Bach show that neither Gould nor Tureck Westminster, to record Beethoven’s Piano Sonata in D studying for three years, after which he had no further Waldscenen, Op. 82, one critic wrote, ‘Mr Gieseking’s played Bach in a way that had not to some extent been minor, Op. 31, No. 2. He certainly takes the subtitle tuition. At the age of twenty Gieseking performed the skill is great enough in some ways… and his pianissimo heard before. ‘Tempest’ at face value in the first movement. The complete Beethoven piano sonatas in six recitals. now and then becomes as nearly nothing as is possible The rest of the New York Bach recordings were Adagio is almost Mozartian in its poise and here However, World War I interrupted the beginnings of his to imagine… The Bach was played with perfect clarity made on 5th April 1939 when Gieseking recorded the Gieseking’s dynamic range can be heard to full career, and it was not until 1920, when he was already and his tone gradations here and in the Debussy pieces Partita No. 5 in G major, the Gigue from the French advantage. The final Allegretto is taken at a fast tempo 25, that Gieseking made his début in Berlin at the first were masterly.’ It is interesting that Gieseking chose to Suite No. 5 in G major and Myra Hess’s arrangement of giving the feeling of one in a bar rather than three and of seven recitals in the city that season. Although he play Bach at his London début as he did not often Jesu, joy of man’s desiring from Cantata No. 147. concentrating on the ‘Tempest’ aspects again. Overall, played music by Debussy and Ravel, composers with programme Bach’s works. During the 1920s in addition Compton Pakenham wrote in the The New York Times, this is a completely satisfying performance of this whom he would be associated throughout his life, to the D minor English Suite he played the E minor ‘Before returning to Europe at the close of his American sonata. At the time of its release one critic could hardly Gieseking was hailed as ‘the new Anton Rubinstein’, a Partita. After a performance of the latter in 1929 one season, Walter Gieseking spent a great deal of time in contain his delight: ‘…here is perfect playing matched title which would hardly have been applied to the critic wrote an extremely acute appraisal of Gieseking, Columbia’s new studios, arrangements having been with a perfect recording… the gradation of tone, from a Gieseking of the 1950s by which time he was ‘Mr Walter Gieseking is a of more than ordinary made with his principals whereby he was able to record delicate pianissimo to the most sonorous forte, is acknowledged as one of the finest interpreters of the ability. His control over shades of tone, especially over in this country. How much and what was done during altogether admirable. As for the actual playing, I know French impressionists. infinite gradations in the range between piano and these protracted sessions is still something of a mystery, no better interpretation of this sonata and, for the Gieseking made his London début in 1923, his pianissimo, the clear definition of his agile finger-work, but the company has given early release to a generous present, I do not think I want one. Not for a long time American début in 1926 and appeared in Paris for the and the firm outlines of his rhythm and phrasing make assortment.’ None of the Bach titles were mentioned in have I heard anything on the gramophone to match first time in 1928. During the 1930s Gieseking spent everything he plays both vividly interesting and this ‘generous assortment’. Gieseking’s playing of the so-called soliloquy of much of his time touring Europe, the United States and delightful to the ear. There is never a harsh or ugly On 11th March 1931 Gieseking played Brahms’s Prospero in the first movement, or of the whole South America. Although he was in America in 1939, sound from the instrument….We do not get the Piano Concerto No. 2 in B flat, Op. 87, at the Queen’s joyously impetuous last movement… For all concerned he decided to return to Germany at the outbreak of impression of a compelling personality, or of Hall in London. He and conductor Oskar Fried received it is a splendid achievement, one of the high water World War II. After the war he played in Australia, intellectuality in his interpretation. Yet his rave reviews for the performance while the very next marks of pianoforte recording.’ Japan and South America, but was not able to return to performances are never empty and merely brilliant day Gieseking was back at the Queen’s Hall performing the United States until 1953 owing to his wartime exhibitions of virtuosity, because they are always Mozart’s Piano Concerto in E flat, K. 271, with Henry © 2009 Jonathan Summers allegiances. In 1955 he embarked on a ten-month tour musical in tone and rhythm… This style, so lucid and so of America and in the autumn of 1956 undertook a rhythmical, is the perfect vehicle for Bach’s keyboard series of continuing recording sessions for EMI in music, and the performance of the Partita in E minor London where he died at the end of the year. was completely satisfying…’ Before the Second World War Gieseking’s Of Gieseking’s pre-war Bach recordings, two repertoire was a good deal wider than it became later. movements from the Partita No. 1 were recorded in He played concertos by Tchaikovsky and Vienna in 1934, two further movements in Berlin in Special thanks to Michael Gray and Donald Manildi Rachmaninov, piano sonatas by Scriabin, works by 1939, whilst during the following year (after war had

8.111353 2 3 8.111353 8.111353 bk GiesekingBach_EU 4/15/09 12:11 PM Page 2

broken out) he recorded the Italian Concerto in the Wood: this performance was so enthusiastically Walter Gieseking (1895-1956) same city. The remaining Bach recordings heard on received that Gieseking gave an encore of Reflets dans J.S. BACH: Partitas Nos. 1, 5, 6 - Italian Concerto • BEETHOVEN: Piano Sonata No. 17, ‘Tempest’ this compact disc were made in New York in 1939. At l’eau by Debussy. In addition to these two orchestral the beginning of February 1939 Gieseking performed performances, within a few days Gieseking also gave an Gieseking’s father was a distinguished German doctor Schumann, Beethoven, Mozart and Bach, and Rachmaninov’s Piano Concerto No. 3 in D minor, afternoon solo recital at the Wigmore Hall amusingly with a keen interest in entomology who travelled in championed contemporary composers such as Busoni, Op. 30, twice with the New York Philharmonic described by one critic as ‘long and arduous for a piano France and Italy. As a result, his son Walter was born in Hindemith, Korngold, Krenek, Poulenc, Pfitzner, Orchestra and John Barbirolli and in the middle of recital between tea and dinner’. At this time always a Lyons, France in 1895, and spent the first sixteen years Schoenberg and Stravinsky, many of whom dedicated March he gave a recital at Town Hall where he played keen promoter of new music, Gieseking played the of his life in southern France and Italy. Although the works to him. Gieseking became known for his wide works by Scarlatti, Schumann and Debussy. Between Sonatine Transatlantique by Alexandre Tansman and young Gieseking played the piano from the age of four, palette of tone and dynamics. these appearances Gieseking recorded the Partita No. 6 Walter Niemann’s Garden Music in addition to he had no proper tuition until his family moved to After Gieseking’s London début recital, where his in E minor on 28th February. The way Gieseking plays Schumann’s Fantasie, Op. 17. The day after his two Hanover in 1911 where, at the age of sixteen, he became programme included Bach’s English Suite in D minor, the Courante brings Glenn Gould to mind and these concerto performances Gieseking went to Central Hall, a pupil of Karl Leimer at the Hanover Conservatory Scriabin’s Piano Sonata No. 4, Op. 30, and Schumann’s recordings of Bach show that neither Gould nor Tureck Westminster, to record Beethoven’s Piano Sonata in D studying for three years, after which he had no further Waldscenen, Op. 82, one critic wrote, ‘Mr Gieseking’s played Bach in a way that had not to some extent been minor, Op. 31, No. 2. He certainly takes the subtitle tuition. At the age of twenty Gieseking performed the skill is great enough in some ways… and his pianissimo heard before. ‘Tempest’ at face value in the first movement. The complete Beethoven piano sonatas in six recitals. now and then becomes as nearly nothing as is possible The rest of the New York Bach recordings were Adagio is almost Mozartian in its poise and here However, World War I interrupted the beginnings of his to imagine… The Bach was played with perfect clarity made on 5th April 1939 when Gieseking recorded the Gieseking’s dynamic range can be heard to full career, and it was not until 1920, when he was already and his tone gradations here and in the Debussy pieces Partita No. 5 in G major, the Gigue from the French advantage. The final Allegretto is taken at a fast tempo 25, that Gieseking made his début in Berlin at the first were masterly.’ It is interesting that Gieseking chose to Suite No. 5 in G major and Myra Hess’s arrangement of giving the feeling of one in a bar rather than three and of seven recitals in the city that season. Although he play Bach at his London début as he did not often Jesu, joy of man’s desiring from Cantata No. 147. concentrating on the ‘Tempest’ aspects again. Overall, played music by Debussy and Ravel, composers with programme Bach’s works. During the 1920s in addition Compton Pakenham wrote in the The New York Times, this is a completely satisfying performance of this whom he would be associated throughout his life, to the D minor English Suite he played the E minor ‘Before returning to Europe at the close of his American sonata. At the time of its release one critic could hardly Gieseking was hailed as ‘the new Anton Rubinstein’, a Partita. After a performance of the latter in 1929 one season, Walter Gieseking spent a great deal of time in contain his delight: ‘…here is perfect playing matched title which would hardly have been applied to the critic wrote an extremely acute appraisal of Gieseking, Columbia’s new studios, arrangements having been with a perfect recording… the gradation of tone, from a Gieseking of the 1950s by which time he was ‘Mr Walter Gieseking is a pianist of more than ordinary made with his principals whereby he was able to record delicate pianissimo to the most sonorous forte, is acknowledged as one of the finest interpreters of the ability. His control over shades of tone, especially over in this country. How much and what was done during altogether admirable. As for the actual playing, I know French impressionists. infinite gradations in the range between piano and these protracted sessions is still something of a mystery, no better interpretation of this sonata and, for the Gieseking made his London début in 1923, his pianissimo, the clear definition of his agile finger-work, but the company has given early release to a generous present, I do not think I want one. Not for a long time American début in 1926 and appeared in Paris for the and the firm outlines of his rhythm and phrasing make assortment.’ None of the Bach titles were mentioned in have I heard anything on the gramophone to match first time in 1928. During the 1930s Gieseking spent everything he plays both vividly interesting and this ‘generous assortment’. Gieseking’s playing of the so-called soliloquy of much of his time touring Europe, the United States and delightful to the ear. There is never a harsh or ugly On 11th March 1931 Gieseking played Brahms’s Prospero in the first movement, or of the whole South America. Although he was in America in 1939, sound from the instrument….We do not get the Piano Concerto No. 2 in B flat, Op. 87, at the Queen’s joyously impetuous last movement… For all concerned he decided to return to Germany at the outbreak of impression of a compelling personality, or of Hall in London. He and conductor Oskar Fried received it is a splendid achievement, one of the high water World War II. After the war he played in Australia, intellectuality in his interpretation. Yet his rave reviews for the performance while the very next marks of pianoforte recording.’ Japan and South America, but was not able to return to performances are never empty and merely brilliant day Gieseking was back at the Queen’s Hall performing the United States until 1953 owing to his wartime exhibitions of virtuosity, because they are always Mozart’s Piano Concerto in E flat, K. 271, with Henry © 2009 Jonathan Summers allegiances. In 1955 he embarked on a ten-month tour musical in tone and rhythm… This style, so lucid and so of America and in the autumn of 1956 undertook a rhythmical, is the perfect vehicle for Bach’s keyboard series of continuing recording sessions for EMI in music, and the performance of the Partita in E minor London where he died at the end of the year. was completely satisfying…’ Before the Second World War Gieseking’s Of Gieseking’s pre-war Bach recordings, two repertoire was a good deal wider than it became later. movements from the Partita No. 1 were recorded in He played concertos by Tchaikovsky and Vienna in 1934, two further movements in Berlin in Special thanks to Michael Gray and Donald Manildi Rachmaninov, piano sonatas by Scriabin, works by 1939, whilst during the following year (after war had

8.111353 2 3 8.111353 8.111353 bk GiesekingBach_EU 4/15/09 12:11 PM Page 4

GREAT PIANISTS • WALTER GIESEKING ADD

Johann Sebastian BACH (1685-1750): ) VI: Tempo di gavotta 1:47 Great Pianists • Gieseking 8.111353 Concerto in the Italian Style, BWV 971, ¡ VII: Gigue 2:16 ‘Italian Concerto’ 11:58 Recorded on 28th February 1939, in New York 1 I: [Allegro] 3:36 Matrix: XCO 24541/44; 2 I: Andante 5:23 First issued on American Columbia 69617D/18D 3 III: Presto 2:59 Recorded in January 1940, Berlin French Suite No. 5 in G major, BWV 816 J. S. BACH Matrix: CR718/721 ™ VIII: Gigue 3:08 First issued on German Columbia LW33/34 Recorded on 5th April 1939, in New York Partitas Nos. 1, 5, 6 Matrix: XCO 24330; Partita No. 1 in B flat major, First issued on American Columbia 17150D ‘Italian Concerto’ BWV 825 (excerpts) * 8:31 4 I: Praeludium 1:47 Herz und Mund und Tat und Leben, BWV 147 5 IV: Sarabande 2:29 £ Jesu bleibet meine Freude 3:14 6 V: Menuet I-II 2:07 ‘Jesu Joy of Man’s Desiring’ (arr. M. Hess) 7 VI: Giga 2:08 Recorded on 5th April 1939, in New York Recorded in January 1939, in Berlin (Tracks 4-5) Matrix: XCO 24329; BEETHOVEN and August 1934, in Vienna (Tracks 6-7) First issued on American Columbia 17150D Matrix: CRX127-1 (Tracks 4-5) and Piano Sonata No. 17 CHAX52 (Tracks 6-7) Ludwig van BEETHOVEN (1770-1827): First issued on German Columbia LWX336 Piano Sonata No. 17 in D minor, Op. 31, No. 2, ‘Tempest’ 17:21 Op. 31, No. 2, ‘Tempest’ Partita No. 5 in G major, BWV 829 13:59 ¢ I: Largo - Allegro 5:08 8 I: Preambulum 1:59 ∞ II: Adagio 8:02 9 II: Allemande 1:44 § III: Allegretto 4:10 0 III: Corrente 1:29 Recorded on 13th March 1931, ! IV: Sarabande 2:26 in Westminster Central Hall, London @ V: Tempo di Minuetta 1:31 Matrix: WAX6012/15; # VI: Passepied 1:37 First issued on English Columbia DX277/78 $ VII: Gigue 3:12 Recorded on 5th April 1939, in New York 7 Bagatelles, Op. 33 Matrix: WXCO 24331/34; ¶ No. 1 in E flat major 3:56 First issued on American Columbia 71274D/5D Recorded on 11th August 1938, in Westminster Central Hall, London Partita No. 6 in E minor, BWV 830 17:10 Matrix: CRX94; % I: Toccata 5:35 First issued on English Columbia LX783 ^ II: Allemande 1:14 & III: Corrente 1:49 * Producer’s Note: * IV: Air 1:32 Gieseking only recorded these movements Walter Gieseking ( V: Sarabande 2:57 from Bach’s B flat Partita. Historical Recordings 1931-1940 8.111353 4 NAXOS Historical GIESEKING Bach • Beethoven 8.111353

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TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, PUBLIC UNAUTHORISED RESERVED. TRANSLATIONS ALL RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND TEXTS ARTWORK, RECORDING, SOUND THIS IN RIGHTS ALL Special thanks:MichaelGrayandDonald Manildi Producer and Audio Restoration Engineer:Ward Marston detailedtracklist canbefoundinthebooklet. A Cover Photograph:Walter Gieseking[PrivateCollection] www.naxos.com ¶ ¢ £ ™ % 8 4 1 - - - - - § ¡ $ 7 3 8.111353 ADD o nEfa ao 3:56 3:08 3:14 Recorded on11th August 1938,in Westminster CentralHall,London 17:28 No. 1inEflatmajor 7 Bagatelles,Op.33 Recorded on13thMarch1931,in Westminster Central Hall,London 17:21 Piano SonataNo.17inDminor, Op.31, No.2,‘Tempest’ Ludwig vanBEETHOVEN(1770-1827): 13:59 Recorded on5th April 1939, inNew York (arr. M.Hess) ‘Jesu JoyofMan’s Desiring’ Jesu bleibetmeineFreude, 147 Herz undMund Tat undLeben,BWV Recorded on5th April 1939, inNew York VIII.Gigue 816 French SuiteNo.5inGmajor, BWV 8:31 Recorded on28thFebruary1939,inNew York 830 Partita No.6inEminor, BWV Recorded on5th April 1939,inNew York 829 Partita No.5inGmajor, BWV and August 1934,in Vienna (Tracks 6-7) 11:58 Recorded inJanuary1939,Berlin(Tracks 4-5) 825(excerpts) Partita No.1inBflatmajor, BWV Recorded inJanuary1940,Berlin 971‘ItalianConcerto’ Concerto intheItalianStyle,BWV Johann SebastianBACH(1685-1750): WALTER GIESEKING (1895-1956) BACH •BEETHOVEN ae marksofpianorecording’. water achievement, oneofthehigh this sonata…asplendid interpretation of know ofnobetter matched withperfectrecording. I critical accolades:‘perfectplaying also wonhimcontemporary of Beethoven’s Gieseking’s 1931account music...’ Bach’s keyboard vehicle for so rhythmical,istheperfect phrasing... This style,solucidand outlines ofhisrhythmand his agilefinger-work, andthefirm definitionof pianissimo, theclear in therangebetweenpianoand infinitegradations especially over shadesoftone, control over ‘his gainedhimlaurels for career of Bachintheearlyyearshis Gieseking’s interpretations Walter Tmet Sonata ‘Tempest’

Playing

79:15 Time

GIESEKING Bach • Beethoven • Bach 8.111353 NAXOS Historical NAXOS