P1249. IGNAZ PADEREWSKI: Paderewski - The Complete Victor Recordings. incl.Couperin, Beethoven, Brahms, Chopin, Liszt, Schubert, Schumann, Rubinstein, Rachmaninoff, Strauss-Tausig, Schelling, Stojowski & Paderewski; plus 2 bonus tracks recorded 1941 of Paderewski's address on the occasion of his American début. (England) 5-Appian APR 7505, recorded 1914-31. Transfers by Mark Obert-Thorn. - 5024709175055
"83 tracks featuring works by Beethoven, Brahms, Chopin, Couperin, Debussy, Liszt, Mendelssohn, Rachmaninoff, Rubinstein, Schubert, Schumann, Strauss/Tausig, and works by Paderewski himself and two of his disciples, Ernest Schelling and Sigismund Stojowski. The set concludes with two bonus tracks recorded in 1941 of Paderewski’s address on the occasion of the golden jubilee of his American debut.
Ignacy Jan Paderewski (1860–1941) must be counted as one of the most famous pianists who ever lived, and he was certainly the most financially successful, yet his recorded legacy has always been something of a puzzle. Paderewski was from a generation before these recorded pianists, such as Cortot, Hofmann, Rachmaninov & Schnabel, we now tend to think of as ‘historical’ and his playing style really does take us back to the 19th century. This indispensable set makes available for the first time every surviving matrix from his most prolific recording contract – that with the US Victor company. In conjunction with APR’s earlier releases ‘Paderewski – his earliest recordings’ (APR6006 [P0626]) and ‘Paderewski– his final recordings’ (APR5636 [P0878]) there is now, at last, a complete Paderewski recorded edition."
“This style of playing has largely vanished….With performances full of personality and excellent notes by Donald Manildi, this is beyond criticism save the occasional mannerisms that were [Paderewski’s] stock in trade. If you must sample before buying, try the Chopin Études and hear music making from a different time and different world.”
- Allen Becker, AMERICAN RECORD GUIDE, Nov./Dec., 2008
"Paderewski was perhaps the most famous, and certainly the most highly paid, pianist who ever lived. In the years between 1890 and the First World War his fame reached levels now only reserved for the biggest pop stars and when he became prime-minister of Poland after the end of the war his deification was complete. He resumed his career in the 1920’s and continued to perform until his death. Unfortunately most of his recordings were made later in life and do not capture his playing in its prime, a fact which has somewhat damaged his posthumous reputation, so it is particularly important that these earliest recordings, which can redress the balance, are made available complete for the first time. This is playing very different in style from what we are used to today, but aside from its historic importance, taken on its own terms it is quite clear what a great communicator Padereswki was. And it’s good to be reminded in works like Liszt’s La Leggierezza study that at this point in his career there was nothing lacking in technique either."
“Ignacy Jan Paderewski was a Polish pianist, composer, diplomat and politician, and the third Prime Minister of Poland. He is sometimes referred to by the German version of his name Ignaz Paderewski. He was also a substantial composer, including many pieces for piano. In 1901 his sole opera MANRU received the world premiere at Dresden, then it had American premiere in 1902 at the Metropolitan Opera and to this day remains the only Polish opera by a Polish composer ever performed there.
During World War I, Paderewski became an active member of the Polish National Committee in Paris, which was soon accepted by the Entente as the representative of Poland. He became a spokesman of that organisation and soon also formed other social and political organisations, among them the Polish Relief Fund in London.
In November 1937 Paderewski agreed to take on one last pupil for piano. This musician was Witold Malcuzinski, who had won second place at the Chopin Competition. First place had been awarded to the Russian, Uninski.
Paderewski once recalled, ‘I established a certain standard of behavior, that, during my playing, there must be no talking. When they began to talk, I would stop. I would say, 'I am sorry to interrupt your conversation. I deeply regret that I am obliged to disturb you, so I am going to stop for a while to allow you to continue talking’. You can imagine the effect it had....”
- Z. D. Akron