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Grieg Piano Concerto In A Minor Walter Gieseking 12" 78 RPM 4-Record Album E
Record Grade per VJM Standard: E


GRIEG FRANZOSISCHE SERENADE (French Serenade), Op. 02, No. 3 WALTER GIESEKING, Piano COLUMBIA MASTERWORKS DEBUSSY: PRELUDES—BOOK 1 set m-352-$5.2s Set M-MM-313 DEBUSSY: PRELUDES—BOOK 2 setM-382-$5 Walter Gieseking BACH: PARTITA No. 5 IN G MAJOR set x mx-208-$2.ss io Few pianists tower so clearly above their fellow-artists as does Walter Gieseking, whose incredible artistry mag- netizes audiences wherever he performs. Gieseking is doubtless the greatest living keyboard master so far as subtlety, delicacy and nuance are concerned. This is achieved principally through his wonderful command of dynamics, which enables him to give different weights to each tone produced. He was born at Lyons in 1895, and studied under Karl Leiner at the Conservatory in Hanover. Since 1923 he has concertized throughout the world. Gieseking is best known for his interpretations of Debussy and other im- pressionists, but he is equally celebrated for his per- formances of the music of Bach, Beethoven and Mozart. Among his many fine recordings on Columbia Master- works are the following outstanding sets: cate the tempo, he played as only he can play. It is sig- nificant that he played the cadenza, the most difficult part, best of all. . . . “A really divine episode I must not forget. Toward the end of the Finale the second theme is, as you may remember, repeated in a mighty fortissimo. In the very last measures, when in the first triplets the first tone is changed in the orchestra from G sharp to G, while the pi- ano part, in a mighty scale passage, rushes wildly through the whole reach of the keyboard, he suddenly stopped, rose up to his full height, left the piano, and with big, theatric strides and arms uplifted, walked across the large cloister hall, at the same time literally roaring the theme. When he got to the G in question, he stretched out his arms imperiously and exclaimed ‘G, G, not G sharp! Splendid! That is the real Swedish Banko!’ . . . He went back to the piano, repeated the whole strophe, and fin- ished. In conclusion, he handed me the manuscript and said in a peculiarly cordial tone, ‘Keep steadily on; I tell you, you have the capability, and do not let them intimidate you.’ ” There is a marked affinity between this concerto and the earlier one in the same key by Schumann. Both open with a single orchestral chord (in the Grieg work this is preceded by a kettledrum roll), followed by a cascading passage for the solo piano. There is even a similarity in style between the two opening themes, which in both cases are announced by the woodwinds. From this point on, however, the two concerti pursue different paths, Schumann’s being marked by the warmth of German romanticism, while Grieg’s abounds in folklike melodies, colored by distinctive harmonies, that strongly suggest the composer’s native Norway. The second movement of the Grieg Concerto consists of a simple melody in the strings, decorated with arabesques on the piano. This leads without pause to the brilliant finale, which is in the form of a rondo. The character of this movement is that of a lively Norwegian peasant dance. This is interrupted by a lyrical, soaring theme, which makes a triumphant reappearance at the end. Notes by PAUL AFFELDER BEETHOVEN: CONCERTO No. 4 IN G MAJOR, Op. 58 (with Saxon State Orchestra, conducted by Karl Bohm) Set M-MM-411-$4.85 WALTER GIESEKING, Piano, with Hans Rosbaud conducting the Berlin State Opera Orchestra When one listens to the marvelous melodic, harmonic and tonal effects of Grieg’s Piano Concerto in A Minor, it seems almost unbelievable that this was his first com- position utilizing the orchestra. It was composed during the summer of 1868. Grieg, only twenty-five, had married his cousin, Nina Hagerup, the previous year. A daughter was born to them. After a taxing winter season of teaching and concertizing, the composer was in need of a rest. Leaving the child with her grandparents in Copenhagen, the Griegs spent a quiet summer in the small village of Sollerod, an hour’s ride from the Danish capital. It was here that the concerto was composed. Grieg was by this time gaining for himself an enviable reputation as a creative artist. Among his admirers was Franz Liszt, who invited the young man to visit him in his monastery home in Rome. Liszt’s intercession with the Norwegian government for a grant enabled Grieg to make the journey to Italy in October, 1869. Grieg’s ac- count of the meeting was described in a letter to his home, which has been translated by Edward Finck as follows: “I had fortunately just received the manuscript of my pianoforte Concerto from Leipzig, and I took it with me. FRANCK: VARIATIONS SYMPHONIES (with London Philharmonic Orchestra, conducted by Sir Henry Wood)Set X-MX-10—$2.85 Besides myself there were present Winding, Sgambati and a German Lisztite whose name I do not know, but who goes so far in the aping of his idol that he even wears the gown of an abbe; add to these a Chevalier de Con- cilium, and some young ladies of the kind that would like to eat Liszt, skin, hair and all; their adulation is simply comical. ... “Winding and I were very anxious to see if he would really play my Concerto at sight. I, for my part, consid- ered it impossible; not so Liszt. ‘Will you play?’ he asked, and I made haste to reply, ‘No, I cannot’ (you know I have never practiced it). Then Liszt took the manu- script, went to the piano and said to the assembled guests, with his characteristic smile, ‘Very well then, I will show you that I also cannot.’ “With that he began. I admit that he took the first part of the Concerto too fast, and the beginning sounded helter-skelter; but later on when I had a chance to indi- DEBUSSY: PIANO MUSIC set m-314-$6.35 (Children's Corner, Suite Bergamasque, Soiree dans Grenade Reflets dans I’Eau, La Cathedrale Engloutie) CONCERTO IN A MINOR FOR PIANO AND ORCHESTRA, Op. 16 MOZART: SONATA No. 14 IN 0 MINOR (K. 451) Set X-MX-93—$2.85 AN DER WIEGE (At the Cradle) Op. 68, No. 6 YOUR COLUMBIA RECORDS DESERVE COLUMBIA NEEDLES