In her 1952 interview (on YT), Eibenschütz recalls hearing Brahms playing her his complete opp. 118 and 119 before they had been published, and she was struck by the improvisatory quality of his playing, which is what we hear above all here ... and which is sorely missing from most modern pianism. Thanks for posting.
@@ThePianoFiles Thanks for the correction-yes; the art of performance generally was so different then, before the Logical Positvists got their hands on all printed texts, music included. This playing actually SAID something!
Involved and enthusiastic playing, fingerwork and tone golden. Only reservation is that like many recordings in the 78 rpm era, they played with the time limitation of the record side noticably affecting their playing.
00:00 Scarlatti Sonata in E Major K.20 01:14 Scarlatti Sonata in G Major K.14 02:16 Brahms Ballade in G Minor Op.118 No.3 04:55 Brahms Waltz in E Major Op.39 No.2 05:59 Brahms Waltz in A-Flat Major Op.39 No.15
Do someone knows if she and Alma Mahler meeting? I reading Alma biography now, but I don't reach her refuge to USA yet. It's grateful hear someone who meets Brahms, Liszt or wichone from the 19th century.
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In her 1952 interview (on YT), Eibenschütz recalls hearing Brahms playing her his complete opp. 118 and 119 before they had been published, and she was struck by the improvisatory quality of his playing, which is what we hear above all here ... and which is sorely missing from most modern pianism. Thanks for posting.
Her Scarlatti is gold, having played the pieces myself, she takes the velocity to another level yet keeps it clear and even. That is brilliant playing
Thank goodness for these recordings ❤️
More than thirty years before editing became possible-this is fabulous playing.
@@mylesjordan9970 closer to 45 years - was around 1948! Such great playing, isn’t it!
@@ThePianoFiles Thanks for the correction-yes; the art of performance generally was so different then, before the Logical Positvists got their hands on all printed texts, music included. This playing actually SAID something!
Just beautiful playing. Thank you for posting this window into a past age.
What a gorgeous treasure. Thanks for sharing.
amazing!! simply jaw dropping!
Thank you, Mark
This Scarlatti K.20 is the arrangement by Tausig. Didn't realize it when I was listening it to it for the first time, thought she improvised a bit.
Thank you very much for letting us to hear these gems!
Involved and enthusiastic playing, fingerwork and tone golden. Only reservation is that like many recordings in the 78 rpm era, they played with the time limitation of the record side noticably affecting their playing.
00:00 Scarlatti Sonata in E Major K.20
01:14 Scarlatti Sonata in G Major K.14
02:16 Brahms Ballade in G Minor Op.118 No.3
04:55 Brahms Waltz in E Major Op.39 No.2
05:59 Brahms Waltz in A-Flat Major Op.39 No.15
Thank you! Adding to the descriptive text!
This is a treasure trove.
Prestidigitation reaches new heights!
Do someone knows if she and Alma Mahler meeting? I reading Alma biography now, but I don't reach her refuge to USA yet.
It's grateful hear someone who meets Brahms, Liszt or wichone from the 19th century.
In her 1952 interview (on YT) she says she met Gustav, so she probably did.
It's all so fast! Is it speeded up?
Nope - they're on-pitch. Some musicians used to play a lot faster back then than is the case now ...
@@ThePianoFiles She seems to have played everything fast.
@@metteholm4833 Which seemed to have been criticized by Clara Schumann when she was studying under her.
I'm afraid this sounds horrible to me. But it's great to be able to listen to this recording!
Maybe she played fast becose recording was expansive and short.
Non, puisque à la même époque d'autres pianistes enregistraient les mêmes pièces en jouant plus lentement...
@@truesoundchris Yes, apparently. In one of Clara Schumann's letters she complains this pianist favors overly quick tempi!