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Background -

Although his early career seemed centered on Mozart and Beethoven, pianist Peter Katin became known as a great interpreter of Romantic keyboard literature, which he played with a serene warmth and big tone. He started playing when he was four years old. He had been studying privately with Harold Craxton before he was granted early admission to study with Craxton at the Royal Academy of Music at the age of 12, rather than the normal age of 16. He also credits Clifford Curzon, Claudio Arrau, and Myra Hess as being great influences in his musical life: "...I learned more in three long afternoons than I ever learned anywhere else." He gave his debut recital, a program that ranged from Scarlatti to Scriabin, at Wigmore Hall in 1948. His first concerto performance was Beethoven's Concerto No. 4 with the London Symphony in 1951. Enthusiastic critical response led to many more orchestral engagements, most featuring Romantic concertos, beginning with the Tchaikovsky Piano Concerto No. 2 for his first appearance at the Proms in 1952 and Rachmaninov's Concerto No. 3 for his second the next year. Christopher Seaman, Paavo Berglund, George Cleve, and Owain Arwel Hughes are just a few of the conductors he worked with in his career. In the late '60s, Katin undertook more comprehensive study of certain composers, such as Chopin, Schubert, Schumann, Debussy, Liszt, and Grieg, often presenting recitals comprising a single composer's works. His diligent study also led to his writing his own program notes and recording performances on historical instruments, such as one Chopin used on his last visit to London. Most of his recordings are of the solo piano works of those composers he studied. His career as a soloist gave him few opportunities to perform with others, although in the 1970s he did accompany Victoria de Los Angeles in three recitals, and he did form a piano trio in 1997. He taught privately in addition to holding positions at the Royal Academy of Music (1956-1959), the University of Western Ontario (1978-1984), and the Royal Conservatory of Music since 1992. His students included Gordon Fergus-Thompson, Howard Shelley, and Philip Fowke. In 1998 he was able to relive his debut recital, 50 years later to the day, at Wigmore with a very simliar program. - Patsy Morita LP made by AUDIO LAB Records, in JAPAN
LP released in 1975 LP is recorded in STEREO - a QUADRAPHONIC recording Record Catalog Number: ALC 1025 This listing is for a super rare, out of print LP title - an OPENED and in near mint minus overall condition LP PRESSED and ISSUED by AUDIO LAB Records of a highly collectible title from their catalog - a superb title featuring -

Peter Katin // Chopin / Schubert

LP Title -

Chopin / Schubert - Katin Recital

Track Listing -

Mazurka
A1. Chopin - C Sharp Minor Op.6-2 - 2:22         
A2. Chopin - C Major Op.24-2 - 2:06         
A3. Chopin - A Minor Op67-4 - 3:03         
Nocturne
A4. Chopin - F Sharp Minor Op.48-2 - 8:05         
A5. Chopin - B Major Op.62-1 - 9:06         

Schubert - Piano Sonata A Minor Op.164 D.537
B1. 1st Mov: Allegro Ma Non Troppo - 7:29         
B2. 2nd Mov: Allegretto Quasi Andantino - 8:19         
B3. 3rd Mov: Allegro Vivace - 4:42
Performers / Credits / Other Information -
• Recorded At – Iruma Shimin Kaikan
• Pressed By – Victor Company Of Japan, Ltd.
• Composed By – Schubert (tracks: B1 to B3), Chopin (tracks: A1 to A5)
• Directed By [Assistant] – Y. Sasaki
• Directed By, Mixed By – O. Sugano
• Engineer – S. Ohtsuka
• Engineer [Assistant] – K. Furukawa, M. Kikuchi
• Piano – Peter Katin
• Technician [Piano Tuner] – N. Kinebuchi
Recording Data
Location: Iruma Civic Hall
Recording Date: Nov. 25 '74
Piano: Steinway D
Microphone: Neumann U-87, Shoeps CMT-56
Mixing Console: Quad Eight LM-6200, Ampex AM-10
Tape Recorder: Ampex AG-440Bx4
Encoder: Sansui QS4
Monitor Speaker: Altec 605Bx4
Tape: Scotch 206
Cutting Equipment: Neumann SX-74, Neumann VMS-70, Scully 280

CONDITION Details: The TEXTURED LP jacket is in near mint minus overall condition. The jacket is tight and clean, with NO seam splits. The jacket even includes the elusive OBI strip. The colors on the jacket are sharp and clean with just some minor shelf wear evident at the corners and seams.  
The LP is in near mint minus overall condition! There are no serious marks on the vinyl. There may be some light spider marks on the LP which are caused by sliding the LP in and out of the inner sleeve. Most of the time, these types of marks are not audible, but it really depends on the sensitivity of your audio gear. Considering the vintage of this LP, the vinyl looks superb - it has much of it's original gloss and sheen! However, this is not a new audiophile LP....some extraneous sound is inevitable and should be expected for a vintage LP. There are NO serious spindle marks on the record labels either. LP has some dust on the surfaces so please clean the LP before auditioning it - a superb example of a collector's grade copy!
A Short Note About LP GRADING - Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

For best results, always thoroughly clean your LPs before playing them.

LPs can be audiophile quality pressings (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!