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Walter Gieseking Add 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 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.
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