Track Listing
CD 1 (79:15) | ||
GRAMOPHONE AND TYPEWRITER LTD., LONDON | ||
| 1. | Barcarolle in F-sharp, Op. 60 [abridged] (Chopin) | 4:38 |
| 1907; (1850f) 05502 | ||
| 2. | Nocturne in G, Op. 37, No. 2 (Chopin) | 4:46 |
| 1907; (1851f) 05501 | ||
| 3. | Prelude in G Minor, Op. 28, No. 22 (Chopin) | 0:43 |
| 4. | Prelude in F, Op. 28, No. 23 (Chopin) | 0:58 |
| 5. | Mazurka in A-flat, Op. 50, No. 2 (Chopin) | 2:21 |
| 1907; (1856f) 05500 | ||
| 6. | Etude in G-flat, Op. 25, No. 9, “Butterfly” (Chopin) | 0:58 |
| 7. | Waltz in D-flat, Op. 64, No. 1, “Minute” (Chopin) | 1:44 |
| 1907; (6001e) 5566 | ||
| 8. | Waltz in C-sharp Minor, Op. 64, No. 2 (Chopin) | 3:16 |
| 1907; (6003e) 5568 | ||
| 9. | La Fileuse, Op. 157, No. 2 (Raff/Henselt) | 3:26 |
| 1907; (6004e) 5567 | ||
GRAMOPHONE COMPANY LTD., LONDON | ||
| 10. | Etude in C Minor, Op. 10, No. 12, “Revolutionary” (Chopin) | 2:56 |
| 14 June 1909; (3136f) 05517 | ||
| 11. | Rondo Capriccioso, Op. 14 [abridged] (Mendelssohn) | 3:52 |
| 14 June 1909; (3139f) 05519 | ||
| 12. | Rigoletto Paraphrase [abridged] (Verdi-Liszt) | 4:13 |
| 22 June 1909; (3154f) 05516 | ||
| 13. | La Fileuse, Op. 157, No. 2 (Raff/Henselt) | 3:33 |
| 14 June 1909; (3138f) 05518 | ||
VICTOR TALKING MACHINE COMPANY, CAMDEN, NEW JERSEY | ||
| 14. | Nocturne in F, Op. 15, No. 1 (Chopin) | 4:40 |
| 7 November 1911; (C 11198-1) 74293 | ||
| 15. | Nocturne in G, Op. 37, No. 2 (Chopin) | 4:49 |
| 25 April 1912; (C 11936-1) 74313 | ||
| 16. | Impromptu No. 1 in A-flat, Op. 29 (Chopin) | 3:19 |
| 17. | Prelude in F, Op. 28, No. 23 (Chopin) | 0:56 |
| 7 November 1911; (C 11201-1) 74284 | ||
| 18. | Prelude in D Minor, Op. 28, No. 24 (Chopin) | 2:29 |
| 19. | Etude in G-flat, Op. 10, No. 5, “Black Keys” (Chopin) | 1:38 |
| 7 November 1911; (C 11200-1) 74260 | ||
| 20. | Etude in E, Op. 10, No. 3 (Chopin) | 3:26 |
| 26 April 1912; (B 11931-1) assigned 64291 but not issued (The Victor recording sheets incorrectly | ||
| 21. | Etude in E Minor, Op. 25, No. 5 (Chopin) | 3:13 |
| 26 April 1912; (C 11938-1) 74318 | ||
| 22. | Mazurka in A-flat, Op. 50, No. 2 (Chopin) | 2:49 |
| 8 November 1911; (B 11207-1) 64224 | ||
| 23. | Mazurka in F-sharp Minor, Op. 59, No. 3 (Chopin) | 2:44 |
| 25 April 1912; (B 11935-1) 64263 | ||
| 24. | Mazurka in A Minor, Op. 67, No. 4 (Chopin) | 2:17 |
| 25. | Mazurka in C, Op. 33, No. 3 (Chopin) | 1:08 |
| 8 November 1911; (B 11208-1) unpublished | ||
| 26. | Sonata No. 2 in B-flat Minor, Op. 35, Third Movement, “Funeral March” (Chopin) | 5:08 |
| 26 April 1912; (C 11933-2) 74304 | ||
| 27. | Etude in C Minor, Op. 10, No. 12 [for left hand] (Chopin-Godowsky) | 3:15 |
| 26 April 1912; (C 11941-1) 74302 | ||
CD 2 (66:28) | ||
VICTOR TALKING MACHINE COMPANY, CAMDEN, NEW JERSEY (CONTINUED) | ||
| 1. | Etude in C, Op. 10, No. 1 (Chopin) | 2:31 |
| 2. | Etude in F Minor, Op. 25, No. 2 (Chopin) | 1:04 |
| 8 November 1911; (C 11206-1) unpublished* | ||
| 3. | Prelude in A, Op. 28, No. 7 (Chopin) | 0:44 |
| 4. | Prelude in C-sharp Minor, Op. 28, No. 10 (Chopin) | 0:43 |
| 25 April 1912; (C 11924-1) assigned 74311 though unpublished* | ||
| 5. | Prelude in C Minor, Op. 28, No. 20 (Chopin) | 1:33 |
| 26 April 1912; C 11937-1) assigned 74317 though unpublished* | ||
| 6. | Nocturne in F Minor, Op. 55, No. 1 (Chopin) | 4:34 |
| 25 April 1912; (C 11925-1) assigned 74314 though unpublished* | ||
| 7. | Polonaise in C-sharp Minor, Op. 26, No. 1 (Chopin) | 3:59 |
| 25 April 1912; (C 11930-1) assigned 74312 though unpublished* | ||
| 8. | Ballade No. 3 in A-flat, Op. 47 [1st half] (Chopin) | 3:06 |
| 25 April 1912; (C 11932-1) unpublished* | ||
| 9. | Ballade No. 3 in A-flat, Op. 47 [2nd half] (Chopin) | 3:26 |
| 26 April 1912; (C 11940-1) 74309 | ||
| 10. | Mazurka Brillante (Liszt) | 4:06 |
| 8 November 1911; (C 11205-1) unpublished* | ||
| 11. | Rigoletto Paraphrase [abridged] (Verdi-Liszt) | 4:13 |
| 7 November 1911; (C 11202-1) 74261 | ||
| 12. | Song Without Words in F-sharp Minor, Op. 30, No. 6, “Venetian Gondola Song” (Mendelssohn) | 2:25 |
| 13. | Song Without Words in C, Op. 67, No. 4, “Spinning Song” (Mendelssohn) | 1:41 |
| 25 April 1912; (C 11928-1) 74315 | ||
| 14. | Song Without Words in A, Op. 62, No. 6, “Spring Song” (Mendelssohn) | 2:25 |
| 15. | Waldszenen, Op. 82, No. 7, “Vogel als Prophet” (Schumann) | 2:17 |
| 8 November 1911; (C 11204-1) 74285 | ||
| 16. | La Fileuse, Op. 157, No. 2 (Raff/Henselt) | 3:27 |
| 7 November 1911; (C 11199-1) 74301 | ||
ENGLISH COLUMBIA, LONDON | ||
| 17. | Impromptu No. 1 in A-flat, Op. 29 (Chopin) | 3:40 |
| December 1915; (6598) L 1009 | ||
| 18. | Nocturne in E-flat, Op. 9, No. 2 (Chopin) | 4:32 |
| December 1915; (6619) L 1014 | ||
| 19. | Nocturne in D-flat, Op. 27, No. 2 [abridged] (Chopin) | 3:51 |
| January 1916; (6968) L 1124 | ||
| 20. | Mazurka in C, Op. 33, No. 3 (Chopin) | 1:07 |
| 21. | Etude in F, Op. 25, No. 3 (Chopin) | 2:04 |
| January 1916; (6979) L 1112 | ||
| 22. | Mazurka in B Minor, Op. 33, No. 4 (Chopin) | 3:18 |
| January 1916; (6976) L 1102 | ||
| 23. | Mazurka in A Minor, Op. 67, No. 4 (Chopin) | 2:18 |
| 24. | Prelude in F, Op. 28, No. 23 (Chopin) | 0:55 |
| December 1915; (6616) L 1014 | ||
| 25. | Prelude in D Minor, Op. 28, No. 24 (Chopin) | 2:30 |
| December 1915; (6596) L 1009 | ||
CD 3 (66:14) | ||
ENGLISH COLUMBIA, LONDON (CONTINUED) | ||
| 1. | Etude in F, Op. 25, No. 3 (Chopin) | 2:06 |
| 2. | Prelude in B-flat Minor, Op. 28, No. 16 (Chopin) | 1:16 |
| December 1915; (6591) L 1010 | ||
| 3. | Sonata No. 3 in B Minor, Op. 58, Second Movement, Scherzo (Chopin) | 2:29 |
| January 1916; (6972) L 1131 | ||
| 4. | Waltz in G-flat, Op. 70, No. 1 (Chopin) | 1:52 |
| 5. | Ecossaise in D-flat, Op. 72, No. 3 (Chopin) | 0:40 |
| January 1916; (6969) L 1103 | ||
| 6. | Fantasiestücke, Op. 12, “Grillen” (Schumann) | 3:11 |
| January 1916; (6971) L 1131 | ||
| 7. | Liebestraum No. 3 in A-flat, S. 541 (Liszt) | 3:58 |
| January 1916; (6974) L 1102 | ||
| 8. | Polonaise No. 2 in E, S. 223 [2nd part] (Liszt) | 3:49 |
| December 1915; (6595) L 1010 | ||
| 9. | Rigoletto Paraphrase [abridged] (Verdi/Liszt) | 4:18 |
| January 1916; (6977) L 1103 | ||
| 10. | Capriccio in C-sharp Minor, Op. 76, No. 5 (Brahms) | 3:07 |
| January 1916; (6978) L 1124 | ||
| 11. | La Fileuse, Op. 157, No. 2 (Raff/Henselt) | 3:36 |
| January 1916; (6973) L 1112 | ||
VICTOR TALKING MACHINE COMPANY, CAMDEN, NEW JERSEY | ||
| 12. | Novelette in F, Op. 21, No. 1 (Schumann) | 4:32 |
| 14 December 1923; (C 29090-1) issued only on HMV DB858 | ||
| 13. | Impromptu No. 2 in F-sharp, Op. 36 (Chopin) | 4:50 |
| 14 December 1923; (C 29086-1) 6441 | ||
| 14. | Nocturne in B, Op. 32, No. 1 (Chopin) | 4:11 |
| 14 December 1923; (C 29091-1) 6441 | ||
| 15. | Prelude in D-flat, Op. 28, No. 15, “Raindrop” (Chopin) | 4:22 |
| 26 May 1924; (C 11934-5) 6480 | ||
| 16. | Prelude in D-flat, Op. 28, No. 15, “Raindrop” (Chopin) | 4:11 |
| 26 May 1924; (C 11934-6) unpublished | ||
| 17. | Novelette in F, Op. 21, No. 1 (Schumann) | 4:28 |
| 23 September 1924; (C 29090-3) unpublished | ||
| 18. | Novelette in F, Op. 21, No. 1 (Schumann) | 4:32 |
| 23 September 1924; (C 29090-4) 6480 | ||
| 19. | Song Without Words in A, Op. 62, No. 6, “Spring Song” (Mendelssohn) | 2:21 |
| 23 September 1924; (B 30934-1) 1110 | ||
| 20. | Waldszenen, Op. 82, No. 7, “Vogel als Prophet” (Schumann) | 2:23 |
| 23 September 1924; (B 30935-1) 1110 | ||
CD 4 (66:22) | ||
GRAMOPHONE COMPANY Ltd., LONDON | ||
| 1. | Impromptu No. 2 in F-sharp, Op. 36 (Chopin) | 3:55 |
| 6 June 1925; (Cc6261-1) DB859 | ||
| 2. | Nocturne in D-flat, Op. 27, No. 2 (Chopin) | 4:37 |
| 6 June 1925; (Cc6253-1) DB 860 | ||
| 3. | Nocturne in B, Op. 32, No. 1 (Chopin) | 4:13 |
| 6 June 1925; (Cc6259-2) DB 859 with comments by the pianist | ||
| 4. | Etude in F, Op. 25, No. 3 (Chopin) | 1:54 |
| 5. | Waltz in C-sharp Minor, Op. 64, No. 2 (Chopin) | 2:43 |
| 6 June 1925; (Cc6260-1) DB 860 | ||
| 6. | Prelude in B Minor, Op. 28, No. 6 (Chopin) | 1:32 |
| 7. | Mazurka in G, Op. 67, No. 1 (Chopin) | 1:11 |
| 6 June 1925; (Bb6258) DA 1301 | ||
| 8. | Mazurka in B-flat Minor, Op. 24, No. 4 (Chopin) | 3:55 |
| 6 June 1925; (Cc6255-1) DB 861 | ||
| 9. | Mazurka in A-flat, Op. 50, No. 2 (Chopin) | 2:38 |
| 6 June 1925; (Cc6256-1) DB 861 | ||
| 10. | Polonaise in C-sharp Minor, Op. 26, No. 1 (Chopin) | 3:43 |
| 15 December 1925; (Cc7529-1) DB 931 | ||
| 11. | Waltz in D-flat, Op. 64, No. 1, “Minute” (Chopin) | 2:51 |
| 15 December 1925; (Bb7535-1) unpublished with introductory remarks by the pianist | ||
| 12. | Waltz in D-flat, Op. 64, No. 1, “Minute” (Chopin) | 2:44 |
| 15 December 1925; (Bb7535-2) DA 761 with introductory remarks by the pianist | ||
| 13. | Waltz in A-flat, Op. 64, No. 3 (Chopin) | 2:26 |
| 15 December 1925; (Cc7538-1) DB 931 | ||
| 14. | Waltz in G-flat, Op. 70, No. 1 (Chopin) | 1:54 |
| 15 December 1925; (Bb7537-1) DA 761 | ||
| 15. | Prelude in B Minor, Op. 28, No. 6 (Chopin) | 1:38 |
| 16. | Prelude in G, Op. 28, No. 3 (Chopin) | 1:01 |
| 3 November 1927; (Bb11759-1) DA 927 | ||
| 17. | Prelude in D-flat, Op. 28, No. 15, “Raindrop” (Chopin) | 4:16 |
| 3 November 1927; (Cc11760-1) unpublished | ||
| 18. | Etude in G-flat, Op. 10, No. 5 “Black Keys” (Chopin) | 2:13 |
| 3 November 1927; (Bb11763-1) DA 1301 with introductory remarks by the pianist | ||
| 19. | Nocturne in E Minor, Op. 72, No. 1 (Chopin) | 4:13 |
| 3 November 1927; (Cc11757-1) DB 1106 | ||
| 20. | Mazurka in C-sharp Minor, Op. 63, No. 3 (Chopin) | 1:28 |
| 21. | Mazurka in A Minor, Op. 67, No. 4 (Chopin) | 2:29 |
| 3 November 1927; (Cc11762-1) DB 1106 beginning with the pianist’s transitional chords | ||
| 22. | Prelude in E Minor, Op. 35, No. 1 (Mendelssohn) | 2:03 |
| 3 November 1927; (Bb11761-1) DA 927 | ||
SELECTED PIANO ROLLS, WELTE-MIGNON, LEIPSIG | ||
| 23. | La Gondola, Op. 13, No. 2 (Henselt-Pachmann) | 2:33 |
| 1925; Welte C7208 | ||
| 24. | Improvisation on the Maiden’s Prayer (Badarzewska-Pachmann) | 4:14 |
| 1906; Welte 1226 | ||
* Unpublished recordings no longer extract in original form, see page 42.
Producers: Gregor Benko and Ward Marston
Audio Conservation: Ward Marston
Audio Assistance: J. Richard Harris, Aaron Z. Snyder, and Seth B. Winner
Booklet Design: Takeshi Takahashi
Booklet Notes: Edward Blickstein
Marston would like to thank Ken Caswell, Lawrence F. Holdridge, The International Piano Archives at Maryland, Farhan Malik, Donald Manildi, Nigel Nettheim, Joaquim Saralva, and Richard Warren for their help in the production of this CD release.
Track 17, on CD 4, the unpublished “Raindrop Prelude” was provided by Nigel Nettheim
CD 2, Tracks [1-7, 10] remastered by Seth B. Winner
This set is sponsored through the generosity of Derek Oppen with additional contributions from Mark Arnest, Francis Crociata, William DesChamps, Allan Gotthelf, Peter Greenleaf, Chase Kimball, Mark N. Levin, Farhan Malik, Mark Morrison, Nigel Nettheim, Joe Salerno, and Erkki Valsta.
The Complete Vladimir de Pachmann
Vladimir de Pachmann (1848-1933), the most controversial of the few pianists alive during Chopin's lifetime who also left recordings, studied piano at the Vienna Conservatory with Joseph Dachs and theory with Bruckner, making his debut in 1869. Soon he heard Tausig, von Bülow, and Rubinstein, stopped performing entirely and locked himself up to practice compulsively. When he emerged ten years later his playing had features of all three, plus a uniquely smooth, pearly quality. He began to appear in public again in 1882, just about the time when he met Liszt, whose personality and playing became the greatest influence in his life. Always high-strung, he gradually discovered that if he talked to his audiences, his stage fright lessened. The public adored his Chopin, which frustrated him, for he wanted to play Beethoven also. Within a few years he gave in to public demand and became the number one Chopin specialist of all time. Concurrently his platform behavior evolved into a kind of show, with grimaces, muttered asides, and boasts. As well known for his eccentricities as for his Chopin, the American critic James Huneker dubbed him "The Chopinzee," and the sobriquet stuck. Pachmann was the first internationally famous pianist to record commercially, making many records of varying quality over two decades starting with 1907 G and Ts. He was quoted saying any of his records were not "One percent of de Pachmann," although at the end he realized that glimmers of his art would live through them. A few of his worst records became his biggest sellers, for on them he talks during his playing. But many of his lesser-known recordings are among the greatest ever, unique, for his pianistic style harks back to the Hummel school. Knowing only his worst records, critics have dismissed him, but on his best records one can hear some of the finest piano playing ever recorded. De Pachmann-biographer Edward Blickstein contributes the liner notes.
