110736 bk Friedman4 US 13/04/2004 12:25 Page 4

Ignaz Friedman BEETHOVEN: ADD

Complete Recordings Volume 4
English Columbia 1930-31
Violin Sonata No. 9 in A major, Op.47
‘Kreutzer’
Great Pianists • Friedman 8.110736
(with Bronislaw Huberman, Violin)
MENDELSSOHN: ‘Songs without Words’: 0 I Adagio sostenuto: Presto 10:49
1 Op. 19, No. 3 in A major 2:04 Recorded 11th September 1930
Recorded 17th September 1930 Matrices WAX5730-2, WAX5731-3, WAX5732-3
Matrix WA10672-1 (Catalogue DB454) (Catalogues LX72/73)
! II Andante and variations 12:49
MENDELSSOHN
2 Op. 19, No. 6 in G minor 2:13 Recorded 11th September 1930 (part 1),
Recorded 16th September 1930 12th September 1930 (parts 2 and 3) Songs without Words
Matrix WA10664-2 (Catalogue DB454) Matrices WAX5733-3, WAX5736-2, WAX5737-1
(Catalogues LX73/74)
3 Op. 102, No. 5 in A major 1:08 @ III Finale: Presto 8:07
Recorded 16th September 1930 Recorded 12th September 1930
Matrix WA10664-2 (Catalogue DB454) Matrices WAX5738-3 and WAX5739-3 BEETHOVEN
(Catalogue LX75)
4 Op. 30, No. 6 in F sharp minor
Recorded 16th September 1930
3:21
# I Adagio sostenuto: Presto 10:52
Violin Sonata
Matrix WA10663-2 (Catalogue DB455) (alternative take of side 1)
Recorded 11 September 1930 No. 9 ‘Kreutzer’
5 Op. 38, No. 2 in C minor 2:23 Matrices WAX5730-1 (Catalogues LX72/73)
Recorded 17th September 1930
Matrix WA10670-1, 3342-2 (Catalogue DB455) LISZT: (with Bronislaw Huberman)
$ Hungarian Rhapsody No.2 8:51
6 Op. 38, No. 6 in A flat major 3:15 Recorded 16th December 1931 (part 1),
Recorded 17th September 1930 17th December 1931 (part 2)
Matrix WA10671-2, 4667-3 (Catalogue DB456) Matrices CAX6261-3, CAX6262-2
(Catalogue DX350) LISZT
7 Op. 53, No. 2 in E flat major 2:27
Recorded 16th September 1930
Matrix WA10662-1 (Catalogue DB456)
Hungarian Rhapsody No. 2
8 Op. 53, No. 4 in F major 2:50
Recorded 16th September 1930
Matrix WA10661-2 (Catalogue DB457)

9 Op. 67 No. 2 in F sharp minor 1:52

Recorded 16th September 1930 Ignaz Friedman
Matrix WA10665-2 (Catalogue DB457)
Piano
8.110736 4
110736 bk Friedman4 US 13/04/2004 12:25 Page 2

model of pianoforte recording’. As recently as 1999 the Rhapsody. The third take was approved; the previous
Great Pianists • Ignaz Friedman critic Bryce Morrison pertinently wrote, ‘Seemingly as two, and the nine of the Moonlight Sonata were
Complete Recordings Vol. 4 natural as breathing, Friedman’s artistry is quite without rejected.
(disfiguring) archness, leaving younger pianists to What shall remain a great loss were the other titles
Ignaz Friedman was born, as was Josef Hofmann, in broadcast regularly in Australia and New Zealand. wonder at such insouciance, at such effortless he recorded during these two days at Abbey Road
Podgorze, a suburb of the Polish city of Krakow, in Partial paralysis of his left hand made him retire in transcending of received wisdom’. Studios, for Friedman recorded his own arrangements
1882. His father was a musician who played in a local 1943 (he was only just over sixty) and he died in The recording of Liszt’s Hungarian Rhapsody of Johann Strauss waltzes, O schöner Mai, Wiener Blut,
theatre orchestra and after piano lessons with a local Sydney in January 1948. No. 2 is a larger than life, barn-storming performance: and Künstlerleben, on 16th December and Frauenherz
teacher Flora Grzywinska, Friedman left Krakow in The previous volume in this series of Friedman’s the music can take it, and almost needs this type of and Rosen aus dem Süden on 17th December. All the
1900 to study composition at the Leipzig Conservatory complete recordings contains his famous performances flamboyant interpretation to make it successful. A sides were rejected, so that from those two days of work
with Hugo Riemann. It was not until 1901, when he of a selection of Chopin’s Mazurkas (8.110690) contemporary review thought the record would be a at Studio 3 only the Liszt Hungarian Rhapsody was
was already nineteen, that he decided to go to Vienna mainly recorded in September 1930 for English milestone in the history of piano recording for the issued. Sadly, none of Friedman’s recordings of his
for lessons with Theodore Leschetizky. As with Columbia. Equally famous is his set of selected Songs faithfulness of the recorded sound, and of the playing Strauss arrangements were issued, and by now almost
Moiseiwitsch, Leschetizky was not enthusiastic when without Words by Mendelssohn. Whereas the wrote, ‘Throughout, there is a fine gusto in his playing, certainly would not have survived.
the young Friedman presented himself, but after three recording sessions for the Chopin Mazurkas had been a sort of vulgarity that attracts at once by reason of its Friedman’s only chamber music recording was
years of study (also becoming Leschetizky’s teaching plagued with many problems, the nine Songs without absolute sincerity’. In Friedman’s hands, however, it made at the same time as the Mendelssohn Songs
assistant), Friedman was ready to make his Vienna Words were recorded on two consecutive days in the never completely becomes vulgar; the first section is without Words. With the violinist Bronislaw Huberman
début in November 1904 at which he played the D middle of September 1930. Friedman does not see bold and majestic, at times playful and sentimental. The he recorded Beethoven’s dramatic Kreutzer Sonata, Op.
minor Concerto of Brahms, Tchaikovsky’s First these pieces as drawing-room miniatures but paints second part, the friska section, has the excitement of a 47. The music suits Friedman well, Beethoven’s drama
Concerto and the E flat Concerto of Liszt. This début them on a broad canvas in bold colours. Always to the live performance with Friedman building the tension and impetuosity being perfectly caught by both players.
launched a touring career that began in 1905, and for fore is his glorious tone quality stemming from the bel and holding plenty of sound in reserve for the big key Two takes of side one were issued, one in America and
the next forty years Friedman seemed to be perpetually canto style so much admired in the past by Chopin. In change. At the end he adds a flourish rather than a the other in Britain, and both are included for
on tour; he visited the United States twelve times, pieces such as the Venetian Gondola Song, Op. 30, No. cadenza. The two sides of the original 78rpm disc were comparison. Friedman played in a trio with Huberman
South America seven times, and Europe every year, as 6, Friedman creates the impression that he is recorded in two sessions on consecutive days in and Pablo Casals, and during his career worked with the
well as Iceland, Turkey, Egypt, South Africa, accompanying a singer, at the same time shaping the December 1931. At these sessions Friedman attempted world’s greatest violinists including Mischa Elman,
Palestine, Japan, Australia and New Zealand. melodic phrases as a singer would. The exceptional further takes of Beethoven’s Moonlight Sonata, Op. 27, Leopold Auer, Carl Flesch and Erica Morini.
Although he did not often perform chamber music in rich tone quality was a hallmark of the Leschetizky No. 2, (some of them being as high as take nine and ten)
public he collaborated with the greatest pupils and can be heard often in the playing of Benno and recorded three takes of the first side of the © Jonathan Summers
instrumentalists of the day, Casals, Huberman, Moiseiwitsch, Ignace Paderewski and Mark
Feuermann, Morini, Elman, Auer and Ysaÿe, and Hambourg. The famous Duetto in A flat major, Op. 38,
performed under the batons of Dorati, Gabrilowitsch, No. 6, is one of the best examples of what Friedman
Mengelberg and Nikisch. could do, perfectly balancing two voices and
Until 1914 Friedman lived in Berlin but after the accompaniment, making the work sound like a song
First World War he settled in Copenhagen. Friedman’s transcription.
first visit to America was in 1920 and in April 1923 he In a contemporary review published in May 1931,
made his first records for the American Columbia C. Henry Warren wrote, ‘I confess I had for so long
Company. After extensive and exhaustive touring, the taken these Songs without Words for granted that I had
onset of the Second World War meant he had to move almost forgotten how charming some of them were.
again, as Scandinavia was not a safe home for him. The They were dead bones; but Friedman has blown new
Australian Broadcasting Commission invited him for a life into them for me – as I am sure he will do for many
tour and during the early 1940s he played and others. He plays them brilliantly; and the whole set is a
8.110736 2 3 8.110736
110736 bk Friedman4 US 13/04/2004 12:25 Page 2

model of pianoforte recording’. As recently as 1999 the Rhapsody. The third take was approved; the previous
Great Pianists • Ignaz Friedman critic Bryce Morrison pertinently wrote, ‘Seemingly as two, and the nine of the Moonlight Sonata were
Complete Recordings Vol. 4 natural as breathing, Friedman’s artistry is quite without rejected.
(disfiguring) archness, leaving younger pianists to What shall remain a great loss were the other titles
Ignaz Friedman was born, as was Josef Hofmann, in broadcast regularly in Australia and New Zealand. wonder at such insouciance, at such effortless he recorded during these two days at Abbey Road
Podgorze, a suburb of the Polish city of Krakow, in Partial paralysis of his left hand made him retire in transcending of received wisdom’. Studios, for Friedman recorded his own arrangements
1882. His father was a musician who played in a local 1943 (he was only just over sixty) and he died in The recording of Liszt’s Hungarian Rhapsody of Johann Strauss waltzes, O schöner Mai, Wiener Blut,
theatre orchestra and after piano lessons with a local Sydney in January 1948. No. 2 is a larger than life, barn-storming performance: and Künstlerleben, on 16th December and Frauenherz
teacher Flora Grzywinska, Friedman left Krakow in The previous volume in this series of Friedman’s the music can take it, and almost needs this type of and Rosen aus dem Süden on 17th December. All the
1900 to study composition at the Leipzig Conservatory complete recordings contains his famous performances flamboyant interpretation to make it successful. A sides were rejected, so that from those two days of work
with Hugo Riemann. It was not until 1901, when he of a selection of Chopin’s Mazurkas (8.110690) contemporary review thought the record would be a at Studio 3 only the Liszt Hungarian Rhapsody was
was already nineteen, that he decided to go to Vienna mainly recorded in September 1930 for English milestone in the history of piano recording for the issued. Sadly, none of Friedman’s recordings of his
for lessons with Theodore Leschetizky. As with Columbia. Equally famous is his set of selected Songs faithfulness of the recorded sound, and of the playing Strauss arrangements were issued, and by now almost
Moiseiwitsch, Leschetizky was not enthusiastic when without Words by Mendelssohn. Whereas the wrote, ‘Throughout, there is a fine gusto in his playing, certainly would not have survived.
the young Friedman presented himself, but after three recording sessions for the Chopin Mazurkas had been a sort of vulgarity that attracts at once by reason of its Friedman’s only chamber music recording was
years of study (also becoming Leschetizky’s teaching plagued with many problems, the nine Songs without absolute sincerity’. In Friedman’s hands, however, it made at the same time as the Mendelssohn Songs
assistant), Friedman was ready to make his Vienna Words were recorded on two consecutive days in the never completely becomes vulgar; the first section is without Words. With the violinist Bronislaw Huberman
début in November 1904 at which he played the D middle of September 1930. Friedman does not see bold and majestic, at times playful and sentimental. The he recorded Beethoven’s dramatic Kreutzer Sonata, Op.
minor Concerto of Brahms, Tchaikovsky’s First these pieces as drawing-room miniatures but paints second part, the friska section, has the excitement of a 47. The music suits Friedman well, Beethoven’s drama
Concerto and the E flat Concerto of Liszt. This début them on a broad canvas in bold colours. Always to the live performance with Friedman building the tension and impetuosity being perfectly caught by both players.
launched a touring career that began in 1905, and for fore is his glorious tone quality stemming from the bel and holding plenty of sound in reserve for the big key Two takes of side one were issued, one in America and
the next forty years Friedman seemed to be perpetually canto style so much admired in the past by Chopin. In change. At the end he adds a flourish rather than a the other in Britain, and both are included for
on tour; he visited the United States twelve times, pieces such as the Venetian Gondola Song, Op. 30, No. cadenza. The two sides of the original 78rpm disc were comparison. Friedman played in a trio with Huberman
South America seven times, and Europe every year, as 6, Friedman creates the impression that he is recorded in two sessions on consecutive days in and Pablo Casals, and during his career worked with the
well as Iceland, Turkey, Egypt, South Africa, accompanying a singer, at the same time shaping the December 1931. At these sessions Friedman attempted world’s greatest violinists including Mischa Elman,
Palestine, Japan, Australia and New Zealand. melodic phrases as a singer would. The exceptional further takes of Beethoven’s Moonlight Sonata, Op. 27, Leopold Auer, Carl Flesch and Erica Morini.
Although he did not often perform chamber music in rich tone quality was a hallmark of the Leschetizky No. 2, (some of them being as high as take nine and ten)
public he collaborated with the greatest pupils and can be heard often in the playing of Benno and recorded three takes of the first side of the © Jonathan Summers
instrumentalists of the day, Casals, Huberman, Moiseiwitsch, Ignace Paderewski and Mark
Feuermann, Morini, Elman, Auer and Ysaÿe, and Hambourg. The famous Duetto in A flat major, Op. 38,
performed under the batons of Dorati, Gabrilowitsch, No. 6, is one of the best examples of what Friedman
Mengelberg and Nikisch. could do, perfectly balancing two voices and
Until 1914 Friedman lived in Berlin but after the accompaniment, making the work sound like a song
First World War he settled in Copenhagen. Friedman’s transcription.
first visit to America was in 1920 and in April 1923 he In a contemporary review published in May 1931,
made his first records for the American Columbia C. Henry Warren wrote, ‘I confess I had for so long
Company. After extensive and exhaustive touring, the taken these Songs without Words for granted that I had
onset of the Second World War meant he had to move almost forgotten how charming some of them were.
again, as Scandinavia was not a safe home for him. The They were dead bones; but Friedman has blown new
Australian Broadcasting Commission invited him for a life into them for me – as I am sure he will do for many
tour and during the early 1940s he played and others. He plays them brilliantly; and the whole set is a
8.110736 2 3 8.110736
110736 bk Friedman4 US 13/04/2004 12:25 Page 4

Ignaz Friedman BEETHOVEN: ADD

Complete Recordings Volume 4
English Columbia 1930-31
Violin Sonata No. 9 in A major, Op.47
‘Kreutzer’
Great Pianists • Friedman 8.110736
(with Bronislaw Huberman, Violin)
MENDELSSOHN: ‘Songs without Words’: 0 I Adagio sostenuto: Presto 10:49
1 Op. 19, No. 3 in A major 2:04 Recorded 11th September 1930
Recorded 17th September 1930 Matrices WAX5730-2, WAX5731-3, WAX5732-3
Matrix WA10672-1 (Catalogue DB454) (Catalogues LX72/73)
! II Andante and variations 12:49
MENDELSSOHN
2 Op. 19, No. 6 in G minor 2:13 Recorded 11th September 1930 (part 1),
Recorded 16th September 1930 12th September 1930 (parts 2 and 3) Songs without Words
Matrix WA10664-2 (Catalogue DB454) Matrices WAX5733-3, WAX5736-2, WAX5737-1
(Catalogues LX73/74)
3 Op. 102, No. 5 in A major 1:08 @ III Finale: Presto 8:07
Recorded 16th September 1930 Recorded 12th September 1930
Matrix WA10664-2 (Catalogue DB454) Matrices WAX5738-3 and WAX5739-3 BEETHOVEN
(Catalogue LX75)
4 Op. 30, No. 6 in F sharp minor
Recorded 16th September 1930
3:21
# I Adagio sostenuto: Presto 10:52
Violin Sonata
Matrix WA10663-2 (Catalogue DB455) (alternative take of side 1)
Recorded 11 September 1930 No. 9 ‘Kreutzer’
5 Op. 38, No. 2 in C minor 2:23 Matrices WAX5730-1 (Catalogues LX72/73)
Recorded 17th September 1930
Matrix WA10670-1, 3342-2 (Catalogue DB455) LISZT: (with Bronislaw Huberman)
$ Hungarian Rhapsody No.2 8:51
6 Op. 38, No. 6 in A flat major 3:15 Recorded 16th December 1931 (part 1),
Recorded 17th September 1930 17th December 1931 (part 2)
Matrix WA10671-2, 4667-3 (Catalogue DB456) Matrices CAX6261-3, CAX6262-2
(Catalogue DX350) LISZT
7 Op. 53, No. 2 in E flat major 2:27
Recorded 16th September 1930
Matrix WA10662-1 (Catalogue DB456)
Hungarian Rhapsody No. 2
8 Op. 53, No. 4 in F major 2:50
Recorded 16th September 1930
Matrix WA10661-2 (Catalogue DB457)

9 Op. 67 No. 2 in F sharp minor 1:52

Recorded 16th September 1930 Ignaz Friedman
Matrix WA10665-2 (Catalogue DB457)
Piano
8.110736 4
 CMYK

NAXOS Historical
8.110736

8.110736 Ignaz Friedman Playing

(1882 -1948)
ADD Time
Complete Recordings, Volume 4 75:14
(Suite 509) Franklin, Tennessee, 37067, USA.
Distributed by: Naxos of America Inc., 416 Mary Lindsay Polk Drive,
h 2004 & g 2004 Naxos Rights International Ltd.
broadcasting and copying of this compact disc prohibited.
translations reserved. Unauthorised public performance,
All rights in this sound recording, artwork, texts and

English Columbia Recordings 1930-31

Ignaz Friedman was an
FRIEDMAN : Complete Recordings, Volume 4

Mendelssohn: Songs without Words: immensely creative pianist

1 Op. 19, No. 3 in A major 2:04 who constantly experimented
2 Op. 19, No. 6 in G minor 2:13 with rubato, accents,
3 Op. 102, No. 5 in A major 1:08 phrasing, pauses and pedal

FRIEDMAN : Complete Recordings, Volume 4

4 Op. 30, No. 6 in F sharp minor 3:21 effects. The less than six hours
5 Op. 38, No. 2 in C minor 2:23 of his playing captured on
6 Op. 38, No. 6 in A flat major 3:15 electrical recording represent
only a fraction of a large
7 Op. 53, No. 2 in E flat major 2:27 performing repertoire. This
8 Op. 53, No. 4 in F major 2:50 collection includes his
9 Op. 67, No. 2 in F sharp minor 1:52 legendary recording of nine of
Mendelssohn’s Songs without
Beethoven: Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer’ Words, in which Friedman’s
(with Bronislaw Huberman, Violin) bel canto style creates the
0 I Adagio sostenuto: Presto 10:49 impression that he is shaping
! II Andante and variations 12:49 the phrases as a singer would.
The recording of Liszt’s
@ III Finale, Presto 8:07 Hungarian Rhapsody is a
larger than life, barn-
# I Adagio sostenuto: Presto (alternative take of side 1) 10:52 storming performance. Also
included is his only chamber
Liszt: music recording, made in
$ Hungarian Rhapsody No. 2 8:51 1930 with tbe violinist
Bronislaw Huberman.
MADE IN
NAXOS Historical

CANADA Producer and Audio Restoration Engineer: Ward Marston

Discographic information taken from Ignaz Friedman: A Discography,
Part 1, compiled by D.H. Mason and Gregor Benko.

www.naxos.com
8.110736

A complete tracklist can be found in the booklet.

Cover Photograph: Ignaz Friedman, 1940s (Private Collection)