Beethoven and Chopin played by Istvan Nadas

Two Period label lp's are highlighted featuring the 10 insightful fingers of Hungarian born pianist, Istvan Nadas. Practically forgotten today, he like Marian Filar, was able to overcome significant trials in a concentration camp and become a respected soloist and teacher of the keyboard.  Here's what the www.bach-cantatas.com has to say about him:

The Hungarian pianist, István Nádas, began his musical studies at the age of 10. He studied piano under Louis Kentner and Béla Bartók, composition under Zoltan Koday and chamber music under Leó Weiner.

Once launched on his career as concert pianist, he appeared frequently with the Budapest Philharmonic Orchestra, his repertory including standard works in addition to less usual ones by B. Bartók, Igor Stravinsky, and Arthur Honegger. Until the beginning of World War II, István Nádas toured Europe extensively, but with the beginning of hostilities he had the misfortune to be put into a German concentration camp. His bitter experience left its marks, but did not take from him the ability or desire to continue his career.

After the end of the war István Nádas appeared at the Bach Festival in Rome and won a high decoration from the Italian government. Then came the decision to settle in Venezuela where he became head of the Post-graduate Piano Course at the National Conservatory of Music. There followed numerous recitals in South and Central America. As a citizen of Venezuela, Nádas represented his adopted country at the International Music Festival in Venice, playing for the first time in Europe a recital composed entirely of modern Venezuelan composers.

Since 1953, at the invitation of Xavier University of Louisiana, István Nádas has been teaching piano master-classes at this university. He has appeared as soloist several times with the New Orleans Philharmonic Orchestra under Alexander Hilsberg. On the occasion of his New York Town Hall concert on October 5, 1954 the critics were enthusiastic about his “technique, musicianship, breadth of taste, freshness and individuality of vision,” his “ease and dramatic poetry,” his “tenderness, sensitive tone adjustments.” To a man they were amazed at the fact that “in a program that would have tested the capacities of the giants of the keyboard he more than held his own.” The contents of this formidable program in which Nádas distinguished himself included a J.S. Bach Partita, L.v. Beethoven’s Hammerklavier Sonata, a Prokofieff Sonata, a Chopin Ballad and DeFalla’s Baetica. Among his recordings are L.v. Beethoven Piano Sonatas (The Tempest, The Appassionata and the Les Adieux) on Period Records, Schubert: Wanderer Fantasie and Moments Musicaux on Period Records, J.S. Bach: Two and Three Part Inventions (BWV 772-801) on Repertoire Records, J.S. Bach’s Well-Tempered Clavier Books I +11 (BWV 846-869, BWV 870-893) on Repertoire Records and 2 Volumes on Period Records of Contemporary composers. He was most famous for his performances of the cycle of the complete 32 L.v. Beethoven Sonatas and cycle of the complete L.v. Beethoven Concerti. He was an outstanding Bach specialist who performed many times at the famous Carmel Bach Festival in Carmel, California.

István Nádas was a Professor of Piano at San Francisco State University from 1965 to 1968. From there he founded the Doctoral Program in Piano at Washington State University, continued to travel and concretize throughout the world including the program in music at Grass Valley Nevada. He subsequently took a teaching position in Mexico City, Mexico and spent much time in Italy and Europe. He passed away quietly in Mexico in the year 2000.  

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Leonard B Smith Plays the Cornet

Something a little different today. As my son is learning the trumpet, following in my footsteps..haha.., I went a diggin' and discovered this fine solo record played by famed cornetist Leonard B Smith. Here, we have a nicely arranged program (from Corelli to Clarke) which is varied in content and immaculately executed by one of the finest brass players of the previous century.

For those that don't know Leonard B Smith, I'll fill you in. Native of New York, the bulk of his career was spent in Michigan as principal trumpet of the Detroit SO, conductor of the famed Detroit Concert band and esteemed teacher and clinician. For many years, Smith also commuted back to New York for his role as solo cornetist with the illustrious Goldman Band. Leonard Smith, it is important to note, is in that line going back to Herbert L Clarke and Patrick Gilmore and he is considered to be the last great practitioner of the cornet, the smaller, gentler version of a modern Bb trumpet, you could say.

Smith plays in a style which has long past, one where the music is the most important part for the program and the artist is the mouthpiece for it. His playing is honest, true, unfussy and crystalline. By any stretch, this is a recital which is well thought out, well judged and very well played. Smith is admirably joined by pianist Bernard Leighton.

I encourage you to have a listen, you will not be disappointed. This series, "Award Artists" was produced by the legendary Enoch Light. I'm guessing the recording is from the early 60's though it is monaural.
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Schubert played by Johanna Martzy

Here is a Mace reissue of recordings made by Electrola in 1955. Violinist Johanna Martzy is joined by her longtime accompanist Jean Antonietti in readings that capture the lyrical beauty of Schubert's writing, effectively making the case that Schubert was truly the first romanticist. Though closely modeled on Beethoven, nonetheless, I hear a unique and progressive voice, one that seeks to break free from classical models.

Here's what reviewer Gary Lemco had to say regarding this recording's reissue on Testament some while back:

"These pieces were published posthumously, though Schubert composed them when he was nineteen, likely as vehicles for his brother Ferdinand. The D Major flows so effortlessly we might miss the suave artistry that conceals art. The Andante enjoys pellucid articulation of its motto theme, and then Martzy breaks out into a seamless legato statement that expands its natural lyricism. More than one commentator has remarked on the exquisite tone she elicits from her G and D strings. No small contribution emanates from Antonietti’s delicate but firm keyboard support.

The A Minor Sonata, D. 385 presents largest of the three canvases: though delicate in its opening motto for the Allegro moderato, its emotional tenor has a sturm und drang affect, troubled waters below an otherwise balanced surface. Martzy projects an edgy violence into the melos that will bear repeated hearings. Marty’s expressive control then invests the wonderful Andante with an exquisite melancholy, restrained but ardent. A no less anxious Menuetto leads to the final Allegro, whose dark color and demure sense of tragedy find an eloquent realization whose capacity for visceral passion must be heard–those last chords!

Finally, the impassioned G Minor Sonata, D. 408, clearly a Beethoven clone but nonetheless revealing Schubert’s idiosyncratic dramatic sense. Playing in something of the “gypsy” tradition Martzy imbibed as a student of Hubay, Martzy invests the piece with dazzling personality, and Antonietti can be heard clearly warming to his own task. The purity of line in the Andante induces us to want to hear Martzy’s Mozart, Schubert’s spiritual model extraordinaire. Martzy and Antonietti appear to relax in the Menuetto and Allegro moderato movements, though Martzy’s razor-sharp intonation drives the music into our collective imagination."

Indeed, a special and unique recording by a truly gifted artist.

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Thomas Schippers with the Scarlatti Orchestra of Naples

I'm very pleased to have discovered this excellent record of 18th century music led by the highly talented and tragically short lived Thomas Schippers. Here, we have a program of 18th century compositions by Italian born composers. Vivaldi was a well known entity by the 1950's though Durante and Salieri were seldom heard when Schippers set down this record.  The release of this lp must have been quite a novelty. I'm not sure if this was the first record made by Maestro Schippers  but what I can say is that it is an impressive outing for a conductor not yet out of his 20's.

It's sad that Thomas Schippers did not have the opportunity to have the long and successful career that he was destined for. Certainly one of the most gifted of his generation, he possessed a wide repertoire and moved with ease between the concert hall and the opera house. I'd say he was probably the American version of a Carlo Maria Giulini and had he lived far longer, he would probably have become one of the best known and most respected of podium leaders.

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Reine Gianoli plays the French Suites of J S Bach

Originally from 1953, here are the later reissues on Westminster, over two volumes, of Reine Gianoli playing the French Suites of J S Bach. This might have been one of the first integral recordings of these delightful works as played on a modern piano.

Gianoli has a splendid touch, which when combined with a keen sense of structure, yields a first rate performance. This is a magnificent achievement from start to finish and Gianoli makes the strongest possible case for these works being viable within the sound world of a modern piano.


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