Paderewski: Minuet in G major, Op. 14 No. 1

None of us can deny that they have fallen prey to the lure of a junk shop or of the chaotic mysteries of an attic, and sometimes purchasers of an old wardrobe or chest of drawers find there a bundle of treasure left behind … well, the spirit of ‘What have we here?’ permeates the adventures captured on this album. Salon music had its heyday on record in the era of 78s, since the length of a side suited it so well, and for that reason some titles— such as Rubinstein’s Melody in F and Paderewski’s Minuet in G—may be familiar, but there are ‘finds’ to be had in any such compilation. This is music on which most aspiring pianists have cut their teeth, giving them as it does both the satisfaction of mastering a complete piece without straining their technique (well, mostly) as well as the backbone of a repertoire that makes for a welcome family evening around the piano; alas for us all that we cannot offer renderings of such sympathetic finesse and lyrical elegance as are here set down by Philip Martin ‘at home’ and off-duty from his award-winning complete Gottschalk recordings on Hyperion.

22 miniatures for violin & piano, including Praeludium and Allegro, Liebesteid, Liebesfreud, Schon Rosmarin, Caprice Viennois, Tambourin Chinois, Rondino on a theme by Beethoven, Ave Maria (Schubert), Arioso (Bach).

The 1916-19 period saw Fritz Kreisler at his peak as an artist, although the shadow cast by America’s entrance to World War one in 1917 forced him to cancel numerous concerts. The improved fidelity possible by 1916 saw Kreisler making substitutes of his earlier American recordings, including his own Liebesfreud.

Amongst an abundance of technical marvels, Kreisler’s superb ‘parlando’ bowing is demonstrated in Granados’s Spanish Dance. The string quartet recordings include a fine Andante cantabile by Tchaikovsky, and persuasive performances with small orchestra in 1917 include Beautiful Ohio which would later be adopted as the state’s official song. After the Armistice, Kreisler was able to return to the studio in 1919 for showcase works such as Valdez’s Sérénade du Tzigane.

This ongoing series of the complete Fritz Kreisler recordings generates new interest with each release. Our highest standards of audio restoration and remastering make these volumes the reference for these historic recordings, with comments such as ‘the results are incredible’ (ClassicsToday.com on Vol 3, 8110922) encouraging seasoned collectors and inquisitive newcomers alike.

Ward Marston, producer and audio restoration engineer

Rachmaninov’s reputation as a composer has waxed and waned over the years, but as a pianist he remains renowned, not least among other pianists, as one of the greatest. His perfect technique, utter clarity and discipline, and supreme musicianship shine undiminished through even his earliest recordings.

Ever the perfectionist, he would often set down multiple takes of even the shortest pieces (no fewer than 22 of Mendelssohn’s Spinning Song, for instance), carefully choosing only the best for release. His account of a selection of Beethoven’s 32 Variations in C minor WoO 80 effortlessly negotiates every nuance, from utmost delicacy to thunderous virtuosity, while his affinity for the Romantics is self-evident.

Producer and Audio Restoration Engineer: Ward Marston

A year ago we issued, to great critical acclaim. A double album of Paderewski’s first recordings, made in Europe in 1911-12 (APR6006). Between 1914 and 1931 the pianist recorded for Victor in the US but in 1937, after it appeared Paderewski had retired from the studio, he was persuaded to return to the HMV studios in London to make a final series of recordings. At first the plan was to record the repertoire which featured in the film ‘Moonlight Sonata’, a huge blockbuster success at the time which featured Paderewski playing himself, but in addition to this repertoire Paderewski went on to record works by Haydn and Mozart which were new to his discography. It has often been said that in later life Paderewski’s technique was not what it had been, and to an extent the is undoubtedly true, but this is not an issue in the classical works featured here, and the Haydn, Mozart and Beethoven in particular reveal the extreme poetry that had mesmerised audiences for fifty years and had made Paderewski the most famous pianist of his generation.

This is the first time all Paderewski’s 1930’s HMV recordings have been assembled together and two unissued tracks from the 1938 sessions are also included.

Virtually all the pieces in this recital were written by pianist-composers rather than composer-pianists, the majority prominent at the turn of the century. And they are somehow part and parcel of a 19th-century tradition, a love of encores, of the teasing and delectable. They could also be considered an overspill from several great pianist’s careers, lavishly extending both style and technique.

"The most perfect piano playing conceivable" The Guardian

"A virtuoso who begins where others leave off" Washington Post

Jan Paderewski enthralled the world with his artistry for more than half a century. Immensely popular as a recitalist (he played in Madison Square Garden to 20,000 people), he came to recording as late as 1911, leaving an important legacy.

These recordings, mostly from the 1920s and some unpublished on 78rpm, show Paderewski as a uniquely eloquent interpreter of Beethoven, his compatriot Chopin, Schubert, Mendelssohn, Schumann, Liszt, Wagner, Rachmaninov, Debussy and his own compositions.

Whether performing in grand Romantic style, with scintillating virtuosity, or as if confiding intimate secrets, Paderewski possessed what Henry James memorably described as “exhilarating goodness”.

“Systematic treatment of Paderewski's large discography is long overdue….it is bound to entice historic piano recording collectors.” Classics Today

Josef Hofmann was one of the greatest pianists of any age. His unique abilities incorporated a technique second to none, and a clarity and pureness of tone that has probably never been heard since his death.

Always in total command of everything he played, Hofmann presented each work with an impression of complete facility of execution.

All works recorded in New York City

Paderewski was perhaps the most famous, and certainly the most highly paid, pianist who ever lived. In the years between 1890 and the First World War his fame reached levels now only reserved for the biggest pop stars and when he became prime-minister of Poland after the end of the war his deification was complete. He resumed his career in the 1920’s and continued to perform until his death. Unfortunately most of his recordings were made later in life and do not capture his playing in its prime, a fact which has somewhat damaged his posthumous reputation, so it is particularly important that these earliest recordings, which can redress the balance, are made available complete for the first time. This is playing very different in style from what we are used to today, but aside from its historic importance, taken on its own terms it is quite clear what a great communicator Padereswki was. And it’s good to be reminded in works like Liszt’s La Leggierezza study that at this point in his career there was nothing lacking in technique either.

Several titles included are taken from Paderewski’s own test pressings of unissued discs held at the International Piano Archive, University of Maryland, and this is their first release. A must for collectors!