Historical Recordings

[George]

I have been listening to and enjoying this set and thought I would share some interesting info, written by the transfer engineer, Ward Marston:

The records of Emil von Sauer [student of the great composer Franz Liszt] were first brought to my attention during a visit to the International Piano Archive in 1974 by it's founder and then director Gregor Benko. I suppose I was a typical piano enthusiast, in that I had come to the archive to hear the recordings of Josef Hofmann, Alfred Cortot, Ignaz Friedman, and the like. During my visit, Mr. Benko asked me offhandedly if I was familiar with von Sauer's recordings. I replied somewhat sheepishly that I had never heard even a note of von Sauer's playing, but would be eager to do so. Mr. Benko told me that a hitherto unknown recording of von Sauer playing Schumann's Carnaval had recently been discovered, and, would I like to hear it? I, of course, replied that indeed I would, though I must admit, being a record collector, my interest was probably peaked more by the rarity of the recording than the prospect of hearing a pianist whose name I barely knew. At first, I was thrown off by the abridgments in the recording, especially the missing repeated sections. But I listened with great interest, for as the performance progressed I became enthralled with von Sauer's warmth of tone. But it wasn't until subsequent listening sessions at the Piano Archive that I began to perceive that von Sauer possessed far more than just a beautiful tone. I was gradually drawn to von Sauer's playing by a subtle yet palpable quality of aristocratic elegance that pervades his recorded output. My admiration for his pianism grew with each listening. Since very little of Emil von Sauer was available on LP reissue, I ingenuously thought that I would try to acquire all of his 78 rpm discs. I soon realized many of his 78s are among the rarest instrumental records and acquiring Sauer complete would be an unlikely quest. However, the desire to hear Sauer's complete commercial recordings became the genesis of this release.

As is often the case, some of the rarest records are an artists' first recordings. Sauer's first recordings were made in Spain for Regal, the Spanish branch of the Columbia Phonograph Company. Until ten years ago, there were only three known Regal records of von Sauer, each existing in a single copy. However, two more Regal recordings have surfaced, once again, one copy of each. Since no one I know has ever seen catalogue listings for any of von Sauer's Regal discs, it is impossible to determine how many more may have been recorded. In presenting these discs, I have arranged them in matrix order except for the first two items which I have switched because I feel the Mozart selection provides a more satisfying opening for the set. Unfortunately, none of the extant Regal discs is in perfect condition. I have tried to eliminate as much distortion as possible by using a variety of styli and some judicious filtering.

The recordings which von Sauer made for Vox and Pathé are also quite scarce and are greatly prized by collectors worldwide. It is also interesting to note that von Sauer's electrical German Columbia LWX 381 which contains Schubert's Moment Musical in A-flat, op. 94, no. 2; Moment Musical in F Minor, op. 94, no. 3; and Chopin's Etude in F Minor, op. 25, no. 2, exists in only two or three copies. I am therefore most grateful to the collectors who have generously supplied me with these rarest of piano recordings. This is the first time that all of Emil von Sauer's commercial recordings have been reissued, and every effort has been made to find the best possible copies for remastering. Scrupulous attention has been paid to the accurate pitching of each disc, and when necessary, sides have been joined to achieve musical continuity.

- Ward Marston

[Coopmv]

I have been listening to and enjoying this set and thought I would share some interesting info, written by the transfer engineer, Ward Marston:

The records of Emil von Sauer [student of the great composer Franz Liszt] were first brought to my attention during a visit to the International Piano Archive in 1974 by it's founder and then director Gregor Benko. I suppose I was a typical piano enthusiast, in that I had come to the archive to hear the recordings of Josef Hofmann, Alfred Cortot, Ignaz Friedman, and the like. During my visit, Mr. Benko asked me offhandedly if I was familiar with von Sauer's recordings. I replied somewhat sheepishly that I had never heard even a note of von Sauer's playing, but would be eager to do so. Mr. Benko told me that a hitherto unknown recording of von Sauer playing Schumann's Carnaval had recently been discovered, and, would I like to hear it? I, of course, replied that indeed I would, though I must admit, being a record collector, my interest was probably peaked more by the rarity of the recording than the prospect of hearing a pianist whose name I barely knew. At first, I was thrown off by the abridgments in the recording, especially the missing repeated sections. But I listened with great interest, for as the performance progressed I became enthralled with von Sauer's warmth of tone. But it wasn't until subsequent listening sessions at the Piano Archive that I began to perceive that von Sauer possessed far more than just a beautiful tone. I was gradually drawn to von Sauer's playing by a subtle yet palpable quality of aristocratic elegance that pervades his recorded output. My admiration for his pianism grew with each listening. Since very little of Emil von Sauer was available on LP reissue, I ingenuously thought that I would try to acquire all of his 78 rpm discs. I soon realized many of his 78s are among the rarest instrumental records and acquiring Sauer complete would be an unlikely quest. However, the desire to hear Sauer's complete commercial recordings became the genesis of this release.

As is often the case, some of the rarest records are an artists' first recordings. Sauer's first recordings were made in Spain for Regal, the Spanish branch of the Columbia Phonograph Company. Until ten years ago, there were only three known Regal records of von Sauer, each existing in a single copy. However, two more Regal recordings have surfaced, once again, one copy of each. Since no one I know has ever seen catalogue listings for any of von Sauer's Regal discs, it is impossible to determine how many more may have been recorded. In presenting these discs, I have arranged them in matrix order except for the first two items which I have switched because I feel the Mozart selection provides a more satisfying opening for the set. Unfortunately, none of the extant Regal discs is in perfect condition. I have tried to eliminate as much distortion as possible by using a variety of styli and some judicious filtering.

The recordings which von Sauer made for Vox and Pathé are also quite scarce and are greatly prized by collectors worldwide. It is also interesting to note that von Sauer's electrical German Columbia LWX 381 which contains Schubert's Moment Musical in A-flat, op. 94, no. 2; Moment Musical in F Minor, op. 94, no. 3; and Chopin's Etude in F Minor, op. 25, no. 2, exists in only two or three copies. I am therefore most grateful to the collectors who have generously supplied me with these rarest of piano recordings. This is the first time that all of Emil von Sauer's commercial recordings have been reissued, and every effort has been made to find the best possible copies for remastering. Scrupulous attention has been paid to the accurate pitching of each disc, and when necessary, sides have been joined to achieve musical continuity.

- Ward Marston

A great write-up on the background of Emil von Sauer by Ward Marston.  Thanks George.

[George]

A great write-up on the background of Emil von Sauer by Ward Marston.  Thanks George.

If you want to read more, there's the complete liner notes for this (and I believe all Marston releases) set available to read online. Click here for the notes on the Sauer set.

It's a shame that they only print a number of these sets and then they are gone, for it seems that Marston puts a great deal of work into each release. Luckily we live in the digital age and can get many of these OOP sets via downloads (again, PM me for info on that), for this set sold on ebay recently for $300!  

[Coopmv]

If you want to read more, there's the complete liner notes for this (and I believe all Marston releases) set available to read online. Click here for the notes on the Sauer set.

It's a shame that they only print a number of these sets and then they are gone, for it seems that Marston puts a great deal of work into each release. Luckily we live in the digital age and can get many of these OOP sets via downloads (again, PM me for info on that), for this set sold on ebay recently for $300!  

Does Ward Marston still do work for Naxos Historical?

[George]

Does Ward Marston still do work for Naxos Historical?

Yes, well they hire him to do transfers. I am not sure if he is on any kind of permanent staff there. I hope that he gets to do some of the stuff that is now OOP from when he worked at Biddulph, like the Rosenthal CDs, that was some incredible music making. The Pearl Rosenthal issues are OOP now too (but available for download, luckily.) There's just so much great historical stuff that falls through the cracks. That's why I had no hesitation to spend a couple of hundred this week on Marston CDs. They should be here tomorrow I think, as they ship Priority mail for larger orders.  

I am curious about the Godowsky CDs on Marston. Anyone ever heard any of Godowsky's recordings?

[MichaelRabin]

George - please e-mail me that contact URL for those loss-less OOP files please.
My e-mail: chartist2618@gmail.com

Thanks,
Rabin-Fan

[DFO]

/quote]

Yes, I've several CDs by him. He was a great pianist. His version of Grieg's Ballade is considered the best available. His Schumann's Carnaval is magnificent. And he wrote several piano pieces for beginners

[George]

George - please e-mail me that contact URL for those loss-less OOP files please.
My e-mail: chartist2618@gmail.com

Done! 

Yes, I've several CDs by him. He was a great pianist. His version of Grieg's Ballade is considered the best available. His Schumann's Carnaval is magnificent. And he wrote several piano pieces for beginners

Thanks DFO! 

[George]

As I was wondering if Pearl was still in business, I sent them an email on Friday and yesterday I got this from them:
________________________________________________

Dear George

Thank you for your email, Pearl are still in business, but the last release we done was GEM 0234 Carl Dolmetcsh back in September 2006. We still have back catalogues titles on our shelves, which you can either order direct from us, try your local record shop or via the internet, such as Amazon.

Best regards
Sue Creasey
for Pavilion Records Ltd
___________________________________________________________

I followed up with these questions:
___________________________________________________________

Thanks for your reply. So can you clarify a few things:

1. Are you still printing CDs from your back catalog?

2. Which CDs from your back catalog are still available?

3. How would I order CDs direct from you?

George
__________________________

Haven't heard back yet, but will report to the group when I do.  

[George]

Have been checking out a number of releases on the Arbiter label recently. Their samples include complete movements or short works so you can really get a sense of the actual performance and the quality of transfer. I think they do nice work and along with Marston, Testament and Naxos Classical, they seem to be one of the few remaining historical labels.

Anyway, here's a link to their website.

[George]

I have been reading about the history of recorded music recently and have dug up this info:

1886-1908 Wax Coated Cylinders used to record music by Edison.

1912-1924 Acoustically recorded 78rpm discs overtake cylinders in the popular market.  

1924-1948 Electrically recorded 78rpm discs replace acoustic discs via a process developed by Western Electric.

1948 First 33rpm LP is made by Columbia Records. Artist is Yehudi Menuhin.

[George]

The above info came from here.

[Coopmv]

I have been reading about the history of recorded music recently and have dug up this info:

1886-1908 Wax Coated Cylinders used to record music by Edison.

1912-1924 Acoustically recorded 78rpm discs overtake cylinders in the popular market.  

1924-1948 Electrically recorded 78rpm discs replace acoustic discs via a process developed by Western Electric.

1948 First 33rpm LP is made by Columbia Records. Artist is Yehudi Menuhin.

History of the Development of Stereophonic Sound

[Bogey]

I will have to read your history threads, George and Stuart.  Thanks for posting them.

[Slezak]

  Some other sources for fine historic reissues: ReDiscovery and Bearac CD's...and I do a bit of refurbishing myself, and have had a hand in some of the productions of VAI Audio, Cambria, and ReDiscovery, along with a few others.  SS

[George]

  Some other sources for fine historic reissues: ReDiscovery and Bearac CD's...and I do a bit of refurbishing myself, and have had a hand in some of the productions of VAI Audio, Cambria, and ReDiscovery, along with a few others.  SS

Very cool. Which VAI titles have you worked on?

[imperfection]

  Some other sources for fine historic reissues: ReDiscovery and Bearac CD's...and I do a bit of refurbishing myself, and have had a hand in some of the productions of VAI Audio, Cambria, and ReDiscovery, along with a few others.  SS

You serious?

[Slezak]

To George: Hi. I helped out on some of the Jussi Bjoerling issues. The 'Ballo in Maschera was the major one.  SS

[George]

To George: Hi. I helped out on some of the Jussi Bjoerling issues. The 'Ballo in Maschera was the major one.  SS

Thanks! Sounds like interesting work.

[Slezak]

  I forgot to mention my friends at Immortal Performances. Richard Caniell and his group were responsible for most of the Naxos Historical series, but the company violated their agreement to not mess with the audio restorations, so they went to Guild CD's...they just recently began issuing things on their own label. I've worked with this Canadian group and can highly recommend their recordings. They have an enormous amount of Met transcription material, a Toscanini series, and many other outstanding performances from sources around the world...a bit of it mine, of course. Their issues are well-worth checking.  SS