C1617. JOSEPH KEILBERTH Cond. WDR S.O., w.INGRID HAEBLER: Piano Concerto #18 in B-flat, K.456 (Mozart), recorded 30 Oct., 1961, Cologne; w.EDITH PEINEMANN: Violin Concerto in d (Sibelius), recorded 27 Oct., 1967, Cologne. (Canada) St Laurent Studio YSL T-501. Transfers by Yves St Laurent.
“Joseph Keilberth was a German conductor active during the mid-twentieth century. His talents developed early: he pursued a general education and musical training in Karlsruhe, and at the age of seventeen joined the Karlsruhe State Theater as a répétiteur (vocal coach - a common starting place for European conductors). He remained with the theater and ten years later, he was appointed general music director.
He remained there until 1940, when he was appointed chief conductor of the German Philharmonic Orchestra of Prague. He became chief conductor of the Dresden State Opera in 1945. With a minimum of disruption for deNazification he remained in that position until 1950. In 1949 he became chief conductor of the Bamberg Symphony Orchestra, which was in fact a reunion. After the War, the German population of the Sudetenland (the German-speaking part of Czechoslovakia), which had been the excuse for Hitler's occupation of the country, were returned to Germany, and with them went the German Philharmonic of Prague, Keilberth's old orchestra, which settled in Bamberg. Causing unwary biographers some confusion, he also became the chief conductor of the Hamburg Philharmonic in 1950.
He frequently appeared as a guest conductor elsewhere in Germany, notably with the Berlin Philharmonic and, beginning in 1952, the Bayreuth Festival, and appeared regularly at the Salzburg and Lucerne festivals. In 1952 he also led his first performance in the Edinburgh Festival with the Hamburg State Opera.
He was a favored conductor for the RING and other operas through 1956. In 1959 he succeeded Ferenc Fricay at the helm of the Bavarian State Opera in Munich. There, history repeated itself. Keilberth died after collapsing during a performance of Wagner's TRISTAN UND ISOLDE, just as Felix Mottl—conductor at the same theater - had done in 1911.
Keilberth was very strong in Mozart and in the Wagnerian repertory, and in later German classics such as Pfitzner, Bruckner, Richard Strauss, Max Reger, and Paul Hindemith. His classic recordings included Hindemith's opera CARDILLAC.
Ingrid Haebler became one of the twentieth century's leading interpreters of the Viennese classic piano composers. She came to the piano as a little girl, making her public debut in Salzburg at the age of 11. She studied at the Salzburg Mozarteum, the Vienna Academy, and the Geneva Conservatory. She also was a pupil of the French pianist Marguerite Long. She won two prizes in 1954, one in Geneva and one in a Schubert competition at Geneva. She won the Harriet Cohen Beethoven Medal in 1957.
While she has toured widely, she has made her international reputation with her finely judged recorded performances. These include all of Mozart's piano concertos, in two traversals of that cycle, all of Mozart's piano sonatas, all of Schubert's sonatas, and significant amount of the piano music of Haydn and Beethoven. In addition to these Vienna-linked composers, she has made notable Schumann and Chopin series as well....Her playing is very intimate, creating a personal effect [and] often makes a personal connection with the listener. Then the warmth, sensitivity and quietly nuanced expressivity of her interpretations come into play."
- Joseph Stevenson, allmusic.com
“Edith Peinemann (born 3 March 1937) is an internationally recognized German violinist and professor of violin. At age nineteen she won the ARD International Music Competition in Munich, and made her U.S. debut as soloist in 1962 with Max Rudolf, after which she became a protégé of George Szell. In 2005 she became president of the European String Teachers Association. She made few recordings during her career, making her a ‘cult figure among violinists’. Peinemann is considered one of the world's ‘finest violinists of her time’.
Peinemann was born in Mainz, Germany, the daughter of a Mainz orchestra's concertmaster, with whom she learned violin until the age of fourteen. She later studied with Max Rostal in London and would fulfill the prophecy of violinist Yehudi Menuhin who, upon hearing her play when she was 19, predicted a 'brilliant and successful career'.
In 1956, she won the first prize in the International Competition of the German Radio in Munich. At that competition, conductor William Steinberg, who was among the judges, invited her to make her American debut with the Pittsburgh Symphony Orchestra, which she did in 1962. Word spread among Germany's conductors, such as Max Rudolf, about her achievements in the U.S., including her Cleveland debut where she played Dvorak's Violin Concerto.”