Intermezzo In B Flat, Op. 76 No. 4 - Magda Tagliaferro - The Early Years (CD)

Though Hungarian by birth, and having studied at the Franz Liszt Academy in Budapest, Louis Kentner, like so many others of Jewish origin, immigrated to London in the mid s, aware that central Europe was not the best place to be at that time for someone of his race.

He was to remain in London for the rest of his life, becoming very much part of British musical life both as pianist and, later, as teacher. His somewhat sensational London debut took place in the Aeolian Hall in October where he gave an all Liszt recital. As a direct result he was signed up by HMV and over the next fifteen years, in addition to much other repertoire, he made a large number of Liszt recordings which featured not only the often recorded etudes and Hungarian Rhapsodies but also premiere recordings of many of Liszt's more important, but then less well known, larger works.

This later piece is one of Liszt's most brilliant operatic transcriptions, but is strangely little known. It is perhaps Kentner's most stunning recording and a fitting way to end this fascinating recital. Piano Sonata in B minor S Etude 1 Berceuse Andantino first recording 4. Etudes 1 — 12 complete recording All three developed fabulous Intermezzo In B Flat and were romantic pianists in the grand manner, and each fled Russia after the Revolution to make their way in the West.

That Kitain is the least known can only be put down to misfortune as these pre-War European recordings attest to a pianist of fabulous talent. Sadly he failed to 'make it' after his Wartime emigration to the USA and slowly faded from view, giving his last New York concert in Compact Disc 1 Wanda Landowska has achieved such fame for her 20th-century revival of the harpsichord that it is sometimes forgotten that she was a very fine pianist and continued to play music of the classical period on modern piano.

This set brings together, for the first time, all her recordings on that instrument. In their understanding of period style, ornamentation and appropriate instrumental colour, and above all in their ability to get to the emotional heart of the matter, these recordings reveal Landowska's playing to be as valid now, in our historically informed time, as it ever was.

This title continues the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era. One of the youngest pianists to be featured in this series, Victor Merzhanov is more a grand-pupil of Goldenweiser than a pupil, as his major professor was Samuil Feinberg. It seems certain though, that while studying with one of Goldenweiser's most illustrious pupils he would also have had contact with the great man.

Merzhanov graduated from the Moscow conservatory in and, after war service, shared first prize in the All-Union piano competition with Sviatoslav Richter. He began teaching at the Moscow Conservatoire in and, at the age of 90, continues to teach and serve on competition juries today. Merzhanov quickly became renowned as a Rachmaninov interpreter and his recording of the Third Concerto is one of the greatest, he also made the first recording of Prokofiev's Sixth Sonata.

He was most prolific in the recording studio in the 's and his performances are characterised by peerless technique witness the Liszt 'Paganini' Studies included here and a generous, but never self-serving, emotional involvement with the music.

Once again the quality of the playing revealed here shows that our view of who are the 'greats' of Soviet pianism has been very much dictated by those performers who had careers in the west.

As this series of CDs has shown, Gilels and Richter were not isolated peaks; the likes of Oborin, Zak, and here, Merzhanov, were certainly their musical equals.

Benno Moiseiwitsch was one of the many great Russian pianists born in Odessa. A prodigy, he finished his studies in Vienna under the great teacher Leschetitzky and commenced his international career in London in He recorded prolifically from until just before his death and was particularly highly regarded for his Chopin, Schumann and Rachmaninov. His playing was characterised by effortless technique, great colour and an always present lyricism.

Moiseiwitsch met Rachmaninov as his American debut in and the two immediately became great friends. The composer of course also a great pianist praised Moiseiwitsch's interpretations of his works and even claimed the recording of the Second Concerto presented here was superior to his own.

Heinrich Neuhaus was born in the Ukraine to a German father and Polish mother. His parents were music teachers and he took to music from an early age making his debut aged fourteen, from then on he rapidly made a name for himself both as a performer and teacher. Always an erratic, nervous performer in public, teaching gradually took precedence over his concert activities and he gave his Farewell Recital in Moscow in He was the leading piano professor at the Moscow Conservatoire from toand Director there between and Neuhaus is now best remembered for his incredible list of pupils; Gilels, Richter, Zakhis son Stanislav, as well as Bakst, Brumberg, Goldfarb, Krainev, Kvapil, Lupu, Naumov, Nasedkin, Slobodyanik, Vedernikov, Versaladze, and Zhukov to name a few, however he also made a great many recordings, very few of which have been issued in the west.

They reveal a most poetic pianist, ideally attuned to Chopin or to the smaller scale Scriabin presented here. His Beethoven reveals a musical integrity which takes us to the heart of the composer. Above all Neuhaus reveals the musical value of a work rather than its superficial effect and it is no doubt this spiritual response to music which he was able to impart to his pupils, making him such an inspiring and successful teacher. We have already featured Lev Oborin on APR playing Rachmaninov's second and third Concertos, and that he was entrusted with the first ever Soviet recordings of these works shows the status he held at that time.

He studied with Igumnov at the Moscow Conservatory from the age of 14 and inat the age of 19, he won the first Chopin competition. From this time on until his death he was central to Russian musical life both as performer and teacher he taught Vladimir Ashkenazy amongst many others.

Oborin was the 'complete' pianist. He had a magnificent technique and seemed to be able to play any style Op. 76 No. 4 - Magda Tagliaferro - The Early Years (CD) repertoire convincingly. He was also equally at home as soloist or chamber player, indeed in the West he is still perhaps better known as accompanist to the great violinist David Oistrakh due to the recordings they made together. The present CD presents Oborin as classicist in Beethoven, as the great Chopin interpreter, as virtuoso in the Liszt Rhapsody and as Russian lyricist in the Tchaikovsky.

He is magnificent in all. Sonata in D major D recorded in Moscow in August Schubert's Sonatas D and D are certainly amongst his greatest, they immediately predate the magnificent final three D and are written on the same vast scale.

The composer's piano sonatas were little known in the s particularly in the USSR, and Richter was very much a torchbearer for this music. These are sublime performances particularly in the timeless slow movements, and it is surprising how rarely these particular recordings have been reissued in the CD era.

Thankfully by the later 's the Melodiya recorded sound was much improved and not many apologies need be made on this account. Finale: Presto non tanto alternative version recorded on 2 sides 5. Moriz Rosenthal was from the earliest generation of pianists to have made a significant number of recordings, and he was also one of the more important Liszt pupils, therefore his legacy is of the utmost importance as representative of 19th century style.

In his youth he was renowned as being one of the supreme technicians and, although he began to record only in old-age, this can still be heard in his own two Strauss paraphrases recorded here; still today pinnacles of the most ridiculous virtuosity. But it is for his Chopin above all that Rosenthal should be remembered. In his youth he studied with the composer's most important student, Karol Mikuli, and his uniquely free lyricism in the Mazurkas and other miniatures must surely be considered close to the composer's own.

This is the first time all Rosenthal's recordings have been transfered to CD and two recent discoveries issued only in Argentina and Japan respectively and known only in unique copies are included, as is a beautiful live performance from his 75th birthday concert. Compact Disc 2 To launch our new series devoted to the Russian Piano Tradition we have compiled a special issue which gathers together the first Russian recordings of all the Rachmaninov concertos.

Apart from Richter's 1st Concerto these recordings have been little known in the west, yet every one of them features playing of virtuosity and passion rarely equalled to this day. Lev Oborin was a pupil of Konstantin Igumnov to feature later in this series and won first prize at the inaugural Chopin Competition in That he was entrusted with first recordings of the second and third concertos shown the esteem in which he was held at the time.

His recording of the second from was only the third LP to be issued in Russia. British composer and pianist Ronald Stevenson was 80 in March and to celebrate we reissued his near legendary first recording of his magnum opus, the Passacaglia on DSCH. Originally issued in in a limited edition of 2LP sets, this performance has never since been available and has been much sought after by collectors. He is a magnificent performer himself, and sees himself as most influenced by the likes of Busoni and Grainger.

Born in Lancashire he studied in Manchester but has lived for over 50 years in West Linton, Scotland. The Passacaglia on DSCH has been described as the longest single movement in the piano literature 75' in this performance and is based on a seven bar theme derived from the musical notes in German notation contained in the name Dmitri Schostakovich.

The work was completed in and a copy presented to the Russian composer at the Edinburgh Festival that year. It is one of those works which seems much shorter than its length, such is the onward drive of its kaleidoscopically brilliant material. The countless variations include, amongst others, sections organised as suite, nocturne, pibroch, etudes and culminate in a triple fugue which combines the DSCH motive with BACH and the Dies Irae!

Jacques Thibaud was the pre-eminent French violinist on the first half of the 2oth Century and although he is now probably best remembered as a chamber musician, particularly in the legendary Cortot, Thibaud and Casals Trio, he also had a major career as a solo violinist. This pair of CDs features all his electrical recordings of music for violin and piano which does not fall into the catagory of chamber music for equal partners such as his Beethoven, Franck and Debussy sonata recordings with Cortot.

Unfortunately Thibaud did not make all that many recordings with orchestra and although he set down a 78rpm version of the Lalo Symphonie Espagnol it was never issued. We are therefore very lucky that the archives of Swiss Radio contained acetate discs of the live performance presented here. This piece was particulary associated with Thibaud and he gives a wonderful performance, in sound much better than we might expect from such a source.

Two dozen encore pieces with piano, plus a terrific live version of Lalo's Symphonie espagnole recorded in Most of the great French violinist's musical calling cards are here, performed with his usual suavity and chic An absolute must for violin fanciers.

Her elegance is perfect for Mozart and the poetry of the Schubert and Schumann Op. 76 No. 4 - Magda Tagliaferro - The Early Years (CD) is equally well caught in performaces to match the best.

Inauthentic - without a Op. 76 No. 4 - Magda Tagliaferro - The Early Years (CD) But fascinating none the less, and those of a timid disposition can replace this with the safer Hummel cadenza which is added to the CD as an appendix.

These new recordings were recorded at St. Georges's Brandon Hill, Bristol and give a comprehensive overview of Chopin's output from his earliest published work until his death.

Of course there is no shortage of fine Chopin recording available but in Valerie Tryon we have a pianist whose refined elegance,and effortless technique, make her the perfect Chopin interpreter. ATMA Classique. Denon Records. James Rhodes. Warner Bros. Easy-Listening Piano Classics: Brahms. Music for a Good Book. The Brahms Experience. Zen Piano. Brahms: Piano Masterpieces. Brahms: Piano Music. Ronan O'Hora. Regis Records. Brahms: Symphonie Nr.

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