Mischa Levitzki (1898–1942) was born near Kiev to naturalized American parents who had returned to their homeland. He was a pupil of Michalowski, Stojowski, and Dohnányi and quickly established himself as a major rising star in the 1920s. Indeed, had it not been for his early death, he would surely have been seen as one of the major pianists of the century. He specialized in the virtuoso romantic repertoire, and his recordings include several of the warhorses of the period such as Rubinstein's 'Staccato' Etude and Moszkowski's 'La Jongleuse'. However, at the same time, there is a refinement to his playing which is heard to good effect in his Chopin and Schumann, making his Liszt noble rather than bombastic. The HMV recordings presented here form the most important part of his meager recorded legacy.

German pianist ELLY NEY’s posthumous reputation has, perhaps justifiably, been tarnished by her links to the Nazi regime, but 80 years on it’s easier to focus on her pianism and acknowledge she was one of the finest pianists of her generation. A previous APR release (APR7311) presented her interpreting a wide range of composers, but she came to be regarded as one of the great interpreters of the Austro-German repertoire and here she tackles two of the masterworks, including a monumental performance of the Brahms Second Piano Concerto with the Berlin Philharmonic Orchestra, the first version recorded by a woman. Brahms specialist, Max Fiedler, ostensibly conducts, though our booklet note reveals Alois Melichar as the uncredited conductor who completed the project after Fiedler’s sudden death. The suite of Schubert dances which completes the release appears never to have been reissued before.

As one of the great pianists of the 20th century, WILHELM BACKHAUS (1884–1969) needs no introduction. He recorded almost continuously from 1908 until his death, but this set, focusing on his earliest recordings, completes APR’s coverage (see also APR 6026, APR 6027 and APR 5637) of all his solo and concerto output for The Gramophone Company/HMV, except the electrically recorded Brahms titles, which are available elsewhere. These early discs reveal Backhaus as an exciting young virtuoso, rather than the sober purveyor of German classics he was to become.

In his later years, SHURA CHERKASSKY (1909–1995) was regarded as one of the last ‘Romantics’ – a throwback to the so-called ‘golden age’ of pianism in the first decades of the 20th century. As a pupil of Josef Hofmann, he had an impeccable pedigree, but we tend to forget his long career meant he was already playing and recording in that ‘golden age’. Here then are these early recordings, complete for the first time, starting in the acoustic era with the young prodigy’s 1923 Victor discs. Much of the repertoire is unique in his discography, including his only recording of chamber music – the Rachmaninov cello sonata. The Tchaikovsky 2nd Concerto, Cherkassky’s earliest concerto recording, has never previously been reissued and reveals the 36-year-old artist at his virtuoso peak.

REVIEWS:

It is a joy to have all these recordings available together. Cherkassky was a supremely gifted and communicative pianist and there is something to admire in every piece in this collection.

-- MusicWeb International

Of special note are the many Chopin pieces and a smashing performance of the Fantasy in F minor from 1950. The latter has reasonably decent sound and gives us the opportunity of hearing what Cherkassky can do with one of Chopin’s masterworks.

Outstanding in-depth notes are supplied by Jonathan Summers, and special praise must be given to Seth B. Winner for his detail about restoration techniques. No lover of the art of the piano can afford to be without this set.

-- American Record Guide

This is the tenth release in APR’s ongoing French Piano School series which aims to present important recordings from the often-forgotten pianists who represent the very distinctive French style of playing in the first half of the 20th century. Were it not for the chronic illness which dogged him after service in WW1 and led to his premature death, Robert Lortat (1885–1938) would undoubtedly have recorded more and been remembered as one of the greatest French pianists of the 20th century. He performed a wide repertoire, including much Fauré and Debussy, magnificently, but Chopin was central to his art. He first performed the composer’s complete works from memory in five concerts in 1912 and his only recordings, presented here complete, are of Chopin. Lortat was only the second pianist to record Chopin’s complete etudes, after the Backhaus cycle of 1928 (on APR6026), and that they preceded Cortot cycle shows the esteem with which Lortat’s playing was held in France. When they have been presented before, Lortat’s recordings have suffered from very poor transfers from the original 78s. We hope these new transfers, by Mark Obert-Thorn, cast them in a new and much improved light.

An unobtrusive figure in the British music scene and despite her self-stated lack of ambition, KATHLEEN LONG (1896–1968) was a musician of the highest order. She taught for 44 years at the Royal College of Music and was a major Decca artist for two decades, having recorded for several other labels before that. Her first recording was made in 1928, and her first Decca recordings (of Mozart’s Piano Concertos K449 and K450) were made in 1935. Her first Decca solo recordings are those on this release. On disc, she made premiere recordings of several Mozart concertos and sonatas and was renowned for her Scarlatti and Fauré. For her service to French music, she was made Honorary Member of the Académie de France.

Undoubtedly the foremost French female pianist of the 20th century, Marguerite Long (1874–1966) prided herself on her personal friendships with some of the foremost composers of her day – Debussy, Fauré and Ravel. She championed their works, premiering Ravel’s G major piano concerto, and was to write books on the interpretation of each of them.

This addition to our continuing French Piano School series is the second of two APR volumes, together containing her complete recordings of French repertoire, and of honorary Frenchman, Chopin. Of particular significance here are the premiere recordings of the Ravel G major and Milhaud 1st concertos - both works dedicated to her - and also the first ever recording of Chopin's 2nd Concerto from 1929, which has not previously been reissued.

REVIEW:

The second volume of APR’s Marguerite Long retrospective is once again focused on French repertoire, with recordings set down between 1929 and 1952. In common with the previous volume, all the recordings featured here have been superbly restored by Mark Obert-Thorn.

CD 1 is devoted exclusively to Chopin. Centre stage is the premiere recording of the Piano Concerto No.2. Philippe Gaubert conducts the Orchestre de la Société des Concerts du Conservatore in this June 1929 inscription. She made a later recording of the work in 1953 with André Cluytens which I haven’t heard, so can’t offer any comparisons. In this earlier recording, the soloist is forwardly projected, with the orchestra sounding slightly recessed. The first movement begins with a heavily truncated tutti. The slow movement, an exquisite nocturne imbued with pathos and beauty and speaking of unrequited love, isn’t the best I’ve heard. I find Long’s rendition oddly prosaic and devoid of poetry. Gaubert’s staid support isn’t much to write home about either.

Set down on 11 May 1929, the Fantasy in F minor is the earliest recording in the set. Long displays virtuosity in abundance and captures the piece’s mercurial moods, with rubato kept firmly under control. The playful F sharp minor Mazurka is stylish. Of the two waltzes, the A flat seems a bit rushed. Elegance and poise characterize her Barcarolle, whilst the Berceuse, a true lullaby, is well-paced and gently rendered. Adopting a pearl-like tone, she achieves myriad tonal colours with each successive variation. It’s certainly one of the highlights of this collection. The Second Scherzo is action-packed with drama, with contrasting sections of poetic lyricism.

Despite the fact that Long forged a personal friendship with Debussy and championed his music, she recorded very little of it. The two Arabesques are played with geniality and affection. Jardins sous la pluie is nicely paced and sparkling even though she herself considered her performance too fast. La plus que lente is tastefully delivered without the overindulgence on the rubato front one sometimes encounters.

The set offers two recordings of Ravel’s G major Piano Concerto recorded twenty years apart, and how different they are. The 1932 traversal is the world premiere recording with an orchestra directed by Pedro de Freitas Branco. Perhaps this version is the better known of the two. The first two movements are more brisk than in the later version. The central slow movement is rhythmically strict. In 1952, this time with the Orchestre de la Société des Concerts du Conservatoire and Georges Tzipine, she takes a more relaxed approach and allows herself more rhythmic freedom. The sound quality had improved greatly by the time the second recording was made. I have to say that I much prefer the later one for its less hemmed in approach and the more perceived affection lavished upon it.

Darius Milhaud dedicated the first of his five piano concertos to Marguerite Long. She premiered it in Paris in 1934. That performance was conducted by Alberf Wolff. The recording was made a year later on 5 & 6 April 1935 with the composer himself at the helm of an unnamed orchestra. Two vigorous, neo-classically wrought outer movements frame a central Barcarolle, which provides a soothing contrast. This ‘slow’ movement is a delight, where radiant woodwind writing provides a diaphanous backdrop to the luminous piano writing. Long achieves some subtle, glorious colouring. The two solo piano pieces offer some striking contrast. Paysandú is dark and sombre, whilst the more virtuosic Alfama displays a sparkling, carefree demeanour.

This volume, together with volume 1, positions Long in the hierarchy of great pianists. I’m grateful to the skill and care APR have lavished upon these valuable recordings. Roger Nichols insightful liner notes are the icing on the cake.

-- MusicWeb International (Stephen Greenbank)

Long’s 1940 recording with Jacques Thibaud, Maurice Vieux and Pierre Fournier is matchless in terms of ardor and urgency, one of the major chamber music recordings of the era.

Undoubtedly the foremost French female pianist of the 20th century, Marguerite Long (1874–1966) prided herself on her personal friendships with some of the foremost composers of her day – Debussy, Fauré and Ravel. She championed their works, premiering, amongst other things, Ravel’s G major piano concerto, and was to write books on the interpretation of each of them. This addition to our continuing French Piano School series is the first of two APR volumes, together containing her complete recordings of French repertoire, and of honorary Frenchman, Chopin.

REVIEW:

French music scholar Roger Nichols does the honors in the booklet essay, with laudable impartiality, for the first volume in APR’s ‘The French Piano School’ series focusing on the legendary pianist and teacher Maguerite Long. This collection is mostly devoted to music by Gabriel Fauré, including the exquisite Nocturne No 6 in D flat major, of which Long herself writes: ‘[Fauré] slides imperceptibly from one key to another through nuances of colour that an impressionist painter would envy.’

Long played the Sixth Barcarolle to Fauré himself, and two recordings of the piece are included as part of APR’s program, the earliest and gentler of the two from 1937, the more emphatic version dating from 20 years later. Likewise in the case of two versions of the Second Impromptu, this time from 1933 and 1957 again, though miraculously there’s very little to choose between them. Two versions of the Ballade in its orchestrated version vary principally in the way they’re recorded, in a relatively dry acoustic for the 1930 recording (under Philippe Gaubert), then with greater warmth 20 years later, where between them André Cluytens and Long stretch the timing by roughly a minute. Still, the crystalline tone of the earlier version holds a special appeal.

Then there are the two piano quartets, Op 15 in C minor with the Pasquier Trio, recorded in 1956, nimble and sensitive, though my own preference would be for the sweeter, edgier version by Robert Casadesus and members of the Calvet Quartet in 1935 (currently out on Scribendum). Turn then to the more tragic Op 45 in G minor, and Long’s 1940 recording with Jacques Thibaud, Maurice Vieux and Pierre Fournier is matchless in terms of ardor and urgency, one of the major chamber music recordings of the era.

Also included is Vincent d’Indy’s colorful Symphonie sur un chant montagnard français (Symphonie cévenole), brilliantly played by Long and expertly conducted by Paul Paray in 1934 – fine sounding, too, given its age. A truly excellent release, superbly transferred.

-- Gramophone

Wilhelm Walter Friedrich Kempff was a German pianist and composer. Although his repertoire included Bach, Mozart, Chopin, Schumann, Liszt and Brahms, Kempff was particularly well known for his interpretations of the music of Ludwig van Beethoven and Franz Schubert, recording the complete sonatas of both composers. Wilhelm Kempff’s 78-rpm recordings were very much focused on Beethoven, as can be heard on seven previously issued APR discs, but this release presents everything by other composers he set down from the start of electrical recording until the war. Notable among the titles are four of his own Bach transcriptions and, revealing the pianist in an unexpected light, his own virtuosic elaboration of the Schubert/Liszt ‘Hark, Hark! The Lark’ transcription.

REVIEW:

There's something special about these recordings, something quite miraculous. In spite of the relatively primitive technology involved in these early electrical recordings, I had no trouble at all forgetting sonic imperfections, and zeroing in on a great master channeling great composers. The French Suite no. 5 of Bach, recorded in 1935, is the highlight of the disc; it's a masterful interpretation. I was in awe of this from the first time I heard it, since I had the strong feeling that Kempff was communicating his own awe.

-- Music for Several Instruments

THE TWO PIANISTS featured here were contemporaries, both English. Both made a small number of recordings for Columbia between 1926 and 1930 and today are largely forgotten. Howard-Jones was of an academic nature whose interpretations were described as having ‘scholarly and fastidious profundity’. He excelled in Bach and Brahms and his ‘Well-Tempered Clavier’ recordings in particular offer playing of rare spirituality and beauty. As a friend of the composer and dedicatee of five of the piano pieces, his Delius recordings, which comprise the complete meagre published output for solo piano by the composer, have a unique authority. Edward Isaacs, who revelled in the repertoire of Chopin and Liszt, was described as ‘a kindly genial companion and a witty charming raconteur’. His recordings radiate brilliance and joie de vivre. This is the first time most of these discs have been reissued since the days of the original 78s. An added bonus is the discovery of a wonderful previously unpublished Howard-Jones recording of Beethoven’s Rondo in G major.

Parisian, Emma Boynet (1891–1974) studied with Isidor Philipp at the Conservatoire and became an established part of the local music scene in the 1920s and 30s. She was one of the few French pianists to find success in the USA, travelling there for the first time in the company of her former teacher in 1934, and as a result, made several albums for Victor in New York, including a five-disc 78rpm album entitled ‘French Piano Music’. Her career seems to have faltered in the 1950s but not before she made two highly regarded (but now rare) Faure LPs which have become collectors’ items. We are delighted to reissue them here.

REVIEW:

I had never heard of the French pianist Emma Boynet (1891-1974) before this remarkable release came to my attention and hooked me for life. Boynet studied with the legendary Isidor Philipp, with whom she remained associated throughout his long life. During the 1930s and ’40s Boynet made frequent concert and radio appearances in the United States, yet kept a low profile in her final decade. More importantly, she made extraordinary recordings. APR has reissued on two generously filled CDs all of Boynet’s solo 78s, together with the contents of two all-Fauré LPs recorded for Vox in 1950 and 1952.

If Boynet had left us nothing else, the sheer insouciance and effortless mastery of her 1932 Pathé Weber Rondo brillante (sound clip) assures her legendary status, although her sultry Falla Andaluza is nothing to sneeze at. She takes Schubert’s G-flat Impromptu at an appropriately alla breve tempo. True, she dashes through the Rondo finale of Haydn’s two-movement C major sonata like a bat out of hell, yet what staggering control and timing!

Apparently all of the selections in Boynet’s 1938 RCA Victor French Music Anthology were first takes, including an audaciously winged and imaginatively phrased Chabrier Bourrée fantasque that makes everyone else’s sound thick and clumsy. Naturally she plays Philipp’s charming Nocturne and scintillating Feux-follets with total affection and style. Boynet subjects Debussy’s Les sons et les parfums tournent dans l’air du soir from Preludes Book I to capricious tempo shifts, and arpeggiates chords at random; it’s a curious reading that doesn’t convince. However, Boynet and Fauré merge as one.

She understands and internalizes the composer’s textural transparency and intricately wrought counterpoint, while projecting the melodies so that they move over the bar lines. As a result, some listeners may feel that her animation in the Fifth and Sixth Barcarolles borders on impatience, a factor arguably mitigated by the Vox LPs’ dry sonics and less-than resplendent concert grand. On the other hand, her Vox Fourth Nocturne is smoother and more lyrically unfolding than in her earlier 78 rpm version. And Boynet’s spacious, poetic Vox accounts of the great Sixth and Seventh Nocturnes count among the Fauré piano discography’s treasures.

Frédéric Gaussin’s extensive annotations are as scholarly and informative as one could wish, not to mention Mark Obert-Thorn’s world-class transfers. In all, a significant addition to APR’s ongoing French Piano School reissues, and an absolute must for pianophiles.

-- ClassicsToday.com (Jed Distler)

Jean Doyen is perhaps the archetypal French pianist. Taught by Louis Diemer and Marguerite Long, he went on to become the second longest serving piano professor in the Paris Conservatoire’s history and largely dedicated his career to his homeland. In addition, his repertoire centered on the French classics, with Chopin also taking pride of place. His early recordings reveal a spectacular technique coupled with generous musicality and expression – it’s no wonder he was chosen for this premiere recording of Ravel’s ‘Gaspard de la nuit’. His Chopin Op 2 Variations and the complete Book 1 of Debussy’s Images are also recording firsts, but for sheer virtuoso exhilaration, his rare Sonabel album of Chabrier’s Espana is hard to beat. Surprisingly, none of these marvelous performances have previously been reissued.

This release launches an important new APR series devoted to the French Piano School. For around 150 years France has nurtured a distinctive style of pianism centered on the teaching of the Paris Conservatoire. The heyday of the school was probably the first fifty years of the 20th century and this series of recordings aims to explore in depth the often-forgotten recordings made at this time. Marius-François Gaillard was the first pianist to perform the complete piano works of Debussy in concert, which he did first in 1920, and again in 1922. He subsequently made the recordings featured here, and these were by far the largest body of Debussy piano recordings until the 1930s. As such they give us the closest view of Debussy playing to the composer’s own time and reveal a clarity and objectivity which exemplifies the traditions of French pianism but is somewhat different from the ‘impressionist’ style of Gieseking which was to follow and become the accepted model. Gaillard later pursued a career as a composer and his early recordings were forgotten. To commemorate the 100th anniversary year of Debussy’s death, this is their first reissue. Carmen Guilbert also had a short active career, but as a pupil of Marguerite Long her playing, particularly of Fauré, is important. These are her complete classical recordings.