P0976. LISZT CELEBRATION, incl. Vlado Perlemuter, Mischa Levitzki, Josef Pembauer & Marie-Aimée Warrot. (Canada) St Laurent Studio YSL 78-068, recorded 1927-46. Transfers by Yves St Laurent.
“Marie-Aimée Warrot (1915-1971) was born in Brunoy (near Paris), France. After receiving first prize from the Paris Conservatoire in 1930, she continued her studies with Robert Casadesus, Alfred Cortot, and later, with Emil von Sauer in Vienna. Her reputation established in Europe, she moved in 1955 to Canada, settling first in Vancouver and later in Halifax. At the time she became a naturalised Canadian in 1960, she also changed the spelling of her last name to Varro. She continued to perform in recital and with major orchestras in Canada, the United States, and Europe, specialising in the romantic repertoire. In her studies with Sauer, she learned authentic interpretation of Liszt's piano works, and it is not surprising that among her earliest recordings (made in 1946) is Liszt's Theme and Variations from ‘Grandes Études de Paganini’.”
“In 1915 Perlemuter began studying with Moritz Moszkowski, and in 1917 was accepted into Alfred Cortot's class at the Paris Conserva toire. From Moszkowski he learnt clarity and an imaginative choice of fingering, from Cortot a greater depth of tone and an artistic grasp of great music, much of it from listening to Cortot himself playing.
In 1919, after Perlemuter had won the most coveted prize at the Conservatoire, he went to Geneva to give his first public recital in La Salle des Abeilles. He returned to the city to give his last concert, in the Victoria Hall, shortly before his 90th birthday. In the two years following his début, he spent his holidays in Annecy, near Geneva, and there played Fauré's last nocturnes and the piano solo version of his Ballade to the composer.
Apart from Cortot, the two pianists who made the greatest impact on Perlemuter in his early days were Busoni and Rachmaninov; he was impressed by their ‘orchestral’ style of playing, and no doubt by a quality of interpretation which came from the fact that they were composers of substantial importance. One remarkable thing about him is that he never grew stale, that after half-a-century he still engaged in slow and humble practice with the left hand of pieces that he had known all his life. His unceasing quest was rather to realise his poetic intentions, and they imposed a complete independence of the two hands, and a mastery of the greatest possible range of tone-colour.”
"Mischa Levitzki was a Russian-born American concert pianist. He was playing the violin at the age of three, but soon developed an interest in the piano, which he studied in Warsaw before making his début in Antwerp in 1906. In New York, his father brought him to the attention of Walter Damrosch, who obtained a scholarship for him at the Institute of Musical Art (now the Juilliard School) as a pupil of Zygmunt Stojowski, with whom he studied from 1907 to 1911. In 1913 Levitzki entered the Berlin Hochschule für Musik, where he became the youngest student of Dohnányi and was awarded the Mendelssohn Prize in 1915. By this time he had performed throughout Europe and Scandinavia. He made his American début in New York on 17 October, 1916, at Aeolian Hall, and soon made his permanent home in the United States, later becoming an American citizen. Levitzki concertized worldwide up until the time of his premature death in 1941. He toured in the United States, Australia, New Zealand and Asia, making a reputation with his performances of the Romantic repertory.”
- Victor & Marina Ledin
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011