P0098. FREDERIC LAMOND: The Complete Liszt Recordings, HMV & Electrola. (England) Appian APR 5504, recorded 1919-36. Transfers by Bryan Crimp. Long out-of-print, Final Sealed Copy! - 5024709155040
"A pupil of Max Schwarz, Liszt and Bülow, Lamond's pedigree is impeccable, but his performing style was deeply rooted in the nineteenth century and had become an anachronism by the 1920's. By the time of his death in 1948, his reputation was in tatters and has remained in the doldrums ever since....Lamond's tone is full and bell-like and peels out proudly. We might not accept nor approve of everything he does, but for anyone interested in recorded pianism, these discs are indispensable."
- Jonathan Dobson, INTERNATIONAL PIANO QUARTERLY, Spring, 1998
“Frederic Lamond became a pupil of Hans von Bülow, who suggested he continue his studies with Liszt. His Berlin début took place on 17 November 1885, and after débuts in Vienna and Glasgow he made his London début in a series of recitals. At the fourth of these, given in St James’ Hall on 15 April 1886, Liszt was in the audience. In 1888 Lamond played in St Petersburg and was introduced to Anton Rubinstein, who attended his second recital there. He continued his career mainly in Germany but played Tchaikovsky’s First Piano Concerto at London’s Crystal Palace in 1890 where his own Symphony in A major Op. 3 was also performed. For the Royal Philharmonic Society he played Brahms’ Second Piano Concerto in 1891, and in 1896 toured Russia, returning to London in 1897. Lamond visited the United States once in 1902, but during the 1920s made frequent tours there, being appointed professor at the Eastman School of Music in 1923. In 1917 he was appointed professor at The Hague Conservatory, whilst during the 1930s he performed cycles of Beethoven sonatas in many European capitals including Berlin. In 1935 Lamond toured South America, and a year later celebrated his Golden Jubilee in several European capitals by giving a series of seven recitals, like Anton Rubinstein before him, covering the entire output written for the keyboard from Byrd to Liszt. As war approached, he and his wife fled the Nazi regime, leaving most of their possessions behind, but taking their grandson to Switzerland….a remarkable pianist who had known such great figures as Liszt, Anton Rubinstein, Richard Strauss and Brahms. The bulk of his recordings were of Liszt and Beethoven, and his best Liszt disc is the Tarantelle de bravura from Auber’s La Muette de Portici. Recorded in 1929 when Lamond was 61, it is a conception of Liszt in the grand style. Although it is an extrovert, virtuosic piece, Lamond gives it a reading of nobility without noticeable strain. Lamond’s affinity with the works of Beethoven was something almost spiritual. ‘I longed for pureness, truth, simplicity. Beethoven was my god – the creed of my life – my one and all. Through continually absorbing his wonderworks I began to regard the practical side of life, that which gives pleasure to the majority of human beings, with repugnance’. A pamphlet by Lamond on some of Beethoven’s piano works, published in 1944, is headed with the quotation : ‘Haydn is the way to Heaven, Mozart is Heaven itself, and Beethoven is the God therein’. In 1922 he became the first pianist to record a complete piano concerto, Beethoven’s ‘Emperor’. Lamond followed his own advice to his students when he said, ‘Try to play in some way of your own, as if you were telling the world for the first time of the wonders of Beethoven. Don’t be a mere pianist, try to reach the higher plane of music’.”
- Jonathan Summers, Naxos liner notes