1926 Mark HAMBOURG RUSSIAN Liszt Hungarian Rhapsody No 2 78

$

36

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Greatrecordings by Russian Pianist Mark Hambourg

this is his first 1926 electric recording, he would record all Rhapsodies again in the mid 1930s

Hungarian Rhapsody No 2 1&2

12" 78 rpm record

Among the many famous pianists who studied with Theodor Leschetizky, Mark Hambourg stood out as a force of nature gifted with an extraordinary facility for his instrument, whose elemental, free-wheeling style was characterised by tidal waves of sonority, a breathless joy in speeding and little regard for technical accuracy. In his pioneering late-1920s/early-’30s recordings of the 15 ‘standard’ Liszt Hungarian Rhapsodies, Hambourg doesn’t so much play the music as paraphrase it (and sometimes rewrite it, as in No 2’s opening section). He habitually telegraphs fast runs (notoriously so in No 13’s ‘Friska’ section), serves up rubato and holds down the sustain pedal.

The performances tow an uneasy line between genuine grand-manner excitement and the proverbial bull in a china shop. Listen to how Hambourg’s  octave technique pillages the codas of Nos 2, 6, 9, 11, and 12, or No 10’s cluster bombs in place of chords. Similarly, he impatiently rushes through most of the slow opening sections.

Hdisplays musicality in Nos 7, 14 and 15 (the latter played in Liszt’s relatively unfamiliar 1851 version of the Rákóczy March, as opposed to the familiar 1853 text).

EXCELLENT faint scuffs on 2, plays very quiet faint crackle, rare spots of bass buzz

Mark Hambourg (b. Boguchar, south Russia, 1 June 1879; d. Cambridge, UK, 26 August 1960) was a distinguished Russian concert pianist, among the most famous of his age.

Life
Mark Hambourg was the eldest son of the pianist Michael Hambourg (a pupil of Anton Rubinstein's), and was brother of the cellist Boris Hambourg[1] and the violinist Jan Hambourg[2] (with whom he played in chamber ensemble as the Hambourg Trio), and of the musical organiser Clement Hambourg (b. 1900).[3] His father was principal of the Voronesch Conservatory, and later a professor at the Moscow Conservatory, so that Mark continued his studies with his father even when he attended that academy.

[edit] London, 1889
The family moved to London in 1889, as refugees from the Tsarist regime. There, having been heard by Paderewski, Mark made a debut at the old Prince's Hall in July 1890. This was a success, and there was another concert there, and a tour of the provinces. The family was too poor to turn down these opportunities, though they would gladly have protected the boy from public life. As a child he was billed as Max Hambourg. He was invited into the circle of the painter Felix Moscheles (son of the pianist Ignaz Moscheles), in London, where on Sundays he often met Oscar Wilde, Bernard Shaw, Ellen Terry and others. It was in this period that he famously became fed up with little old ladies wanting to kiss him, and permitted them to do so only in exchange for a large box of chocolates.[4]In 1890 Shaw, seeing him play, felt that the Lyric Theatre was merely exploiting children, but late in 1891 he was admiring his performance of J. S. Bach at the Steinway Hall and feeling that, with suitable training, 'this Russian lad might astonish the world some day.'[5]

[edit] Vienna, 1891-1895
Sponsored largely by Paderewski, he was sent to study under Theodor Leschetitzky in Vienna for three years, arriving there in autumn 1891. There he won the Liszt Scholarship of 500 Marks, and made a very large number of friends among the artistic circles of Vienna. He made his first appearance as an adult pianist in early 1895, playing the Chopin 1st concerto (E minor) under the baton of Hans Richter, with the Vienna Philharmonic Orchestra. Then, while still a student with Leschetizky, he stood in at short notice (on his master's recommendation) to play Liszt's Hungarian Fantasia under Felix Weingartner, in place of Sophie Menter, who was indisposed. The audience, at first disappointed, was completely won over, and at the banquet which followed, Brahms himself proposed the toast to the young pianist.[6]

[edit] England, and touring
In London in 1895 Henry J. Wood conducted a concert at St James's Hall in which Hambourg played three piano concerti. According to Wood, his appearance and technique were compared to that of Anton Rubinstein, and Busoni later told Wood that Hambourg's was then the greatest talent of the time.[7]

In 1895 he began his first world tour (aged 16), beginning with Australia, where (Sydney) he was asked to prolong his stay by six weeks. Returning to London he deputized for Paderewski at a Royal Philharmonic Society concert playing the Rubinstein D minor concerto. He first appeared in Paris in 1896, and after that in Brussels and Berlin. He went to the United States in autumn 1898, making his New York debut under William Gericke with the Boston Symphony Orchestra, and going on to tour the States. He then returned to London, and in 1901 made his first appearances at the Queen's Hall proms under Henry Wood. Over the next four years he made another American tour and made visits to Poland, Russia and Germany. (He had met Lenin through Felix Moscheles in London in 1900). In 1906 he made a month's concert visit to South Africa, taking his own piano by precarious means across the Veldt to one remote location. He first toured in Canada in 1909.

Wartime
At the outbreak of World War I parts of the press circulated the scurrilous rumour that he was German, obliging him to prove his Russian origin and to show that he had been naturalized British for over twenty years. He won damages from the London Mail in court. Soon afterwards he made another visit to America, and narrowly escaped making the return journey on the fateful last voyage of the RMS Lusitania. On his return to London he gave recitals at the Aeolian Hall, of early English music from the Fitzwilliam Virginal Book, learning it by memory from the manuscript itself as the German Breitkopf edition was unavailable. He gave many concerts of classics during the war at the London Coliseum.[9]

 Later career
Hambourg's career survived the first world war and he remained a very famous performer throughout the 1920s and 1930s. After the war he again took up his programme of world touring, visiting France, South Africa and Canada, and making regular provincial tours in Britain, and he made a further world tour before 1924.

Mark Hambourg recorded for HMV, and cut his first records in 1909. He can be seen in action as the down-and-out pianist nicknamed 'Chopin' in film-maker John Baxter's 1941 movie The Common Touch.[10]

He married the violinist Dorothea Muir Mackenzie, and was father of the pianist Michal Hambourg (1919-2004) (see link), with whom he sometimes performed piano duos, and of Nadine Hambourg Marshall.

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