Eduard Erdmann    (2-Tahra TAH 199/200)
Item# P0167
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Eduard Erdmann    (2-Tahra TAH 199/200)
P0167. EDUARD ERDMANN: Pictures at an Exhibition (Moussorgsky), 17 March, 1952; 'Pathétique' Sonata #8 in c (Beethoven), 6 Jan., 1953; Suite #4 in e (Handel), 4 Nov., 1948; w.Rother Cond. Berlin Phil.: Concerto #3 in c (Beethoven), 17 Nov., 1935; w.Rosbaud Cond. München Reichssenders S.O.: Introduction & Allegro in G (Schumann); Fantaisie (Debussy), both recorded 1943. (France) 2-Tahra TAH 199/200. Very long out-of-print, Final Copy! - 3504129019914


“The great Chilean pianist Claudio Arrau cited a handful of performers who conveyed the ‘power of divination’ in their music making. Conductor Wilhelm Furtwängler was one, together with pianists Edwin Fischer and Eduard Erdmann. Erdmann is the least known member of this triumvirate, but no less inspired an artist judging from these early-1950s broadcast performances of Schubert’s last four sonatas. Like Fischer, Erdmann never completely felt at ease in front of a microphone. Wrong note counters will have a modest field day here. Still, the intensity, nervous-energy, and full-bodied sonorities Erdmann brings to these large-scale works override momentary bobbles. To my ears, the slow movements lack the breadth and inflection notable Schubert practitioners like Arrau, Schnabel, and Richter have bestowed upon the music. On the other hand, Erdmann brings refreshing bite and scampering élan to the G major sonata’s wispy finale, and infuses each sonata’s monumental opening movements with a sense of adventure that mirrors the composer’s unfettered well of inspiration. Incidentally, the the final three sonatas are different performances from the ones briefly available in a German Electrola LP boxed set. Tahra’s transfers stem from the original Hessian and Bavarian Radio mastertapes, and sound as good as they’ll get. I n sum, a major discovery for pianophiles.”

- Jed Distler,

"This set was originally issued as a centenary tribute to Eduard Erdmann…‘Yes, but who was he?’ you will be asking by now, and I won’t pretend the name was anything but new to me either….His cultural interests were certainly wide and he had amassed a library of some 12,000 books by the time of his death. Initially he aimed to be a composer and he continued to compose for most of his life. A short work list is to be found in the booklet, from which it can be seen that such artists as Kulenkampff, Nikisch, Abendroth and Schmidt-Isserstedt performed his music, which includes four symphonies. His compositions were banned by the Nazi regime in 1935 and he also relinquished his teaching post at the Cologne Conservatory for political reasons. However, as can be seen from the dates and locations above, his pianistic career continued to some extent during this time, to be resumed more fully after 1946. His first post-war recital was dedicated to composers who had been banned by the 3rd Reich.

The booklet speaks of Erdmann’s creative relationship with music, but also of his reverential respect for the composers’ indications….”

- Christopher Howell, musicweb-international