Booklet
Booklet
Booklet
CD I:
Beethoven: Sonata for Violin & Piano no. 5 in F, Op. 24: 24'17"
1, Allegro 9'36"
2. Adagio molto espressivo 7'06"
3. Scherzo 1'18"
4. Rondo 6'22"
Beethoven: Sonata for Violin & Piano no. 10 in G, Op. 96: 28'01"
8. Allegro moderato 9'45"
9. Adagio espressivo 6'54"
10. Scherzo 1'55"
11. Poco allegretto 9'22"
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CD II:
Schubert:
7. Piano Sonata in B, D.575:
III: Scherzo Allegretto 5'16"
Artur Schnabel, piano
rec. 11 I 1942 New York previously unissued
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With a demanding solo career, chamber music was everpresent in Artur Schnabel’s life
(1882-1951). From his earliest years he performed with an eminent singer, Therese Behr
(1876-1959), whom he'd soon marry. Her judgment played a profound role on his art: when
initally rejecting some advice, Schnabel would soon make use of it! Their son Karl Ulrich also
attested to her immense musicality and insight on his life as well.
The performances heard here attest Schnabel's artistry in chamber music a duo recital with
violinist Joseph Szigeti (1892-1973) and an ensemble with Szigeti that featured the cellist
Pierre Fournier (1906-1986). During a 1947 series held in London and in Edinburgh they
performed numerous sonatas, trios and quartets of Schubert, Mendelssohn and Brahms.
Schnabel did not record any Mendelssohn and when this Piano Trio came to light, we hear
a freedom of conception, that of a unique ensemble attuned to detail, expression and nuances.
Schnabel’s Schubert is equally as compelling as his extensive Beethoven recordings: these three
works played on the radio had not been recorded and enrich our contact with his Schubert, a
composer suggested by his antagonistic teacher Leschetizky who urged Schnabel to learn the
then-overlooked late Sonatas.
Publication of a Frick Collection recital was of great concern to Joseph Szigeti and Karl
Ulrich Schnabel. In the basement of Schnabel’s house in Como, Italy came a discovery in
2018 of correspondence that reveals years of intensive efforts to seek its publication. By
following their trail we are drawn into a musical espionage caper that seeks access to a lost
musical treasure. Its first release lacked the Mozart Sonata and with new restoration, more
details in their playing come forth.
The quest is supplmented with excerpts from Schnabel's letters that cover the resumption
of musical life after World War II. His comments on Furtwängler and Gieseking depict a
cultural abyss that highlights their moral shortcomings, as Schnabel indicates how unaware
they were of its having damaged them. –Allan Evans ©2019
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Artur Schnabel to Mary Virginia Foreman (in English):
9 VI 1947 London
On Saturday I finished my recording work. It was trying. When making music, one is, by the
very nature of the music, an idealist, by the very character of the machines, a perfectionist. To
be both demands twofold concentration, keeps one in a dilemma, threatens the coherence of
a performance. The results were, this time, as good as possible – in my case. Kinderszenen will
be a charming disc. Beethoven’s A Major [Cello and Piano] Sonata also a joy.
1947 VI 13 London
Recording with Fournier was a joy. He is a supreme artist, and a noble, simple, and attractive
person. How different from the Carnegie Hall galaxy!
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these Germans, and whether we whip or we caress them, they don’t like it.
1948 VI 11 London
Tuesday, the 15th, my recordings shall begin. Fournier may not come, because of a friction
between him and Walter Legge (H.M.V.). Very stupid of Fournier.
22 VI 1948 London
Fournier is a sheer delight. Wonderful player, attractive human being.
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10 IX 1948 Menaggio, Italy
In the afternoon I listened to my new recordings. Those for piano solo and those with
Fournier are satisfactory. Those with orchestra are not.
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convinced that my recordings of these past times cannot serve happily my future, this future
I have to protect.
I am completely dissatisfied now with the balance of sound of these recordings.
And a balance of sound cannot be improved by modern technical treatment!!
In 1947, with the enthusiasm of recording with Arthur, but with a certain indifference of
both Arthur and [Walter] Legge taking not enough notice of the importance of the dialogue
and of the balance of sound between the two instruments, I had to conceal my personal objec-
tions, as a young artist has always to do with an old master. Now, when I hear these recordings,
I find the cello tone weary, feeble and far back from the intensity and the brilliancy of the
piano tone. –And don’t forget, dear Therese, that the 2 first sonatas has never been published!
If they had been good, there would have been no reason not to publish them in 10 years time!!
The memory of Arthur will always be present, even without the re-issue of our Beethoven per-
formances and, even more, if I cannot agree with their new publication, it is entirely because I
want to protect my reputation as both cellist and interpreter. – I am an anxious person, as you
know, and you must understand both, also, my evolution and my self-criticism.
– I want to remain your friend, and I shall even be, needless to say, the most fervent admirer
of Arthur. Don’t forget it, dear Therese – with kindest wishes, yours very affectionately, as
ever – Pierre.
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your recorded recital with my father. I made all the necessary investigations and the situation
is quite clear now. But I was immensely busy and had to travel so much that I was forced to
neglect all correspondence until now.
It is indeed Mr. Leiser of Pathé Marconi whom I tried to interest in the recorded recital. He
stated that all would depend on the quality of the tape; unless he could hear the tape. He
believes me that the musical quality is superb.
I contacted Peter Bartok through our mutual friend Robert Blake. Peter Bartok said that
he would very gladly permit me to make a tape-copy of the tape and we agreed that Robert
Blake, who is one of America’s best recording engineers and has done much work with Peter
Bartok, would make the copy for me. Under these circumstances the copy would be of the
same (if not superior) quality as the original tape.
However, while the original tape is in the hands of Peter Bartok, the “rights” on this repro-
duction are not his, but belong to Mr. Victor Bator*, who originally engaged Bartok to make
the tape. Bartok and Bator are now in a violent legal fight against each other (about other
matters, concerning property and rights of Béla Bartok), and therefore Peter Bartok can not
risk copying of the tape without permission by Bator, and Bator would never permit Bartok
to copy the tape.
On Bartok’s advice I called Mr. Bator and told him about your and our great interest in hav-
ing HMV make a record from this recital: that there were good chances, but I could not pro-
ceed without a permission to reproduce his recorded version of the recital. Of course I neither
mentioned Bartok’s name (which would have been fatal) nor the word “tape.” Bator was very
charming and promised to send me a written statement giving me the rights of reproduction.
But he never sent me the statement. I was, after this, only a few days in New York, and tried
to call Bator again, but could not reach him.
Now it will be necessary to approach him by letter. I do not know him personally. In case you
know him well, it might be more effective, if you write to him. If you do write, please do not
mention Bartok, but simply restate our interests in publication by HMV and ask him for the
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rights of reproduction, without specifically mentioning the tape (which would remind him of
Bartok). Otherwise I will write.
As soon as we have a statement from Bator, I can send it to Blake: Bartok is willing to give
the tape for copying to Black upon seeing such a statement. And when the copy is made it
can be sent to Leiser.
*Victor Bator (1891-1967) founder and director of the Bartok Archives, author.
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However, in case you feel that it would be worthwhile if you take the risk of paying for a
promotion fee, we would gladly agree to turn over our share of the royalties received from
this record to you, up to one half of the amount of the promotion fee; provided that there
would be no claim in case the royalties never reach that amount or the recording is not issued.
Our gratitude to the Schnabel Music Foundation for enabling this project.
The Schnabel Music Foundation was created to illuminate the musical contributions of the
entire Schnabel Family – a legacy of creativity that began with Artur and Therese, continued
through Karl Ulrich and Helen, and found its ultimate expression in their great-grandson,
Claude Mottier.
http://schnabelmusicfoundation.com
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production, audio restoration, text: Allan Evans
research: Britta Matterne
graphics: Garrett McDonnell
Booklet photos:
p. 18: with Karl Flesch & Vladminir Horowitz
p. 19: Karl Ulrich and Artur Schnabel
p. 20 (recto) l.-r.: Joseph Szigeti, William Primrose, Artur Schnabel,
Pierre Fournier. Rehearsal at the 1947 Edinburgh Festival.
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