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Brahms: Recaptured by Pupils & Colleagues - Carl Friedberg pf, Edith Heymann pf, Marie Baymayer pf, Ilona Eibenschütz pf, Etelka Freund pf and Johannes Brahms pf Trio of New York: Daniil Karpilovsky vln, Felix Salmond vc and Carl Friedberg pfArbiter 163, 2015 (2 CDs: 156 minutes), $32

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Carl Friedberg pf, Edith Heymann pf, Marie Baymayer pf, Ilona Eibenschütz pf, Etelka Freund pf and Johannes Brahms pf Trio of New York: Daniil Karpilovsky vln, Felix Salmond vc and Carl Friedberg pfArbiter 163, 2015 (2 CDs: 156 minutes), $32

Published online by Cambridge University Press:  18 December 2017

Valerie Woodring Goertzen
Valerie Woodring Goertzen*
Affiliation:
Loyola University New Orleansgoertzen@loyno.edu
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Type
CD Reviews
Information
Nineteenth-Century Music Review , Volume 16 , Issue 1 , April 2019 , pp. 135 - 138
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© Cambridge University Press 2017 

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References

1 See Evans, Allan, Ignaz Friedman: Romantic Master Pianist (Bloomington: Indiana University Press, 2009)Google Scholar, also Evans’s previous CD, Behind the Notes: Brahms Performed by Colleagues & Pupils, Arbiter 160, 2012.

2 From the Friedberg–Hungerford recorded lessons, in the Bruce Hungerford Collection, University of Maryland. The lessons are transcribed and discussed in Ann Riesbeck DiClemente, ‘Brahms Performance Practice in a New Context: The Bruce Hungerford Recorded Lessons with Carl Friedberg’ (PhD diss., University of Maryland, 2009). Further recorded excerpts from the lessons can be found at www.arbiterrecords.com.

3 This sometimes stems from the compositions themselves. Ilona Eibenschütz, the first to hear Brahms’s opp. 118 and 119, remarked that Brahms played these pieces ‘as if he were just improvising, with heart and soul, sometimes humming to himself’ (liner notes, also heard on www.youtube.com/watch?v=mLGIRHCPqN4).

4 The Strauss dance in pressings from 1983 and 1997 is included on the CD Brahms spielt Klavier (Historische Stimmen aus Wien, vol. 5), OEAW PHA CD 5, 1997. Imogen Fellinger’s spoken introduction and liner notes trace the history of the cylinder recording and the several transfers to disk. Evans does not specify a source for the recording on his CD.

5 Fellinger, Imogen, ed., Klänge um Brahms: Erinnerungen von Richard Fellinger (Mürzzuschlag: Österreichische Johannes Brahms-Gesellschaft, 1997): 80–82 Google Scholar. Brahms, letter to Clara Schumann (November 1889), in Clara Schumann, Johannes Brahms: Briefe, vol. 2, ed. Berthold Litzmann (Leipzig: Breitkopf & Härtel, 1927): 397. See also Johannes Brahms, Neue Ausgabe sämtlicher Werke, Serie IX, Band 2, Arrangements von Werken anderer Komponisten für Klavier zu zwei Händen oder für die linke Hand allein, ed. Valerie W. Goertzen (Munich: G. Henle, 2017).

6 Brahms’s performance is analysed and a transcription attempted in Kowar, Helmut, ‘Zum Klavierspiel Johannes Brahms’, in Brahms-Studien, vol. 8, ed. Kurt and Renate Hofmann (Hamburg: Karl Dieter Wagner, 1990): 35–47 Google Scholar.

7 In particular, George Bozarth on Fanny Davies’s description of Brahms’s performance of his Piano Trio op. 101 with Joseph Joachim and Robert Hausmann, including study of her annotated score and of recordings; Michael Musgrave on piano recordings of Eibenschütz, Adelina de Lara and Alfred Grünfeld (with excerpts on the accompanying CD); and Clive Brown on Joachim’s playing of Brahms’s Violin Concerto.