1939 ELLY NEY Brahms Piano Concerto 3 B Major Op 82 Max Fiedler Berlin Phil 78

$

130

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A series of great  classical orchestral and instrumental performances by major conductors, composers and instrumentalists.

High Priestess of the Cult of Beethoven, she was famous for channelling the spirit of Beethoven to her concerts by reading the wretched Heiligenstaedter Testament (she also does it on Record).

1941 MOZART SESQUI CENTENNIAL ISSUE

Elly Ney plays  Brahms Piano Concerto 3 B Major Op 82

Max Fiedler  conducting the Berlin Philharmonic

 Condition: EXCELLENT, faint scuffs plays very very quiet rare ticks

A CHOICE COPY

Orig Polydor issue 6x12" label 78 rpm record no album

Max Fiedler (1859-1939) is the only conductor on record who knew Brahms over a lengthy period (Weingartner performed in front of Brahms only shortly before the composer's death). So what we have here are genuine historical artifacts of how a major conductor performed Brahms during the composer's lifetime. These transfers are the best I have heard.

These interpretations are highly ‘romantic’ in style, with numerous ‘luftpausen’ and tempo shifts - Fiedler has no reluctance to slow down and ‘smell the roses’ when the mood seizes him. In many respects, this mode of Brahms conducting is an early precursor to the highly ‘personal’ readings of Furtwangler, Abendroth, and to a certain extent, Knappertsbusch. It is certainly miles apart from the strict rectitude of Weingartner and the steady, but highly nuanced pulse of Fritz Busch. The latter was a pupil of Fritz Steinbach, who was said to be Brahms' favorite conductor of the composer's symphonies.

The second symphony recorded here has a warmth and poetry that rank it, for me, among the finest interpretations ever, along with Furtwangler (his 1952 Berlin Phil. reading), Busch, and Schuricht (with the VPO)….

In the 2nd Piano concerto, Fiedler provides some of the most purely beautiful orchestral playing ever heard. To my ears, only Furtwangler (with Fischer) and Knappertsbusch (with Curzon) are in the same league….while not a virtuoso, Ney does play with great feeling and is well-attuned to Fiedler's conducting.…

This is a fine set for collectors. It provides a useful perspective on interpretive styles that prevailed during Brahms' lifetime.”

- Jeffrey Lipscomb



“Like his near contemporary Fritz Steinbach, whose conducting the composer specially approved, Max Fiedler was a famous Brahmsian. Alas, Steinbach died in 1916 at the age of 61, leaving behind him disciples (Toscanini, among others) but no recordings. Fiedler, by contrast, [left] behind revered recordings of the Second and Fourth Symphonies, recordings which have long been of absorbing interest to students of Brahms interpretation as well as to students of late 19th-century performance practice. In this sense, no Brahms library can properly be said to be complete without them…. the interest of these performances lies first and foremost - not to mention finally and most importantly - in the tempos: in the way they are chosen, established, and shrewdly modified by Fiedler in the course of performances which so interestingly live, move and have their being. There are other points of interest. The nature of the use of string portamentos: in the case of Fiedler and the Berlin Philharmonic, the selective and highly discriminating use of it. But it is tempo which is of paramount interest. Ironically, it is this which enables one to give the present set a qualified welcome.”

- Richard Osborne, GRAMOPNONE, Nov., 2000

Elly Ney was a disciple of both Theodor Leschetizky and of Emil von Sauer. Leschetizky was one of the most important piano teachers that have ever existed, among his former pupils one can mention Alexander Brailowsky, Mark Hambourg, Ignaz Jan Paderewski, Arthur Schnabel, Benno Moisewitch and Horzowski. Ney was a pianist with a rare sensibilty and she was highly reveared in Europe counting among her admirers Wilhelm Kempff. After WWII her career somehow decayed, but the recordings included in this CD's show her at her best, unfortunatelly the sound quality is limited since they date form the 1930's. If you are looking for a good sound quality stay away from this CD, but if you want to hear performances from a pianist of rare sensibility you will not be dissapointed. The Strauss' Burleske was the first recording ever made of this work, and the Beethoven and Mozart concertos are really excellent. The Beethoven concerto and the Burleske are accompanied by orchestras conducted by Willem van Hoogstraten, who not only was Ney's husband but an interesting musician as well. Hoogstraten was for more that ten years conductor of the Portland Orchestra and for two seasons (1923-1925) co-conductor of the New York Philharmonic with his countryman Willem Mengelberg.

From The Diary of Elisabeth Schumann
N.Y. 4.12.21. 12 o’clock at night
Lunch at Mrs Untermyer’s—3 o’clock Bodanzky’s orchestral concert, delightful Mendelssohn symphony; in the evening Strauss’s concert (orchestral) in the Hippodrome—wonderful Lohengrin prelude—Elly Ney burlesque—disappointing—after that together in the Plaza Hotel. Strauss talked very animatedly about [Hans von] Bülow—‘from whom I learnt conducting.’

The Burleske in D minor is a composition for piano and orchestra by Richard Strauss in 1885-86, when he was 21.

Contents [hide]

[edit] Background[edit] Original title and dedicationThe work's original title was Scherzo in D minor, and it was written for Hans von Bülow, who had appointed Strauss assistant conductor of the Meiningen Orchestra.[1] However, von Bülow considered it a "complicated piece of nonsense" and refused to learn it. He said the piano part was "Lisztian" and "unplayable", particularly for a pianist with a small handspan (Strauss says that von Bülow could barely reach an octave).[2] Strauss rehearsed the work with the Meiningen Orchestra, conducting and playing the solo part himself, but then set it aside. He wrote to von Bülow: "... given an outstanding (!) pianist, and a first-rate (!) conductor, perhaps the whole thing will not turn out to be the unalloyed nonsense I took it for after the first rehearsal. After the first run-through, I was totally discouraged ...".[1]

[edit] Renaming, rededication and premiereIn 1889, Strauss became acquainted with Eugen d'Albert, who liked the work, although he suggested some cuts and changes to the piano part.[3] Strauss rededicated the revised work to d'Albert, who premiered it under its new title Burleske, at a convention of the General German Music Association[2] at Eisenach on 21 June 1890, in the same concert as the premiere of Strauss's Death and Transfiguration.[2][3] The word "Burleske" translates as "farce"[4] or "mockery".[1]

[edit] ReactionVon Bülow was still not impressed. In a letter to Johannes Brahms in January 1891 he wrote: "Strauss's Burleske decidedly has some genius in it, but in other respects it is horrifying."[3] Despite this, he conducted the work that month in Berlin, with Eugen d'Albert as soloist.[2]

Strauss was offered a handsome sum by a publisher for the rights to the work, but he was still not convinced of its merits, so he declined. He was no doubt influenced in his own opinion of the work by von Bülow's opinion of it. A quarter of a century later he wrote about von Bülow: "For anyone who ever heard him play Beethoven or conduct Wagner, who attended one of his piano lessons or observed him in orchestra rehearsal, he inevitably became the model of all the shining virtues of a performing artist, and his touching sympathy for me, his influence on the development of my artistic abilities, were the decisive factors in my career." [2]

[edit] PublicationHowever, in 1894 Strauss agreed to publication of the Burleske, although it took him a long time to regard it with great favour. It eventually became one of his favourite works, and he programmed it in his last concert in London with the Philharmonia Orchestra in September 1947,[2] along with Don Juan, the Symphonia Domestica and the waltzes from Der Rosenkavalier.

Strauss never allocated an opus number to the work,[1] but the opus number 11 has often come to be associated with it, although Strauss gave that number to his Horn Concerto No. 1 in E?. It appears as number 85 in the catalogue by Erich Herrmann Mueller von Asow, and number 145 in that by Franz Trenner (see List of compositions by Richard Strauss#Other works).

[edit] Other premieresThe first performance of the Burleske in the United States was by Heinrich Gebhard with the Boston Symphony Orchestra, under Wilhelm Gericke, in April 1903.[2] The first performance in Australia was by Vera Bradford in 1937, with the Melbourne Symphony Orchestra conducted by Georg Schnéevoigt. He had considered the piano part could only be managed by a male pianist, and demanded Vera Bradford be replaced; but she stood her ground, refused to defer to a male pianist, and gave an excellent performance.[5]

[edit] Structure and scoringThe piece starts with a theme introduced on timpani and answered by the orchestra. The piano then enters in a state of high excitement. A second, more lyrical Brahmsian theme, emerges, and this is followed by waltz-like measures not unlike the waltzes from Der Rosenkavalier. The work ends quietly, again on the timpani. The piece takes about 22 minutes to perform.

The piece is scored for piano solo and an orchestra of piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 4 horns (2 in F, 2 in D), 2 trumpets, timpani, and strings.[6]

[edit] Notable performersNotable performers who have played or recorded the Burleske include Martha Argerich, Claudio Arrau, Wilhelm Backhaus, Rudolf Buchbinder, Michel Dalberto, Malcolm Frager, Glenn Gould, Hélène Grimaud, Friedrich Gulda, Byron Janis, Jeffrey Kahane, Elly Ney (1932), Sviatoslav Richter, Rudolf Serkin, and Jean-Yves Thibaudet.

In 2001, the music was used for the ballet Burleske, choreographed for the New York City Ballet by Peter Martins.[7]

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