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Piano Concertos 1 and 2 - Beethoven - PASC197

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Quick Overview

Artur Schnabel, piano
London Symphony Orchestra
London Philharmonic Orchestra
conducted by Malcolm Sargent
Recorded 1932 & 1935


All original 78rpm discs from the Pristine Audio collection
Transfers and XR remastering by Andrew Rose at Pristine Audio, November 2009
Cover artwork based on a photograph of Artur Schnabel


Total duration: 66:12
©2009 Pristine Audio

Details

Schnabel's authoritative Beethoven Concerto readings

Finally getting the sonic resurrection needed for over 75 years

 

  • Beethoven - Concerto for Piano and Orchestra No. 1 in C, Op. 15
    Artur Schnabel, piano
    London Symphony Orchestra
    conducted by Dr. Malcolm Sargent

    Recorded at Abbey Road, London, 23rd March, 1932
    Issued as five HMV 78s DB.1690-94
    Matrix numbers 2B3235-43
    Takes 1, 1, 1, 3, 1, 3, 1, 2, 1
  • Beethoven - Concerto for Piano and Orchestra No. 2 in B flat, Op. 19
    Artur Schnabel, piano
    London Philharmonic Orchestra
    conducted by Dr. Malcolm Sargent

    Recorded at Abbey Road, London, 5th April, 1935
    Issued as four HMV 78s DB.2573-76
    Matrix numbers 2EA1457-64
    Takes 1, 1, 2, 2, 1, 2, 2, 1

    Review of this release: Classic Record Collector, Spring 2010

 


Notes on the recordings:

The recording sessions at Abbey Road's Studio One which took place on 23rd and 24th March, 1932, were memorable ones. Both days featured Artur Schnabel recording a Beethoven Piano Concerto with the London Symphony Orchestra, conducted by the then-unknighted Dr. Malcolm Sargent.

These must have been quite significant recordings for the HMV catalogue, with the UK's premier orchestra under the baton of one of the countries top young conductors (Sargent was 37 at the time), with one of the all-time great interpreters of Beethoven's piano works seated at the keyboard. No doubt everyone concerned gave their all - though as was usual at the time, retakes were the exception rather than the rule, and the odd minor mistake may have occasionally been allowed to pass.

But someone at Abbey Road was clearly having a very bad couple of days indeed. Maybe the microphone was a dud, maybe the disc cutter's amplifier had developed a fault, who can say? But there can surely be little forgiveness for the absolutely atrocious tonal quality of the two recordings, the 1st and 5th Piano Concertos, that were cut to disc on those two days in March 1932. One can only assume that HMV producer Lawrance Collingwood had a bad cold or blocked ears for these sessions - or perhaps was too busy schmoozing with his stars to pay proper attention to the efforts of his studio engineer.

I tackled the Emperor Concerto some time ago, as one of the first candidates for XR remastering, and a prime one at that. Since then, remastering techniques and software have continued to be refined and advanced, and we are able to present in the First Piano Concerto what is one of the most dramatic and remarkable sonic transformations yet achieved for recordings such as this.

It is somewhat ironic that the hopeless tonal quality of the original recordings, caused to a great extend by a huge boost in the region between 2kHz and 5kHz to give a harsh, nasty and unpleasant sound both to the original discs and every transfer I've heard prior to this, actually does me a favour, as this is where the ear is most sensitive to noise. The re-equalisation to correct this particular anomaly immediately gives me an extra 8dB of signal-to-noise ratio right where it's needed, and also helps the piano in particular to cut through exceptionally well for a recording of this vintage.

The Second Piano Concerto, recorded some three years later with the London Philharmonic (Sargent had fallen out with the LSO over his support for Beecham’s formation of the London Philharmonic Orchestra during the summer of 1932 - as a result, the other three Beethoven concertos were recorded with the LPO rather than the LSO in 1933 and 1935) is a much better effort from the studio, but lacks this bizarre treble boost, and as a result it often somewhat noisier in replay after remastering than its earlier sibling. However, this is offset to a degree by the better overall tonal quality of the source material, which has also responded very well indeed to XR remastering and exhibits slightly greater depth and less of a propensity to occasional peak distortion than the 1932 recording.

Andrew Rose

 

Artur Schnabel

biographical notes excerpt from Wikipedia

 

Artur Schnabel (April 17, 1882 – August 15, 1951) was an Austrian-born Jewish classical pianist, who also composed and taught. Schnabel was known for his intellectual seriousness as a musician, avoiding pure technical bravura. He is one of the 20th century's important pianists, whose vitality, profundity and spirituality in playing of works by Beethoven and Schubert, in particular, have been hailed as exemplars of interpretative penetration.

Quote: "The notes I handle no better than many pianists. But the pauses between the notes—ah, that is where the art resides."

 

The early years

Born in Kunzendorf, a small suburb of Bielitz, Galicia, in the Silesian part of the Austro-Hungarian Empire (today Lipnik, Bielsko-Biała, Poland), Schnabel was the youngest of three children born to Isidor Schnabel, a Jewish textile merchant, and his wife Ernestine (née Labin). He had two sisters, Clara and Frieda.

The family moved to Vienna in 1884, when Schnabel was two. He began learning the piano at the age of four, when he took a spontaneous interest in his eldest sister Clara's piano lessons. His prodigious talent quickly became evident. At the age of six he began piano lessons under Professor Hans Schmitt of the Vienna Conservatory (today the University of Music and Performing Arts, Vienna). At the age of nine, he was accepted as a pupil by the famous piano pedagogue Theodor Leschetizky.

 

The Leschetizky years

Schnabel remained under Leschetizky's tutelage for seven years, between 1891 and 1897. His co-students of Leschetizky during that period included Ossip Gabrilowitsch, Mark Hambourg and Ignaz Friedman.

Initially, for his first year under Leschetizky, he was given rigorous preparatory technical tuition from Anna Yesipova (Leschetizky’s second wife and a famous pianist in her own right) and also from Malwine Bree who was Leschetizky's assistant. From age ten, he participated in all Leschetizky's classes.

Following a failed initial approach to Anton Bruckner, Schnabel studied music theory and composition under Eusebius Mandyczewski. Mandyczewski was an assistant to Johannes Brahms, and through him Schnabel was introduced to Brahms' circle and was often in the great composer's presence. The young Schnabel once heard Brahms play in a performance of his first piano quartet; for all the missed notes, said Schnabel, it "was in the true grand manner."

Schnabel made his official concert debut in 1897, at the Bösendorfer-Saal in Vienna. Later that same year, he gave a series of concerts in Budapest, Prague and Brünn (today Brno, Czech Republic).

 

The Berlin years

Schnabel moved to Berlin in 1898, making his debut there with a concert at the Bechstein-Saal. Following World War I, Schnabel also toured widely, visiting the United States, Russia and England.

He gained initial fame thanks to orchestral concerts he gave under the conductor Arthur Nikisch as well as playing in chamber music and accompanying his future wife, the contralto Therese Behr, in lieder.

In chamber music, he founded the Schnabel Trio with the violinist Alfred Wittenberg and the cellist Anton Hekking; they played together between 1902 and 1904. In 1905, he formed a second Schnabel Trio with Carl Flesch (with whom he also played violin sonatas) and the cellist Jean Gérardy. In 1914, with the outbreak of the First World War, Gérardy (a Belgian) left the trio as he could no longer remain in Germany. He was replaced by Hugo Becker and this became the third Schnabel Trio.

Later, Schnabel also played in a quartet with violinist Bronisław Huberman, composer/violist Paul Hindemith and the cellist Gregor Piatigorsky (with whom he also played and recorded cello sonatas). Schnabel also played with a number of other famous musicians including the violinist Joseph Szigeti and the cellists Pablo Casals and Pierre Fournier.

He was friends of, and played with, the most distinguished conductors of the day, including Wilhelm Furtwängler, Bruno Walter, Otto Klemperer, George Szell, Willem Mengelberg, and Sir Adrian Boult.

From 1925 Schnabel taught at the Berlin State Academy, where his masterclasses brought him great renown. Among Schnabel's many piano pupils were Clifford Curzon, Rudolf Firkušný, Adrian Aeschbacher, Lili Kraus, Leon Fleisher, Carlo Zecchi, Claude Frank, Leonard Shure, Alan Bush, Nancy Weir, Jascha Spivakovsky, Eunice Norton, Henry Jolles, and radio personality Karl Haas. His last and favourite pupil was Maria Curcio.

 

The later years

Schnabel, a Jew, left Berlin in 1933 after the Nazi Party took control. He lived in England for a time while giving masterclasses at Tremezzo on Lake Como in Italy, before moving to the United States in 1939. In 1944, he became a naturalized citizen of the United States. There he took a teaching post at the University of Michigan, returning to Europe at the end of World War II. Among his pupils in Michigan was composer Sam Raphling.

He continued to give concerts on both sides of the Atlantic until the end of his life, as well as composing and continuing to make records, although he was never very fond of the whole studio process. He died in Axenstein, Switzerland and was buried in Schwyz, Switzerland.

 

Family

Schnabel married Therese Behr in 1905. They had two sons, Karl Ulrich Schnabel (1909-2001) who also became a classical pianist and renowned piano teacher, and Stefan Schnabel (1912-99) who became a well regarded actor.

 

Repertoire

Schnabel was best known for his devotion to the core German composers, especially the Viennese classics of Mozart, Beethoven and Schubert. He was also renowned for his playing of works by Brahms and Schumann. He also played and recorded works by Bach.

However, his repertoire was wider than that. During his young virtuosic years in Berlin, he played works by other composers including Liszt, Chopin and Weber. On his early American tours, he programmed works such as the Chopin Preludes and Schumann's Fantasia in C. Among other works that he played, as recalled by those such as Claudio Arrau and Vladimir Horowitz, who had heard Schnabel in the 1920s, were Chopin's E minor Piano Concerto and the Piano Sonata No. 2 in B-flat minor, and Weber's Konzertstück and Piano Sonata No. 2. Schnabel himself mentioned that he had played the Liszt Sonata in B minor "very often", as well as the Liszt E-flat piano concerto.

It is not clear why Schnabel dropped those from his performing repertoire in the 1930s, after his final departure from Germany. He claimed that it was because he decided that he wanted to play only "music which is better than it could be performed". However, it has been suggested by some that "Schnabel, uprooted from his native heritage, may have been clinging to the great German composers in an attempt to keep his cultural origins alive".

Schnabel was known for championing the then-neglected sonatas of Schubert and, even more so, Beethoven, including his more challenging late works. While on a tour of Spain, Schnabel wrote to his wife saying that during a performance of Beethoven's Diabelli Variations he had begun to feel sorry for the audience. "I am the only person here who is enjoying this, and I get the money; they pay and have to suffer," he wrote. Schnabel did much to popularize Beethoven's piano music, making the first complete recording of the sonatas, completing the set in 1935. This set of recordings has never been out of print, and is considered by many to be the touchstone of Beethoven sonata interpretations, though shortcomings in finger technique mar many performances of fast movements (Sergei Rachmaninoff is supposed to have referred to him as "the great adagio pianist"). It has been said that he suffered greatly from nerves when recording; in a more private setting, his technique was impeccable. He also recorded all the Beethoven piano concertos.

 

Schnabel as composer

Despite his performing repertoire being concentrated largely on the works of Beethoven, Schubert, Mozart and Brahms, almost all of his own compositions (none of which are in the active repertoire) are atonal. (It is interesting, in this regard, to note that Schnabel was a close friend of Arnold Schoenberg, his Austrian-American compatriot, who was famous as a pioneering composer of atonal and twelve-tone music.)

They are "difficult" yet fascinating and complex works, and are marked by genuine originality of style. Composers Ernst Krenek and Roger Sessions have commented that they show signs of undoubted genius (see biography of Schnabel by Cesar Saerchinger). Schnabel's list of compositions eventually included three symphonies, a piano concerto, a piano sonata (premiered by Eduard Erdmann at the 1925 Venice ISCM Festival) and five string quartets, amongst various smaller works.

In recent years, a number of his compositions (notably championed by the violinist, Paul Zukofsky) have been recorded and made available on CD, including three of his string quartets, the three symphonies, and piano sonata.

 

Notes from Wikipedia: http://en.wikipedia.org/wiki/Artur_Schnabel

 

 

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