Artur Schnabel: Complete RCA Recordings

[Lance]

RCA Victor 38971, 2-CDs,

"Without any doubt, Artur Schnabel was one of the 20th century's most influential pianists and musical thinkers. [This set] brings together all of the pianist's sessions for RCA Victor, recorded over six days of intense activity in 1942. Also from the 1942 sessions are the previously unpublished Schubert Impromptus, D899, a significant new addition to Schnabel's discography."

Beethoven:
*Piano Concerto No. 4 in G Major, Op. 58
*Piano Concerto No. 5 in E-flat Major, Op. 73 {"Emperor"}
Chicago Symphony Orchestra
Frederick Stock, conductor*
*Piano Sonata No. 30 in E Major, Op. 109
*Piano Sonata No. 32 in C Minor, Op. 111
Schubert:
*Four Impromptus, Op. 90/D899

Collectors of pianists generally collect ALL of the recordings of someone the stature of Artur Schnabel. This includes any non-commercial/live performances that have been issued over the years. Fortunately, I have them all and all maintain the very highest position in the canon of great pianists. Schnabel's most illustrious recordings were made largely in the 1930s for HMV/EMI and have been issued in deluxe LP packaging and consequently on compact discs. In America during the LP era, many of Schnabel's HMV recordings were issued on the RCA Victor label when the companies were licensing recordings to each other. However, in 1942, Schnabel recorded a group of 78-rpm recordings for RCA Victor. Those recordings were subsequently issued on RCA Victor or RCA Victrola LPs, and some found their way to compact discs. Pictures of the LPs adorn the booklet on this newly issued CD set.

Among Artur Schnabel's final recordings for HMV were the eight Impromptus of Franz Schubert. But as mentioned, 1942 saw a recording of the four Impromptus from the Op. 90 set [D899] that were earmarked to be included on RCA's LVT -1019 (their vault treasures series), but, inasmuch as he had recorded them in 1950 shortly before his death, RCA apparently felt it would be better to issue those than the ones they recorded in New York City probably due to better sound. Consequently, the 1942 versions were never issued in any format until the present, new CD release. Writer Jed Distler queried Artur's son, Karl Ulrich Schnabel, as to why Schnabel rejected the release of the Sonatas, Opp. 109/111 due to some incorrect notes that certainly would not nullify their release. Insofar as the Schubert Imprompromptus are concerned, Karl Ulrich noted they "struck him as being superior to his father's 1950 traversals." Therefore, the release of these 1942 Impromptus, as has been noted, constitute a major addition to the Artur Schnabel discography.

Also, while Schnabel used Bechstein pianos exclusively for his recordings for HMV, in the USA, he used Steinway instruments by arrangement with the Steinway company even though the Steinway endorsement did not apply to his performances in Britain or the European continent. He always had a special affection for the Bechstein feeling that Steinway instruments had too much personality of their own to suit his needs. The Bechstein instruments used by Schnabel, Edwin Fischer, any many others who made recordings still offer some of the finest, warm, rich sound generally to be found on recordings from that period.

[John F]

As you say, Schnabel recorded Schubert's 2 sets of 4 impromptus for EMI in June 1950. It appears to have been difficult - six sessions were required, and even so, op. 90 no. 4 was incomplete as eventually published, Schnabel having skipped 50 bars. So it's good to have an earlier, complete recording of op. 90. Too bad there isn't also an op. 142.

According to David Bloesch's superb Schnabel discography in ARSC Journal vol 18 (1986), Schnabel not only played the Steinway for his American concerts and recordings but continued with it after his return to Europe. Why he didn't go back to Bechstein, it doesn't say. But the Bechstein factory was destroyed by Allied bombing during the war and the company did not resume its business until it was de-Nazified in 1948. No doubt there were still some Bechsteins in England, and some technicians competent to work on them, but maybe not. Also, Schnabel never returned to Germany or Austria after the war, and perhaps his boycott extended as well to the Bechstein; the then owner Edwin Bechstein and especially his wife had been Hitler enthusiasts. It would be interesting to know.

[barney]

It would indeed. I didn't know that about Bechstein. I do know that I have long admired Schnabel, but I'm hardly Robinson Crusoe there.

[Lance]

Indeed, Helene Bechstein's association with Adolf Hitler is well documented. She provided Hitler with not only a piano, but monies, and I believe a Mercedes automobile and saw to it that Hitler was invited to many social events. After the war, many Bechstein artists (Serkin, Edwin Fischer among many) never returned to their beloved Bechsteins. The war did demolish the factories, but in re-establishing the company, the Bechstein took on a new "character" in their production of pianos becoming more brilliant and powerful instruments in the tradition of the German and American Steinways. Bechstein was also acquired by the Baldwin piano company in the USA but allowed Bechstein to build their pianos without much involvement with Bechstein craftsmen. At that time, Baldwin may have employed some of Bechstein's manufacturing methods as their own pianos gained considerable reputation after the joint venture. Eventually, Bechstein was sold back to the Germans.

As you say, Schnabel recorded Schubert's 2 sets of 4 impromptus for EMI in June 1950. It appears to have been difficult - six sessions were required, and even so, op. 90 no. 4 was incomplete as eventually published, Schnabel having skipped 50 bars. So it's good to have an earlier, complete recording of op. 90. Too bad there isn't also an op. 142.

According to David Bloesch's superb Schnabel discography in ARSC Journal vol 18 (1986), Schnabel not only played the Steinway for his American concerts and recordings but continued with it after his return to Europe. Why he didn't go back to Bechstein, it doesn't say. But the Bechstein factory was destroyed by Allied bombing during the war and the company did not resume its business until it was de-Nazified in 1948. No doubt there were still some Bechsteins in England, and some technicians competent to work on them, but maybe not. Also, Schnabel never returned to Germany or Austria after the war, and perhaps his boycott extended as well to the Bechstein; the then owner Edwin Bechstein and especially his wife had been Hitler enthusiasts. It would be interesting to know.