Rather than merely regurgitate the past, Arbiter goes after unpublished and private recordings by the finest musicians alive or long gone and uncovers lost writings and contacts that give the fullest context possible in which the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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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Live unpublished and newly restored broadcasts.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 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 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 134CD
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2002 release. Advances in restoration technology have exposed for the first time all of the colors, shades of touch, nuances, and dynamics of pianist and composer Ferruccio Busoni's 1922 recordings. His first and few encounters with the horn made recording a detestable act for someone who preferred playing lengthy works. Although recorded into a horn before the advent of the microphone, the recordings capture the studio's Bechstein piano in its sonic projection into the room's space. Egon Petri's performances (with Hans Rosbaud and the Frankfurt Radio Orchestra, recorded in 1936 and 1932) survive as war trophies and reveal Busonian elements in his own interpretation; Petri was so influenced by his master that he could no longer distinguish between his own ideas and Busoni's, a problem for him but an insider's view for the listener. Busoni highly influenced the many who crossed his path, such as his pupil Kurt Weill; his talks with Edgard Varèse led Varèse to develop electronic music. This CD also includes performances by Rosamond Ley, recorded in 1942. Includes performances of compositions by Busoni, Bach, Beethoven, Chopin, and Liszt.
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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 149CD
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2006 release. With a concentration on pianist Irén Marik's Bach and Bartók, we find her probing deeply into their spirits and expressions. Two major Beethoven piano sonatas, the Moonlight Sonata and his final sonata (No. 32), receive new life and perspective through her unique summoning art. Another trove found in the legacy of home and concert recordings kept in her California desert abode. Also includes performances of compositions by Alexander Siloti, Maurice Ravel, François Couperin, Frédéric Chopin, Alexander Scriabin, Domenico Scarlatti, and Franz Liszt.
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ARB 152CD
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2007 release. "A stunning performance, like being submerged in a bath of beauty" --organist André Marchal on Irén Marik and John Ranck's Messiaen. Arbiter's third and final volume of Marik's art comprises essential works in her repertoire. Liner notes include a rare interview made when the label located her just east of the Sierra Nevada mountains in California. Irén Marik and John Ranck performed as a duo for several decades, with an early interest in Messiaen's Visions de l'Amen; they were among the first to perform the cycle. Marik had an empathy for Liszt and aristocratically played his Sonata in B Minor as a radical musical experiment, off the path of its function as a virtuosic challenge commonly used by most players to exhibit mindless technique. Her Debussy evokes a unique sound-world, with her touch and innuendo transforming her instrument. All of these recordings came to light when Arbiter inherited a box from Marik's estate that had gone unnoticed in a garage redolent of the wild ceremonial sagebrush surrounding her house. Also includes performances of compositions by Bartók (with whom Marik studied), Mozart, Beethoven, Schubert, Brahms, and Schumann.
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ARB 108CD
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1997 release. "The singleness of his passion for the art we both loved was almost frightening, even to a composer like myself" --Aaron Copland. Previously unpublished live recordings of pianist William Kapell, including his first documented playing, of Beethoven at age 15. New light on a legacy that ended when he perished in a plane crash in 1953 after the 31-year-old had finished an Australian tour. Notes include interview excerpts with his wife and letters about his artistic aims. Also includes performances of Modest Mussorgsky's Pictures at an Exhibition. These recordings of Beethoven's Piano Concerto No. 3 in C Minor, Op. 37, feature Leon Barzin and the National Orchestral Association; these recordings of Shostakovich's Piano Concerto No. 3 in C Minor, Op. 37, feature Eugene Ormandy and the Philadelphia Orchestra.
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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 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 153CD
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2007 release. Most orchestra conductors have egos bigger than all their musicians combined. Oskar Fried deliberately kept his inner life out of any limelight. A mysterious conductor, he appeared out of nowhere to start at the very top, with the Berlin Philharmonic, claiming that his previous experience had been as a trainer for dogs and circus animals. Any time a new figure emerged on the scene, Fried was the first to seek them out and conduct their music before anyone else had a chance. His way of interpreting reveals a penetrating spirit within his native Berliner gallows humor, always on the move in sound as he was in life, deliberately skirting any permanent engagement. As the first foreign artist to play in Russia after the Revolution, Fried's overnight train from Berlin was met at the Moscow station by Lenin in person. A secondary career was probably in espionage and one hears him unearthing secrets in everything he recorded. Our disc includes the rarest example of Mahler's music led by an initiate. The awful fetish that Mahler has become gets a makeover through Fried's close acquaintance with the neurotic composer as he exposes inner conflicts that other disciples chose to sweep under the sonic rug. One is also devastated by his grasp of Stravinsky's Firebird ballet, transitioning from an infernal dance to a nirvana-like plateau state. Informative notes reveal the doings of a genius who had to elude anyone probing his actions too closely. Orchestras include the USSR Radio Orchestra, the Berlin State Opera Orchestra, the Berlin Charlottenburg Orchestra, the BBC Symphony Orchestra, and the Berlin Philharmonic, with musicians Astra Desmond and Josef Wolfsthal. Compositions also include works of Mozart, Rossini, Carl Maria von Weber, Wagner, and Saint-Saëns.
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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 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 144CD
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2005 release; awarded the Diapason d'Or by the French Diapason magazine. Youthful energy and insight are abundant in the pianism of Madeleine de Valmalète (1899-1999), who startles with her premiere recordings of Ravel's music, hers being the first ever of his Tombeau de Couperin (1928), hardly surpassed to this day. The adventurous Madeleine became the second woman in France to get a driver's license. Playing confidently into her ninth decade, she is equally sharp and alluring playing Mozart in her 93rd year. Along with her complete 1928 recordings made in Berlin when she was 29, this set includes several private documents from later years and a full text on her long life. Whereas most French pianists take a careful approach, de Valmalète projected an excitement that few could attain and sustain. Arbiter once had a free night in her city and fretted over whether she was still alive, and if so, what shape would she be in at 99? Days later, a contact found out that not only was she well but had gone swimming in the Mediterranean on the day the label was in town. On her 100th birthday she ate and drank, mingling around a table with dozens of well-wishers in Marseille, and passed away only a few days later. This CD also includes performances of compositions by Modest Mussorgsky, Sergei Prokofiev, Sergei Rachmaninoff, Franz Liszt, Claude Debussy, Manuel de Falla, Gabriel Fauré, and Alexander Alabiev.
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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 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 132CD
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2002 release. In performances, Russian opera singer Feodor Chaliapin distributed printed programs that included the many songs he performed and simply called out his choices. Arbiter accessed many previously unpublished recordings of Russian songs of which he was an unparalleled master, also having known several of the composers heard here. The sessions from 1913 and 1914 are extremely clear, as Arbiter had access to vinyl test pressings, making the century-old discs sound quite recent. These recordings from 1913-1921 include performances of compositions by Sergei Liapunov, Mikhaïl Slonov, Anton Rubinstein, Edvard Grieg, Nikolai Rimsky-Korsakov, Sergei Rachmaninoff, Johannes Brahms, Theo Koenemann, Franz Schubert, Nikolai Sokolov, Mikhail Glinka, Pyotr Tchaikovsky, Modest Mussorgsky, Eyvind Alnaes, Leonid Malashkin.
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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 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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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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