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A BaPrsieltite Sonata Py lit 57 Appassionata

Chopin Ballade in F minor opus 52

_ Etudes in C# minor opus 25 _ C# minor opus 10

C major opus 10 G*° major opus 10 A minor opus 25

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“JOSEPH FIDELMAN PLAYS” - Recital No. 2 seo —: SIDE A :—— BEETHOVEN:

‘SONATA No. 23 IN F MINOR, Op. 57 — "APPASSIONATA"

1, Allegro assai: 2. Andante con moto; 3. Allegro ma non

troppo ©

——: SIDEB :——

CHOPIN:

BALLADE IN F MINOR, Op. 52 ETUDE IN C SHARP MINOR, Op. 25, No. 7

ETUDE IN C SHARP MINOR, Op. 10, No. 4 ETUDE IN C MAJOR, Op. 10, No. 1! ETUDE IN G FLAT MAJOR, Op. 10, No. 5 ("Black Keys")

ETUDE IN A MINOR, Op. 25, No. 4

It was one of Beethoven’s publishers who dreamed up the

possibly sales-promoting title of ‘Appassionata’ for the

composer’s Piano Sonata in F minor, Op. 57. Fortunately,

the application of the nickname was not so inept as in the

case of such works as the poorly-labeled ‘Moonlight’ and

‘Pathetique’ sonatas. In fact, the only thing wrong with

it perhaps stems from the feeling which comes to one occa-

sionally that the descriptive might actually be just a bit

weak in its attempt to sum up the powerful character of the

piece. After all, we find the most sober and staid of

Beethoven scholars writing of the sonata in terms of its

“hurricanes of sound,” “cataclysmic fury,” “tempestuous

turbulence,” ‘cyclonic force.” And, in justice, although »

each of those quotations was penned during eras past in

which enthusiasms tended to be stated in a far more florid

fashion than is usual in our day, it must be said that none

of those terms is really too excessive or even seems to hint

at a tint of purplish ink. Yes, the title ‘Appassionata’ is

apt, since the sonata is certainly impassioned—and that in

an exraordinary fashion. But, since many of the sounds it

makes do seem very much like musical “hurricanes,” per-

haps the better nickname would have been “F'urioso”’.

Beethoven was thirty-three years old at the time that he

completed the ‘Appassionata’ (1806). He was already an

assured master of his craft, the toweringly original cre-

ative genius who had finally shaken off the formal and

stylistic shackles of eighteenth century musical procedures

to achieve such remarkably individual, tradition-shattering

works as the ‘Eroica’ Symphony (1803).

For all of its impetuosity of effect, the ‘Appassionata’

has nothing of the haphazard to it structurally. In fact, it

ig one of Beehoven’s most tightly and masterfully con-

structed compositions in any form. Its composition occu-

pied him for at least two years, on and off. The first actual

sketches leading to it appear in notebooks of 1804 which

were more largely devoted to notations concerned with the

opera Fidelio. And then, those seeds grew to something

like that aforementioned near perfection. As Romain

Rolland has written of this aspect of the work:

“Were it only by reason of the physical contents of

its interior drama, the ‘Appassionata’ would be some-

thing exceptional. But, it ts also in the unity of its

form, that block from which the hammer of the

Cyclopes themselves could not detach a single grain

_.. (that) Beethoven succeeded in constructing in.

music the imperishable monument of an epoch of

humanity, the type of classic art in which is fixed for-

ever the harmony of one of the great hours of the

spirit, the perfect equilibrium of the inner forces, the

full consonance of the thought with the matter em-

ployed and subdued. The ‘Anpassionata’ is worthy to

take its place beside a fresco of the Siatine or a

tragedy by Corneille: tt is of the same family.”

The interrelationship of his skill as a pianist and his

talents as a composer was so close in Chopin that many of

his contemporaries were hard put to analyze exactly how

meritorious his compositions were. There were those who

considered the piano works of Chopin to be superior even

to those of Beethoven. Today, we know pretty much where

to place him more accurately (although the slot allotted to

him still sometimes shifts from higher to lower to higher

again wih something like frequency) : Chopin was a minor,

but genuine master and musical thinker who created a

body of music which was so uniquely beautiful that, de-

spite the passage of time, it remains in its effect—well,

repeated though the word is—vunique! Interestingly

enough, a view of Chopin published during his own life-

time——in the ‘Musical World,’ London, 17 Aug. 18438—and

reprinted in the 5th Edition of ‘Grove’s Dictionary of

Music and Musicians’ (1955) may, as that learned encyclo-

paedia states, ‘“‘still serve to fix Chopin’s position in the

larger musical world.” Actually, in view of its date, the

following quote seems amazingly wise, accurate, and almost

prophetic in its judgement: “He. (Chopin) cannot be a thoroughly great com-

poser because he lacks the first requisite of greatness

hand, in compositions o of -all form. . judgement it does pr body of Chopin’s wor for solo piano, the pieces w

which still maintain a t most piano music enthusiasts. to that, some of these pieces, naises, the Scherzi, and so on r

phing of an ambitious musical scope, while some of the

the Etudes and Nocturnes pack quite

an aphoristic wallop within their tiny frames. From the

Mr. Fidelman presents here a fine ex-

de In F Minor, Op. 52; from the latter, miniscule in comparison to the

sprawling wonders of an ‘Appassionata’ perhaps, but

g—five of the best of the Etudes Opp. 10 and 25 among Chopin’s

smaller pieces like

former grouping, ample—the Balla he offers five little jewels,

flawless in their shapin from the sets marked as collected works.

The ‘ballade’ form was one which Chopin himself

created. It was shaped by him out of such va

tures as those of the A-A-B-A pattern of song,

and variation, the sonata first movement, the rondo, and

e vessel into which he could pour s which he would then

1 magic into

so on. It was a pliabl fantastically contrasted element somehow blend through some sort of persona

a single, homogeneous whole. The blending process? Seem-

ingly, it was just plain instinct, sure, pure, but unstudied.

Chopin wrote four Ballades, each a miniature masterpiece.

The critic, Arthur Hedley, has thoughfully written about

the Op. 10 Etudes as being “. . to the literature of the piano .

ordinarily mature: no trace of stumbling. The lad of

e technical exercises and ended by

the etude as we know it, wherein study is concerned’ with a single

istic possibilities the com-

eighteen set out to writ creating a new genre, material for technical motive, whose musical and pian

oser exhausts.” And then, of both sets of Etudes, both

the Op. 10 (1829-32) and the Op. 25 (1832-36), Hedley

noted additionally: “Chopin, f

develop his ideas along prescribed lines—always a bugbear

to him—could work at ease within the framework which

d nowhere does he show himself more best suited him, an

he smaller musical forms than in of a master in handling t

these twenty-four short pieces.”

The first Etude of Op. 10, the C Major, is a study of

resonances, with wide-sprawling arpeggios

dissonances as they surge over a more

steady, fixed bass part. The fourth, in C Sharp Minor,

represents an elaboration of the song-form, with a single

dly by inventive passage work.

lat Major (the so-called ‘Black

1 example of a sort of rondo

ses extra interest in the

accidental, piquant

theme extended unexpecte

The briltiant fifth, in G F

Keys” Etude), is an unusua

based upon one theme. It poses in.

fact that Chopin restricted himself in it to the limitations

e. The right hand figures are played

on nothing but the black keys and thus are allotted only

five basic notes through which to achieve the glittering

effect of the piece. The fourth Etude of Op. 25, the A

Minor, is a fascinating study in the possibilities of shifting

, h imaginative modulations. The is rich in quiet drama and

—Notes by EDWARD COLE

of the pentatonic scal

key relationships throug

sevenh, the C Sharp Minor,

poetry.

—viz., the power of continuity. He cannot, moreover,

be classed among the common herd since he is_emin-

ently an original thinker and is blessed with an

inexhaustible invention and a deep well of new and

touching melody. Chopin is incapable of producing a

symphony or an overture — that is to say, a good

symphony or overture—because, though he has fancy

enough to supply admirable materials, he has not

sufficient development of the organ of consistency—

the blump of epicism, it may be called—to enable him

to demonstrate, carry out, amplify and complete his

original notions. His concertos, for example, are re-

markable for this deficiency. Brilliant and effective

though they are, they stop short of greatness in their

lack of continuous feeling. The subjects are all excel-

lent, but they fail to give a colouring to the whole. The

entire work is not the consequence of the first idea...

Therefore, Chopin is incapable of handling a large and

profound work of art. But, on the other hand, 1n com-

position of less important aim—in fantasies of all

kinds, where the fancy may sport, unrestrained by the

shackles of form —Chopin’s rich fund of ideas, his

pleasant fancy, his melancholy humour, his fresh and

fluent melody, his elegant graces, his piquant remplis-

sage, his poetic and passionate colouring are displayed

to consummate advantage, and place him far apart

from the herd of composers of this or any other day.”

The afore-going transition phrase, “... but, on the other

f less important aim—in fantasies

.”, what a potent transition in that overall

ovide! It points clearly to the largest

k: the majority of the smaller pieces hich represent perhaps the best

of the composer’s efforts and certainly those of his efforts ight hold upon the affections of

And, when it comes down like the Ballades, the Polo-

eally reach toward some-

URANIA RECORD CORP., 165 Passaic Ave., Kearny, N. J.

ried struc- the theme

_a remarkable contribution . These pieces are extra-

reed from the obligation to

touching off

began ever, he continued also wi

PHOTO BY FABIAN BACHRACH

ABOUT THE PIANIST Josef Fidelman was born in Tiflis, Georgia, now a part

of the U.S.S.R., on February 3, 1905. He made his debut

as a pianist when he was a little over five years old with a

recital at the Baku Opera House. With this event, there

the usual exploitation of a “wonder-child.” How- th intensive study at the Tiflis

Conservatory under Lucien Truskowsky, dean of the piano

department. During his stay at the Conservatory, he was

also influenced deeply, musically and pianistically, by a

youthful teacher: Heinrich Neuhaus. In 1921, he toured

Turkey; then went on to Germany, where he continued

his studies at the Berlin Hochschule fur Musik under

Leonid Kreutzer. After graduating in 1929, he entered the

Bluthner International Piano Contest and won first prize.

While still resident in Europe, he concertized extensively.

In 1933, he settled in the United States, where he embarked

upon a highly successful teaching career. Mr. Fidelman is

now an American citizen. * * % * *

Hear this much-praised premiere recording by Josef

Fidelman:

“TOSEF FIDELMAN PLAYS” (Recital No. 1)

Liszt: Mephisto Waltz - La Campanella Chopin: Nocturne in D Flat, Op. 72, No. 2 Debussy: L’Isle joyeuse Ravel: Jeux d’eau - Alborada del gracioso

Rachmaninoff: Prelude in G Sharp Minor, Op. 52, No. 12

URANIA UR 8021 (Mono. High Fidelity) US 58021 (Stereophonic)

Here’s what some of the critics said of it:

“Where has (he) been all these years? ... Mr.

Fidelman plays beautifully, with a light, bright tone,

a vivid attack, and a big feeling for the bravura reper-

toire .. . there is a great deal to admire in his work

generally, including a rather shimmering way with

Debussy ... Why, we wonder, is he a newcomer to the

ranks of today’s piano personalities?”

: —Doris Reno, Miami Herald, Florida

“| The ‘Campanella’. . . is evocative of the ‘little

bells’ its title implies . . . The (Chopin) Nocturne is

beautifully set forth and the fioratures are handled

with delicate, De Pachmann-like skill and sensitivity

... keeps the melody singing in an undulating flow,

above the figurations in the Rachmaninoff Preludes. 2"

—Rafael Kammerer, The American Record Guide

“| (Fidelman) has the technique. He is impressive

has character, passion, control, power, and a keen

awareness of the inner beauties of each score...”

—Don Peterson, The New Mexican, Santa Fe

“| He plays with feeling, insight, and control...”

—Alice Sokoloff, Ledger, Lakeland, Florida

“In Josef Fidelman, the virtuoso... very deep insight

pees —Mazx Brod, Prague, Czechoslovakia

“ Take note of the name, Josef Fidelman, for it’s

one you’re going to be hearing much more of... (he)

performs the music... with insight and feeling...”

—Dick Levy, Long Island Syndicate

PRODUCED BY: ABNER LEVIN and LESTER HEBBARD

ENG. BY: RAY HAGERTY (MADISON SOUND STUDIOS)

PIANO BY: STEINWAY