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 An added bonus is the discovery of a wonderful previously unpublished Howard-Jones recording of Beethoven’s Rondo in G major.

German pianist, Wilhelm Backhaus (1884–1969) left a 60-year recorded legacy which began in 1908, but a major turning point came in 1950 when he switched allegiance from HMV to Decca. His last HMV recordings, included in this set, are amongst his least known and it appears that those from his final HMV sessions in Zürich in 1948 are reissued here for the first time. Backhaus had settled in Switzerland in the 1930s and although he continued to perform in Germany during the war, he only made one commercial recording, for HMV’s German affiliate Electrola. This recording, of Mozart’s ‘Coronation’ concerto, came about because of celebrations to mark the composer’s 150th anniversary and the result is particularly ebullient. Backhaus plays his own cadenzas and ornaments profusely in the slow movement, something very unusual in Mozart performance of the time. This exceptionally well-filled disc also includes full documentation explaining for the first time why Backhaus became disenchanted with HMV and left them for Decca.

Sergio Fiorentino’s career began auspiciously with successes both in competition and on the world’s stages, including a Carnegie Hall debut in 1953, but a plane crash in 1954 affected him badly and momentum was lost. He recorded prolifically for British budget labels in the late 1950s and 1960s, but his concert profile was never fully to recover. Fiorentino’s 1993 German concerts marked a return to the stage two decades after the pianist’s disillusionment with the performer’s life had led him to concentrate on teaching. These resulting live recordings, which revealed a pianist in the grand romantic tradition, were to astound the critics and relaunched Fiorentino’s career in the studio and on stage for a few glorious years, until his death in 1998.

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)

French training and Brazilian temperament are combined in the brilliant and passionate playing of Magda Tagliaferro (1893–1986) who regarded Cortot as her most important influence and teacher. Her friendship with Reynaldo Hahn inspired the composition of the piano concerto dedicated to her and its subsequent premiere recording is included here. Hahn’s conducting can also be heard in her little-known early Decca recording of the Mozart ‘Coronation’ concerto. Another significant premiere recording is that of the Fauré Ballade. Tagliaferro shows a real affinity with the composer’s music and indeed the recording of the 1st Violin Sonata with Denise Soriano won a Grand Prix du Disque in 1936. An award Tagliaferro had previously gained in 1930 for the Mompou disc also included here.

The magnificent series of recordings Dinu Lipatti made for Columbia in 1947-8 needs no introduction. They contain some of the most highly regarded performances ever committed to album and have remained in the catalogue almost continuously since their first issue on 78s. What makes the current set unique is the inclusion of five test albums made with the cellist Antonio Janigro, only two of which have appeared previously, and new masterings which reveal more of the original recordings than before. For the 1947 London recordings (originally released in 1999) APR had access to vinyl pressings from the original 78rpm masters and these have been further enhanced. For the newly transferred 1948 sessions, the original 78s were used rather that the subsequent LP issue (itself derived from the 78rpm masters) which appears to have been used in all other transfers. These turned out to have a much brighter sound and more ambience than the rather dull and filtered LP. We strongly believe the Schumann Concerto has never sounded so good!

Carlo Zecchi (1903-1984) studied with both Busoni and Schnabel and had a brief, but meteoric, career as a soloist, before switching in 1942 to conducting, with occasional forays into chamber music. Like his fellow Italians Michelangeli, Vidusso and Fiorentino, he possessed an immaculate technique, which gives his playing a sense of lightness and ease in even the most difficult passages. The recorded Liszt etudes are almost unrivalled in their virtuosity and in Scarlatti and Bach the evenness of his finger-work has to be heard to be believed. But he was a poet and a colorist too, as the more lyrical works of Chopin, and the Debussy Poissons d’or reveal. Sadly, Zecchi’s recorded repertoire is small and this release includes an example of every piano work he recorded on 78s. Long known as a cult pianist to a select few, it is hoped these new transfers by Mark Obert-Thorn will bring his small but priceless legacy of piano recordings to a wider audience.

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