This two-CD set is volume 3 in the Landmarks of Recorded Pianism series, and comprises piano solos, concerti, and two spoken reminiscences. Producers Gregor Benko and Ward Marston have selected these recordings because of their intrinsic musical and historic importance, hoping that they will merit the attention of music lovers, scholars, and collectors. Most of the offerings in this set will be completely new to collectors and enthusiasts since they are available here for the first time.

The center pieces of the set are two concerto performances taken from broadcasts, both marvelous in different ways: first we present Chopin’s F-minor concerto from a 1936 broadcast with Polish pianist, Jan Smeterlin, ably supported by the Boston Symphony Orchestra conducted by Serge Koussevitzky. A performance of both tumult and tenderness, it is the earliest known live performance of this work.

Then we offer a 1950 BBC broadcast of the Schumann concerto with 79-year-old Adelina de Lara, who had studied the work with Clara Schumann nearly sixty years earlier. De Lara gives an almost “chamber music” reading of the concerto, with subtle gradations of color and phrasing. We are also offering a third performance with piano and orchestra, but not an actual concerto. It is a seven-minute concoction of themes from the first movement of Tchaikovsky’s first concerto, made for a Coca-Cola sponsored radio program, played by the great Russian pianist, Simon Barere, with André Kostelanitz conducting the orchestra. This strange little pastiche is a new addition to the Barere discography.

For piano solo recordings, we first feature two recently discovered acoustic sides made in 1919 by African-American composer and pianist, Nathaniel Dett. These are lovely, serene readings of two short pieces from two suites, and we can only wish that we could hear more, but we have been assured that these are the only recordings of his artistry. The set also includes recordings by Australian-born pianist Elsie Hall whose only records are twelve sides made for HMV in 1930. These can be heard here for the first time in reissue, as well as a splendid performance of Bach’s C-minor Partita recorded privately when Hall was 86 years old. Our Landmarks third volume concludes by paying tribute to the English pianist, Katherine Goodson, 1872–1958. Goodson, a star pupil of Leschetizky, enjoyed a great career spanning a half-century yet sadly left us no recordings of her extraordinary artistry. Here, however, we can hear her speaking on two BBC broadcasts. First, a detailed reminiscence about her studies with Leschetizky, where she plays eight brief musical extracts. Our set concludes with Goodson giving a touching account of her week’s stay with soprano, Nellie Melba, at her Australian home.

In this second volume of the series Landmarks of Recorded Pianism, producers Ward Marston and Gregor Benko once again select piano recordings of great historical significance. There are several broadcast items presented: “live” performances by Rosenthal of Hungarian Rhapsody No. 2, as well as Mark Hambourg playing Tchaikovsky’s Concerto No. 1 and short selections from a Japanese broadcast by Ignaz Friedman, all of which expand our understanding of these pianists’ artistic contributions. Additional broadcast performances by Etelka Freund, Percy Grainger, and Reah Sadowsky, plus a unique broadcast of Grace Castagnetta improvising, are joined by commercial recordings of composer Federico Mompou and pianists Rosita Renard and Frank La Forge that have never been reissued before, as well as what is probably the earliest fortepiano recording, Arnold Dolmetsch playing the first movement of the Moonlight Sonata. The volumes of this ongoing series will likely prove to be cornerstones of any library of historical piano recordings.

This release features a collection of what might be called piano orphans: commercial and non-commercial recordings of great pianists that simply have never found their way onto compact disc. Among these treasures are fifteen minutes of Dinu Lipatti playing Scarlatti and Brahms that have only recently surfaced; an unpublished disc of Alfred Cortot playing the “Russian Dance” from Petroushka; and previously unpublished excerpts of the Tchaikovsky first piano concerto played by Vladimir Horowitz with the Philadelphia Orchestra, recorded during a 1932 concert conducted by Fritz Reiner and recorded as an experiment by the Bell Telephone Laboratory. This is Horowitz's earliest known concert performance and is in amazing sound for that time. It is unfortunate that the entire concerto was not recorded, but hearing these excerpts will be a revelation for Horowitz fans. Also included are live concerto performances by Lev Puishnov and Guiomar Novaes. We feel certain that piano enthusiasts worldwide will treasure this 2-CD set as nothing like it has been heard since Gregor Benko produced his acclaimed Landmarks of Recorded Pianism LP forty years ago.

In 1903, the Paris branch of the Gramophone and Typewriter Company made 27 incredibly important piano records. These documented the pianism of Edvard Grieg (1843–1907) and Raoul Pugno (1852–1914). The Grieg and Pugno recordings are some of the most rare and sought after discs and are unfortunately some of the most primitive and problematic. We are pleased to say that very recent technology has allowed us to greatly reduce these problems to produce these recordings in startlingly improved versions. This set also includes the equally rare 1904 G&T sides (five in total) of Camille Saint-Saëns (1835–1921) playing various selections from his own works, the eight sides Saint-Saëns recorded for the Gramophone Company in 1919, and other important piano recordings made by G&T.

Starting in 1889, what is now recognized as one of the earliest dates to record music, Julius Block recorded some of the most important artists and personalities of his time on cylinder. His cylinders range in date from 1889 to 1927, and were recorded in Russia, Germany, and Switzerland. Our three-CD set includes artists who have previously remained “silent” and will change the conception of many artists whose discography up until now were thought to be complete. These are the only known recordings of Anton Arensky, Paul Pabst, Sergei Taneyev, Leo Conus, Jules Conus, Anna Essipova, Jan Hrimaly, Anatoly Brandukov, Elizaveta Lavrovskaya, and Paul Juon. These are also the earliest surviving recordings of Josef Hofmann, Nikolai Figner, Eddy Brown, and Egon Petri. There are also recordings of the 11-year-old Heifetz one week after his sensational debut with Arthur Nikisch and the Berlin Philharmonic, which adds four pieces to Heifetz's discography. And, they include the first recorded performances of Bach, Chopin, Mendelssohn, Schumann, Tchaikovsky, Wagner, Donizetti, Verdi, Bizet, and Arensky.

Josef Lhevinne studied at the Moscow Conservatory under Vasily Safonov, made his public debut at fourteen in a performance conducted by Anton Rubinstein, and graduated top of a class that included both Sergei Rachmaninoff and Alexander Scriabin. Lhevinne is often included as one of the greatest golden-era pianists, and yet, his recorded legacy is approximately fifty minutes of repertoire for Pathé and Victor, albeit treasured and admired. And not unlike a star whose light went out too soon, the public created a mythos based on a small output and clamors for more examples of his playing to further justify his reputation. The wait is now over.

In addition to the Pathé and Victor recordings, this release includes a 1943 New York broadcast of Brahms's Op. 25 Piano Quartet with Lhevinne and the Perolé String Quartet, which is the cornerstone of this release. Also included will be several studio broadcasts from the 1930s. Among these broadcasts will be the second and third movements of Tchaikovsky’s Piano Concerto No. 1 from an NBC studio broadcast of 1933, which has been in the hands of collectors for many years. However, we now have a nearly complete performance of this work: Josef Lhevinne featured in this concerto during a Worcester Festival concert in 1936. It should be noted that for unknown reasons the first four minutes of the concerto were not recorded and despite recording flaws, this recording does give us a sense of Lhevinne's unique brilliance. This set will be a must for anyone collecting recordings of pianists of the golden age.

Friedrich Wilhelm Walter Kempff (1895–1991) is considered one of the great pianists of the twentieth century. One of the last chief exponents of the Germanic piano tradition, Kempff is particularly well known for his interpretations of Beethoven and Schubert. He is often best remembered for his warmth and poetic insights, sensitivity, and beautiful phrasing, yet this set of Kempff’s earliest recordings also reveal a young firebrand: a technical marvel capable of stunning, extroverted virtuosity.

Wilhelm Kempff was awarded two scholarships to the Berlin Hochschule für Musik at the age of nine: one to study piano with Heinrich Barth, and another to study composition with Brahms’s close friend and disciple Robert Kahn, both of whom had previously taught Artur Rubinstein. In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven’s “Hammerklavier” and Brahms’s “Variations on a Theme of Paganini”. Kempff toured extensively during his career yet did not make his first London appearance until 1951, and his first in New York in 1964 at the ages of fifty-five and sixty-nine respectively. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson’s Disease).

Wilhelm Kempff recorded over a period of some sixty years, yet this set of his acoustic recordings is unique: this is the first time that these early acoustic recordings have been assembled and the only group of Kempff recordings that have never been reissued. Additionally, Kempff establishes himself as the first pianist in history to place fully a quarter of the Beethoven sonatas on disc. The final Kempff DG/Polydor acoustic recording is arguably the most historically significant, since his Beethoven First, recorded with the Berlin State Opera Orchestra in September of 1925, stands as the first commercial release of one of the staples of the modern repertoire. Notes by Stephen Siek (pianist, musicologist, piano historian, and author of England’s Piano Sage: The Life and Teachings of Tobias Matthay) round out this historically important and beautifully lyric set.

Note: Original CD set is Sold Out; you will receive a CDR Version

Leopold Godowsky (1870–1938) was one of the great geniuses in the history of piano, earning the highest esteem as both performer and composer. Virtually self-taught, he concertized all over the world until felled by a stroke during a London recording session in 1930. Godowsky was praised for his effortless technique and the remarkable tonal subtlety of his playing. Godowsky’s recorded legacy extends from 1913 to 1930 and includes discs made for both American and British Columbia as well as for Brunswick. Marston is proud to present the third and final volume of this series. This 3-CD set, which includes the remaining Brunswick recordings and English Columbias, is priced as a 2-CD set.

Feodor Chaliapin (1873-1938) (bass) was in the opinion of many the greatest singing actor of the 20th century. Like Enrico Caruso, the name Chaliapin continued to be a household word long after his death. A case in point is that the Sobranie tobacco company continued to market their “Chaliapin” cigarettes into the 1970s. Producing a Chaliapin set has long been a desire of Marston, yet due to the size of the compilation, the production costs, and the time involved, this project has been pushed to the back burner time and time again. With the financial assistance of some of our generous supporters, we have finally released a thirteen-CD set containing every known recording of Feodor Chaliapin numbering well into the two hundreds. This set contains a substantial number of previously unpublished alternative takes, as well as all extant sides from the live performances at Covent Garden and the Royal Albert Hall that were recorded by His Master's Voice in 1926 through 1928. The booklet accompanying the set includes essays on Chaliapin and his records by Michael Scott and Michael Aspinall, and a reprint of an essay by the great accompanist, Ivor Newton.

Note: Original CD set is Sold Out; you will receive a CDR Version

Raoul von Koczalski was born in 1885 and at the age of seven began studying with Chopin-student Karol Mikuli. The first impression of Koczalski’s playing is often one of the fluency and grace of his execution, coupled with his subtlety of phrasing and smooth legato, but what one is often left with is his use of rubato. This aspect of his playing has given rise to debate about Chopin’s musical intentions and has sparked both criticism and admiration of Koczalski’s playing; it will delight many and dissuade some, while asking all to consider if this is the definitive interpretation of Chopin. This three CD-set is the second and final volume of the complete pre-war recordings of this controversial pianist. It is almost entirely devoted to Chopin, including recordings of the complete etudes, preludes, and ballades.