Rather than merely regurgitate the past, Arbiter goes after unpublished and private recordings by the finest musicians alive or long gone and uncovers lost writings and contacts that give the fullest context possible in which the sounds lived. Restoration technology that we've pioneered has made listening to records made over 100 years ago into a direct contact with the artists. Our mission is to provide a space for musical geniuses who need to be kept alive and accessible. Be warned that listening to any Arbiter CD has the potential to alter your state of mind and cultural perception.
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viewing 1 To 25 of 42 items
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ARB 167CD
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Live unpublished and newly restored broadcasts. Artur Schnabel lived as a concert pianist, composer, teacher and editor, activities that reveal a complete musician whose genius enlightened chamber music, under-represented in studio sessions. His live duo recital with Joseph Szigeti attests to the heights he achieved in real life, away from the studio atmosphere that he loathed. A legendary Beethoven player whose teacher studied with Beethoven's assistant, Schnabel's Schubert was equally important and three otherwise unrecorded works emerge here with his only known performance of Mendelssohn, recorded at a festival in Edinburgh. Liner notes open a trail of letters discovered inside the basement of Schnabel villa in 2018 in which Szigeti and Schnabel's son engage in an espionage caper to liberate this legendary recital; Excerpts from letters to a mistress indicate Schnabel's reactions to post-War Europe's attempts for normalcy after the fascists had destroyed culture, with scathing accounts of how box-office legends fell miserably below moral standards. Features works by Ludwig van Beethoven, Wolfgang Amadeus Mozart, Felix Mendelssohn, and Franz Schubert. Includes a lecture by Szigeti on Beethoven's Sonatas for Violin & Piano. Recorded between 1942-1962.
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ARB 166CD
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Arbiter has uncovered unknown performances by musicians who reached Claude Debussy's inner life more so than those accepted as his emblematic interpreters. Marius-François Gaillard played Debussy's piano music from memory, starting in 1920 when he was twenty, receiving praise from Mme. Debussy. Each work explores an enigma that reveals itself through its individuality. Mieczyslaw Horszowski heard the composer play and brings his experience into pieces that he performed by him for over eighty years. Irén Marik played the composer throughout her entire life and had been close to Bartók, who often performed Debussy's music. Marie-Thérèse Fourneau, a lost master, takes a late work to an unprecedented height. Our restoration of Debussy himself at the piano with Mary Garden capture 1904 sounds that have finally become audible. Gailliard's Debussy recordings include early works, Suite Bergamasque, Pour le Piano, Estampes, nine Préludes, and others. Marik plays two Préludes and En Blanc et Noir. Horszowski is heard in Children's Corner Suite and Fourneau in a late Étude. Irén Marik and John Ranck also perform En blanc et noir. Most of the recordings are published for the first time and Gaillard's Debussy receives its first restoration from original shellac discs.
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ARB 165CD
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Classical music was created by geniuses, and the lucky few who were near them could witness how inimitable they were and are. Beyond these individuals there arose a proliferation of hypertrophied egos, management, commercialization, and other menaces to art. Mieczysław Horszowski performed for ninety-one years and was mostly overlooked by the record industry. Hundreds of Beethoven recordings fill the marketplace yet this pianist's teacher was guided by someone close to Beethoven. His mother had also been taught by Chopin's assistant so again, he is very close to music's origins. No wonder Horszowski could fearlessly project the improvisational fire within Beethoven's variations, some of which resemble what would later inhabit jazz and ragtime. It takes a genius to play another genius's creations and whenever Horszowski played a composer, his body language altered to channel their sounds and speak their unique languages. In 1940 Horszowski was eager to get out of fascist Europe and gave a recital for Vatican Radio. Wondering if the network was as careful as their library, Arbiter traced their archivist who said that it was only a few days earlier that day a pile of reel-to-reel tapes were about to be disposed when a pianist noticed Horszowski's name written on the spine of a box. It was rescued and survived a playback for digitalization. The machine was new technology, fresh from Nazi Germany. News of its discovery provoked a New York Times article: "Rare Treasure Found in Vatican Trash." With Horszowski (1892-1993), all that he plays is new music. Horszowski's genius drew on these deep musical currents and was furthered by his attending Henri Bergson's lectures on philosophy in Paris, all growing into an art that brought classical music to its highest level. Works from Rome include Chopin's 1st Ballade, Funeral March, Berceuse, Impromptu no.1, Liszt's Two Legends, and a Franck chorale, all newly restored. In addition, stunning New York and Philadelphia concert performances of Beethoven's Waldstein Sonata, Eroica & Diabelli Variations have come to light and are published here for the first time. Recorded 1940-1975.
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ARB 164CD
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You can't step into a concert hall without something from Russia being programmed. Yet in 1850, Russia barely had one major composer and handful of pianists, but within sixty years, their music scene dominated the world's concert halls. Who and how did this happen? Arbiter probes the problematic Russian psyche, starting with the writer Andrei Bely's agonizing over whether they are Europeans or from somewhere else, concluding they are Mongols at heart. The attractive music from Germany and France led Tchaikovsky to model himself after Mozart and rely on his colorful talents in melody, sound, and rhythm with the idea of showing that a Russian like him could take on any Westerner. Unlike his quest for approval, there arose a group of composers who studied and discussed folklore, fairy tales, myths, Central Asian traditions, and did all they could to shun the West. Known as the Mighty Five, they gave birth to Stravinsky, Scriabin, the path of representing their Old Believers, Mongol warlords, sects that practiced castration, and a movement in art and literature resulting in symbolism and seeking to transform all of humanity through occult and spiritual phenomena. Arbiter brings to light the image-conscious Igor Stravinsky gripped in an ecstasy as he conducts the work of his mentor Nikolai Rimsky-Korsakov, bringing him back to his own twenty-third year when he was still Rimsky's pupil and how his unexpected death cast him adrift and led to masterpieces shortly thereafter. Arbiter's latest expedition follows pioneers who sought to either imitate Western music or excavate native Pagan, mythic, and Central Asian sources. Performances by Konstantin Igumnov reveal a musician who straddled Tchaikovsky's westbound forays with the visionary mysticism of his peer Scriabin. When the American composer Henry Cowell arrived with his radical dissonant music, the Moscow musical agencies prohibited his performances and led to Igumnov defying the regime by arranging private hearings that created a furor for Cowell's new music, as Russia was becoming culturally isolated under Stalin. Performances include lost recordings by Erica Morini, Georg Szell, Alfred Hoehn, Sergei Rachmaninoff, Issay Dobrowen, Albert Coates, Michael Zadora, Konstantin Igumnov, Alexander Kamensky, Oskar Fried, Igor Stravinsky, Vassily Sapellnikoff, and Vladimir Sofronitsky. Features compositions by Tchaikovsky, Glinka, Prokofiev, Glinka-Balakirev, Musorgsky, Borodin, Rimsky-Korsakov, Stravinsky, Chopin, and Scriabin. Arbiter's sound restorations bring light and depth to recordings discovered within the last few years and made in the 1920s.
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ARB 124CD
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New 2016 repress, originally released by Arbiter in 2000. Arbiter present The Legendary Busoni Recordings, a reprint of Paul Jacobs's Nonesuch recordings. The Legendary Busoni Recordings features interpretations of Busoni's Six Short Sketches and Six Sonatinas (1976, 1979), Etudes by Stravinsky, Bartók and Messiaen (1976) and Busoni's transcriptions of the Organ Chorale Preludes by Bach and Brahms (1979). Arbiter were assisted by the late Teresa Sterne who guided Nonesuch and introduced Jacobs and their Explorer series of world music. Jacobs was an ex-pat based in Paris until he returned to become the New York Philharmonic's pianist. A protégée of Boulez and Carter, and an acquaintance of Messiaen and Stravinsky, he was the first major artist to perish from the AIDS plague in 1983.
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ARB 163CD
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Recorded 1889-1959. First publication of recently discovered lost recordings! For too long, Brahms has been damaged as a sacred cow mounted on a pedestal. Arbiter's newly discovered live and private performances allows all to closely approach Brahms, including a funky improvisation by the composer himself from 1889 -- witness a style more Harlem than Hapsburg. Nearly all the musicians heard here were in contact with Brahms and play his works as new music; jazzy, as if created on the spot. His lost language is fully revealed here for the first time through their sounds and words. Brahms's pupil Carl Friedberg, who appears here, even taught Nina Simone, who carried on their tradition. Extensive recorded excerpts from Friedberg's lessons to Bruce Hungerford are accessible on Arbiter's website; a duo performance by Friedberg and Hungerford is included here. Performers include pianists Johannes Brahms, Carl Friedberg, Edith Heymann, Marie Baumayer, Ilona Eibenschütz, and Etelka Freund; and the Trio of New York with Friedberg, piano; Danil Karpilovsky, violin; and Felix Salmond, cello. Composers include Brahms, Chopin, Schubert, Beethoven, Schumann, Bach, and Bartók.
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ARB 130CD
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2001 release. In concert, pianist Paul Jacobs (1931-1983) unleashed a volatile side that was merely hinted at in his meticulous studio recordings. His examples of repertoire that had not been otherwise recorded reveal a fiery temperament and penetrating musical virtuosity that offer another perspective of a great artist. Also included is an example of his refined harpsichord playing. Jacobs had given these concert tapes to Teresa Sterne, his producer, who was also an early guiding light of Nonesuch Records; Sterne presented the tapes to Arbiter when she was mentoring the label during its inception. This is the first release of these concert recordings. Includes performances of compositions by Beethoven, Bach, Ferruccio Busoni, Manuel de Falla, Maurice Ravel, and Jacques Champion de Chambonnières.
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ARB 155CD
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2008 release. The complete Stravinsky recordings made for Nonesuch by pianists Paul Jacobs and Ursula Oppens are coupled with a New York recital Jacobs gave to illustrate the influence of jazz in 20th century classical music. With Aaron Copland present, Jacobs plays his "Four Piano Blues" and, with the composer, both give his "Danzón Cubano." Original text by Jacobs and spoken commentary make this a unique view of how he witnessed up close many great influences on contemporary music. Paul Jacobs, a Bronx native, left the repressive USA of the 1950s for the intellectual and freer climate of Paris, where he mingled and championed contemporary music. Back in New York, he was the New York Philharmonic's pianist and made groundbreaking recordings of old and new music. A familiar of Stravinsky's, he and Oppens play his Petrushka ballet's orchestral score as a piano four hands work. Jacobs's career was put to an end when he was among the first great musicians to die with the outbreak of AIDS in 1983. Arbiter keeps his art alive by offering these long out-of-print recordings with rediscovered live performances. Also includes performances of compositions by Debussy, Schönberg, William Bolcom, and Frederic Rzewski.
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ARB 121CD
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2001 release. A legend in his time and ours, pianist Artur Schnabel epitomized the height of Beethoven playing and continues to influence all who come in contact with his complete cycle of the piano sonatas and concertos. Throughout his life Schnabel actively played chamber music, and Arbiter's discovery of previously unpublished 1947 concert recordings reveals a side never captured in the formality of studio performances. These recordings capture Schnabel performing Brahms with violinist Joseph Szigeti and cellist Pierre Fournier, an ensemble that Schnabel raved about in his private correspondence.
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ARB 135CD
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2003 release. French organist André Marchal lifted the heavy drapery off of Baroque organ music and exposed the counterpoint through ingenious registration and a highly developed articulation, creating a revival of the music that had been submerged into the heaviness inspired by late-19th-century organs. These recordings capture Marchal performing on an early neo-Baroque organ in 1936 as well as Cavaillé-Coll's masterpiece in Saint-Eustache, Paris, in 1948, and covering a vast repertoire while illustrating the stops on the Baroque organ. Includes performances of compositions by Marchal, Dietrich Buxtehude, Bach, Antonio de Cabezón, Santa Maria, Francesco Landini, Giovanni Pierluigi di Palestrina, John Blow, Henry Purcell, Jan Sweelinck, and Louis Vierne.
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ARB 159CD
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2011 release. The violinist Roman Totenberg (1911-2012) knew every leading composer of the 20th century. His first appearance at age seven was during the Russian Revolution. Totenberg's art spanned the entire violin literature and he was a master teacher who continued to impart wisdom to younger musicians even on his deathbed at age 101. His Stradivarius violin was stolen in 1980 and was not recovered until 2015. Totenberg's daughter Nina is the renowned NPR reporter on legal affairs. With his own collaboration at age 99, Arbiter searched his archives to come up with the first set in a series of previously unreleased live recordings made from 1943-1987. Includes performances by Totenberg with Dean Sanders, the WQXR String Quartet, Soulima Stravinsky, and Shizue Sano of compositions by Johannes Brahms, Claude Debussy, Johann Sebastian Bach, Niccolò Paganini, Ludwig van Beethoven, Aaron Copland, Luigi Dallapiccola, Anton Webern, Arnold Schönberg, Igor Stravinsky, and Maurice Ravel.
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ARB 103CD
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1996 release. A tireless teacher and performer who hated practicing piano, Walter Gieseking was recorded playing most of the piano's major works. Unlike the marathon studio sessions, his few and rare live appearances have a different character, a spontaneity and fire that the studio inhibited. Arbiter found a war trophy: two movements of a Brahms piano concerto from Berlin in 1944. A year later, when Germany was defeated, the Red Army seized Berlin radio's contents (including the furniture) and spirited all off to Moscow, where it languished until perestroika effected the return of all acknowledged stolen property; Arbiter was the first to notice its return. Gieseking's Brahms is a welcome relief from the sanctimony plaguing his music nowadays! This CD includes recordings from 1939-1956. These recordings of the Piano Concerto No.2 in B-Flat, Op. 83, feature Robert Heger and the Berlin Philharmonic.
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ARB 138CD
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2003 release. One of Polish violinist Bronislaw Huberman's last recorded concert performances finds him in company with his colleague, the conductor Bruno Walter, with their Viennese tradition transplanted into New York as they sought refuge from the Nazis. Walter's masterful conducting of the Philharmonic-Symphony Orchestra is heard here in a way that surpasses his studio recordings. A few years before this performance, Huberman had rescued musicians who had been fired and threatened throughout Europe by founding the Palestine Symphony as a refuge and life-saving engagement for many artists threatened with imprisonment and deportation to death camps. When heard live, Huberman takes risks and overwhelms through his passionate expressivity, in this case with a Mozart work he hadn't recorded in a studio. Also includes performances of Beethoven's Symphony No. 1 in C Major and Leonore Overture No. 3.
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ARB 143CD
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2004 release. The first release of a legendary Bartók pupil's private recordings. After finding a coverless vinyl record on the floor of a dark, dingy used record store, Arbiter initiated a hunt to trace Irén Marik, whose Liszt playing dwelled above everyone else's, even those of his own pupils. As the first notes played, a vision arose of a serious middle-aged woman seated at a piano, playing with an impeccably straight back as Bartók stood by her, commenting while he listened. After five years of fruitless searching and dead ends, another LP suddenly appeared in a music shop, this time bearing a cover (her photo closely resembled the vision); this LP had a letter tucked inside via a slit cut in the plastic sealing, which had not been read by a prominent New York Times critic who received it a decade earlier and had no idea of its presence when he decided to clear his desk. Her town of Independence, California listed Marik in their phone directory. Arbiter reached her, and she acknowledged that she was playing, teaching, and, yes, had studied with Bartók. A week later Arbiter flew from New York to LA and caught a Greyhound bus to head into a six-hour traversal of desert and rocky terrain. Marik played like a goddess, cooked like a goddess, and opened her home and archives. Arbiter eventually gained access to a collection of over 100 hours of recordings and chose the most extraordinary for Marik's first CD release. If one compares her playing with Bartók's, the conception is extremely similar, with differences in stylistic flourishes. This set covers her finest Liszt and Bartók, as well as compositions by Brahms, Beethoven, Bach, Debussy, Ravel, Chopin, Schubert, Haydn, Zoltán Kodály, and Jean-Baptiste Lully. It's as if we reached Bartók himself in the desert, channeled through Marik. "Just the range of repertoire is impressive: Marik spins blithely through Bartók's Rondo No. 1 on Folk Themes, devours Beethoven's Piano Sonata No. 30, and plays Liszt's 'Apparitions' in bursts of hyperclarity, as if she's trying to pin down an elusive ghost. ... Discovered by Allan Evans, the founder of Arbiter Records, a label that specializes in obscure pianists, Marik symbolizes something truly rare: an artist pursuing music not for fame or fortune or other external rewards, but for the all-consuming love of it." --1,000 Recordings to Hear Before You Die
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ARB 158CD
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2010 release. Chopin rarely appears in his true glory, as a visionary who created cutting-edge music. Although everyone with a piano tries to channel him, only a few attained the insight of Ignaz Friedman, Ignace Tiegerman, and Severin Eisenberger, who get as close to him as anyone ever could. Chopin was half-French but also half-Polish, and as these three were Polish who spoke fluent French, they understood his reaction to Polish dance music. The others still remain unaware of this Slavic backdoor and can't refrain from unintentionally caging Chopin in as a tamed salon idol. After extensive audio restoration, these classic performances live on with greater clarity through uncompressed sound. Heard here are previously unissued and unknown performances by these three masters, a further illumination of their profound musicianship. With them, Henri Barda, their musical heir, performs a work by his teacher Tiegerman, a tiny Polish Jew based in Cairo who also taught the postcolonial theorist Edward Said. Arbiter searched over 40 countries to prepare a biography of Friedman and went to Egypt to find the last remaining recordings and people by the Nile from Tiegerman's circle. Barda carries on their grand tradition. The fourth CD contains interviews, scans of Friedman's Chopin Études (instructive edition), photos, and more documentation accessible via computer. Also includes performances of compositions by Mendelssohn, Niccolò Paganini & Franz Liszt, Josef Suk, Brahms, César Franck, Saint-Saëns, John Field, Gabriel Fauré, Beethoven, Ravel, and Zoltán Kodály.
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ARB 129CD
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2002 release. Pioneering recordings of eccentric piano genius Vladimir de Pachmann dating back to 1907. While he behaved outrageously on stage and sometimes in the studio, Pachmann self-consciously played at his best to provide a legacy for future listeners. While hunting for his lost archive in Rome, Arbiter discovered a pupil of his who revealed that Pachmann's unique Chopin playing came from private studies with a retired assistant of the composer's who lived in Florence, Italy. Nineteenth-century listeners identified him with Chopin, even leading some to call him a "Chopinzee" after his wild on-stage stunts. Also includes performances of compositions by Felix Mendelssohn, Joachim Raff, Robert Schumann, Johannes Brahms, and Franz Liszt.
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ARB 142CD
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2004 release. Arbiter's final volume of the earliest recordings by the mythic Russian opera singer Feodor Chaliapin includes early American sessions and more from London, recorded 1921-1923. In addition to pieces that showcase his mastery of earlier Russian art music, this collection includes a previously unpublished lightning-speed poetry recitation from a private collection (Semyon Nadson's "Dream"). Includes notes with English translations to connect all listeners with his word-painting and nuances. Includes performances of compositions by Robert Schumann, Theo Koenemann, Mikhail Glinka, Ludwig van Beethoven, Modest Mussorgsky, Gioacchino Rossini, Giuseppe Verdi, Nikolai Rimsky-Korsakov , Vincenzo Bellini, Arrigo Boito, and Alexander Borodin.
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ARB 127CD
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2001 release. Arbiter's third volume of Russian opera singer Feodor Chaliapin's complete early recordings documents his intense work from 1911-1914 at La Scala opera house in Milan, Italy, singing in several languages and taking his unique approach to folk songs. Once major rarities, these discs are now finally accessible. Includes performances of compositions by Alexander Borodin, Anton Rubinstein, Mikhail Strokin, Robert Schumann, Modest Mussorgsky, Vincenzo Bellini, Gioacchino Rossini, Arrigo Boito, Giacomo Meyerbeer, Gaetano Donizetti, Giuseppe Verdi, Rouget de L'Isle, Grigory Lishin, Johannes Brahms, Pyotr Tchaikovsky, and Nikolai Rimsky-Korsakov.
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ARB 145CD
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2005 release. Retrieved piano recitals by Mieczyslaw Horszowski uncover his grasp of Schubert's unique language in major works. Bach and Mozart were understood more so than anyone else, as they were played with profundity and represent the height of classical music. These rediscovered concert performances are of works he had never recorded in studios. Arbiter has searched globally for over 40 years to find and bring to light Horszowski's concerts as evidence of how far someone can probe masterpieces. Bach's Concerto for Harpsichord in D Minor, BWV 1052, is performed with Frederic Waldman and Musica Aeterna; Mozart's Piano Concerto No. 24 in C Minor, K. 491, is performed with Alexander Schneider and the Festival Orchestra.
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ARB 154CD
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2007 release. How close can we connect with the radical composer Beethoven (1770-1827)? On a timeline we find that pianist Mieczyslaw Horszowski's (1892-1993) teacher was Theodor Leschetizky (1830-1915), who had been a pupil of Beethoven's assistant Carl Czerny (1791-1857). Horszowski plays Beethoven's first piano concerto here, a work he knew for nearly 60 years by the time he offered it on this newly unearthed performance from 1958. It impresses one as definitive. Mendelssohn's concerto was written at age 13, played only for one season by Horszowski. The concluding Brahms works were Brazilian discoveries that were otherwise unrecorded by this profound artist who lived for over a century. Able to project Beethoven's language, the music goes beyond its limits as printed notes.
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ARB 162CD
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Three musical giants are heard keeping music alive under dictatorships: Oswald Kabasta & the Munich Philharmonic (1942-44); Alfred Hoehn & the Leipzig Radio Orchestra (1940); Oskar Fried & the USSR State Symphony Orchestra (1937-38). Oswald Kabasta's Germany prohibited degenerate music, a Nazi ban he occasionally flaunted. However, when the Nazis were defeated and Kabasta lost his post, he opted for suicide. Alfred Hoehn, always described as a poet of the piano, witnessed Germany's descent into madness and suffered a stroke which paralyzed him during a performance. His Brahms radio disc was stolen from Berlin Radio by the Russian Army, returned forty years later under perestroika. Most conductors are egomaniacs but Oskar Fried (pictured on the cover) deliberately hid his life's actions as he may have been a Russian spy. He identified with Berlioz and his violent reading was taken off a Russian film soundtrack leaked to Sweden. When Hitler took power, Fried escaped from Berlin to Moscow, where he may have been murdered in 1941 during the week when Germany and Russia became enemies.
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ARB 110CD
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1997 release. Leo Sirota studied with Ferruccio Busoni, who once commented, "after such playing, I don't wish to hear anyone else today." In his family archive, a box was thought to have contained a few radio recordings made during his years in St. Louis. Many were concerned that the great playing on his 1920s 78-RPM shellacs was under-represented. After a decade of stasis, a box was retrieved and found to contain nearly 30 hours of his playing. This rare repertoire launched Arbiter's rescue of Sirota's piano mastery. This first publication of live radio recordings from 1955 includes performances of compositions by Pyotr Tchaikovsky, Anton Rubinstein, and Alexander Glazunov.
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ARB 136CD
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2003 release. A leading force in the roots of minimalism, Mother Mallard began in 1968 as a pioneering group using Moog's prototype synthesizers in live performance. These unique instruments led David Borden to develop and compose an innovative contrapuntal style that expanded the embryonic phase of minimalism through layers of rhythms and parts in a daring blend of high renaissance and analog electronics. The rare experience of Mother Mallard live is heard here along with a first release of Borden's "C-A-G-E, Part III." Recorded in 1976 and '77. Includes liner notes by David Borden.
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ARB 140CD
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2004 release. Ancient orchestral recordings were once considered to be like faded black-and-white photos: barely intelligible, lacking all color. Once Arbiter developed "Sonic Depth Technology" to restore old shellac, it achieved surprising results with pre-mic acoustic recordings. A 1914 disc of Tchaikovsky and Wagner made by the legendary conductor Felix Weingartner had bells and winds as clearly present as on recordings made half a century later with microphones. Richard Strauss is heard burning up a Berlin orchestra in 1929 with his Don Juan. The mysterious and shadowy Oskar Fried's epic 1924 performance of Beethoven's Eroica symphony contained colors previously unsuspected. The results go against commonly accepted limitations that had been troubling early orchestral recordings. With Arbiter's release, these recordings have become pristinely sharpened and well-defined, allowing one to listen without having to toil over what had once been submerged in a murky blur.
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ARB 125CD
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2001 release. This first disc in Arbiter's Feodor Chaliapin series finds him in a St. Petersburg hotel room singing unaccompanied folk songs, Russian arias, and more. The recordings date from 1901 and are among the earliest examples of the Russian singing that raged throughout Europe. Several unissued test discs were accessed, and Arbiter has yanked these unique copies out of their isolation and given new life through restoration. Includes performances of compositions by Theo Koeneman, Mikhail Slonov, Genary Korganov, Charles Gounod, Pyotr Tchaikovsky, Mikhail Glinka, Manikin-Nestruev, Arrigo Boito, Modest Mussorgsky & Igor Stravinsky, Gioacchino Rossini, and Leo Délibes.
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