WILHELMBACKHAUS

The completepre-WarBeethovenrecordings

WILHELM BACKHAUSTHE COMPLETE PRE-WARBEETHOVEN RECORDINGS

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COMPACT DISC 1 (65.57)

BEETHOVEN Piano Concerto No 4 in G major Op 58LONDON SYMPHONY ORCHESTRA / LANDON RONALDRecorded on 25 September 1929 & 12–13 March 1930Matrices: CR 2446-5, 2447-5B, 2448-7B, 2449-2, 2450-7, 2451-4, 2452-8A, 2453-4A (HMV DB1425/8)

1. Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (16.53) 2. Andante con moto – . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.31) 3. Rondo: Vivace – Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (9.55)

BEETHOVEN Piano Concerto No 5 in E flat major ‘Emperor’ Op 73ROYAL ALBERT HALL ORCHESTRA / LANDON RONALDRecorded on 27 January 1927; matrices: CR 938-2, 939-2, 940-2A, 941-1, 942-1, 943-2, 944-1A, 945-1 (HMV DB1198/201)

4. Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (18.23) 5. Adagio un poco mosso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6.33) 6. Rondo: Allegro – Più allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (9.42)

COMPACT DISC 2 (76.21)

BEETHOVEN Sonata No 8 in C minor ‘Pathétique’ Op 13Recorded on 28 January 1927; matrices: CR 946-2, 947-1, 948-2, 949-1 (HMV DB1031/2)

1. Grave – Allegro di molto e con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6.20) 2. Adagio cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.23) 3. Rondo: Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.23)

BEETHOVEN Sonata No 14 in C sharp minor ‘Moonlight’ Op 27 No 2Recorded on 6 & 8 November 1934; matrices: 2EA 518-3, 519-3, 520-3 (HMV DB2405/6)

4. Adagio sostenuto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.52) 5. Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.08) 6. Presto agitato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (5.39)

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COMPACT DISC 2 continued

BEETHOVEN Sonata No 26 in E flat major ‘Les adieux’ Op 81aRecorded on 6 & 8 November 1934; matrices: 2EA 521-2, 522-2, 523-1 (HMV DB2407/8)

7. Das Lebewohl Adagio – Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6.17) 8. Abwesenheit Andante espressivo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3.01) 9. Das Wiedersehen Vivacissimamente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.15)

BEETHOVEN Sonata No 32 in C minor Op 111Recorded on 13 May 1937; matrices: 2EA 4920-1, 4921-3, 4922-1, 4923-1, 4924-1 (HMV DB3218/20)

10. Maestoso – Allegro con brio ed appassionato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (7.59)11. Arietta: Adagio molto, semplice e cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (13.01)

BACH Prelude and Fugue No 1 in C major BWV846 (Well-Tempered Clavier, Book 1)Recorded on 14 May 1937; matrix: 2EA 4928-3 (HMV DB3220)

12. Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.02)13. Fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.13)

BACH Prelude and Fugue No 22 in B flat minor BWV867 (Well-Tempered Clavier, Book 1)Recorded on 8 November 1934; matrix: 2EA 517-3 (HMV DB2408)

14. Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.15)15. Fugue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.40)

16. BACH Pastorale from Christmas Oratorio, BWV248 (arranged by Clarence Lucas) . . . . . . . . . . . . . . . . (4.53)Recorded on 6 November 1934; matrix: 2EA 516-2 (HMV DB2408)

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Wilhelm Backhaus’ Wigmore Hall concert programmes from 26 October 1929 (left) and 24 January 1931 (right)

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FROM HIS FIRST MAJOR RECITAL at agefifteen in 1899 until his final publicconcert just one week before his death on

5 July 1969, Wilhelm Backhaus’ career was oneof the longest among the twentieth century’sprominent pianists. The son of a Leipzigbusinessman, Backhaus was born in that cityon 26 March 1884. His first teacher was AloisReckendorf, a professor at the LeipzigConservatory, where Backhaus later studied.By the age of twelve Backhaus couldinstantaneously transpose Bach’s Preludesand Fugues at tempo into any key. Theprodigy’s talents did not go unnoticed, and hereceived a written endorsement from ArthurNikisch, the famed conductor of the LeipzigGewandhaus Orchestra.

Among Backhaus’ youthful keyboard iconswere Ferruccio Busoni, Teresa Carreño, andEugen D’Albert. The latter had studied withFranz Liszt and was renowned for his over -whelming personality and volcanic style ofplaying. The fifteen-year-old Backhaussummoned up the courage to play for D’Albert,who consented to teach him. Backhaus hadabout twenty-five sessions with D’Albert, whichwere sporadically held, and had less to do withinstruction than providing ‘finishing touches’.

The pianist’s international breakthroughcame in 1905 in Paris, when he gained firstprize in the Anton Rubinstein competition overrunner-up Béla Bartók. (Another contender,eliminated earlier on in the proceedings, wasOtto Klemperer.) That same year Backhausperformed Richard Strauss’ Burleske in Berlinunder the composer’s baton, and to hisapparent delight. Scores of engagementsfollowed, including one memorable London

recital at Queen’s Hall, where Backhaus playedtwelve compositions selected by the audienceon the spot.

Indeed, Backhaus enjoyed a fruitfulrelation ship with the British public, startingin 1900 with a London recital at St James’sHall in Piccadilly. However, Backhaus regardeda pair of engagements the following year aspart of Sir Henry Wood’s Promenade Concertsas his true professional debut. Manchestersoon became a favourite destination, markedby regular appearances with the HalléOrchestra under Hans Richter, and a short-lived professor ship at the Royal ManchesterCollege of Music. Australian audiences, too,welcomed Backhaus with open arms; his firsttour of the continent in 1923 encompassed atleast 57 concert dates.

By contrast, it took Backhaus longer tomake headway in the United States, where hefirst toured in 1912. In his book Speaking ofPianists, Abram Chasins recalled Backhaus inthe early 1920s, playing ‘year after year to rowupon row of vacant seats in the modest spacesof Aeolian Hall. Onstage, Backhaus was ashy, unaffected, recessive personality whosesensational capacities were so unsensationallyprojected that lay audiences remained totallyunconscious of his fabulous accomplishments.Offstage, this pale, modest, silent man was anunlikely drawing-room lion, especially in theearly twenties, when anti-German sentimentran high.’ ‘A little show of bravura’, Backhauswrote, ‘will turn many of the unthinkingauditors into a roaring mob. This is, ofcourse, very distressing to the sincere artistwho strives to establish himself by his realworth.’

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Unlike his contemporaries ArthurRubinstein and Artur Schnabel, who resistedrecording until the late 1920s and early 1930srespectively, Backhaus embraced the medium’spotential from an early age, and is consideredsomething of a gramophone pioneer. He madehis first recordings (for the GramophoneCompany) in September 1908, and in July 1909made the premiere recording of a pianoconcerto, the Grieg A minor, albeit drasticallyabridged from its usual half-hour length downto eight minutes on two sides of a double-faced78 disc: such were antediluvian A&R practicesduring the medium’s formative years. Pianomavens largely familiar with Backhaus’ latter-day status as an elderly doyen of the centralAustro/German classics might be surprised tofind a good amount of Romantic encore-typefare and short pieces among his acousticand early electrical discs. No doubt Backhauswas encouraged to record such ‘lollipops’for commercial purposes, yet the youngerBackhaus commanded a surprisingly wide andeclectic public repertoire.

In 1930, Backhaus and his Brazilian wifeAlma Herzberg moved to Switzerland, whichwould become their permanent home base,although he remained a key player in Germancultural life under Nazi rule. He was appointedby Bernhard Rust (the Prussian Minister forEducation) in 1933 to serve on a commissionconvened to supervise the work of Berlin musicorganizations. According to Fred K Prieberg’sHandbuch Deutsche Musiker 1933–1945,Backhaus met Hitler as late as May 1933, andaccompanied him on a flight to Munich, whilepublishing the following statement in themagazine Die Musikwoche: ‘Nobody loves

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German art and especially German music asglowingly as Adolf Hitler …’ On the other hand,Nalen Anthoni’s 1997 article about Backhausfor International Classical Record Collectorstates that Backhaus was twice imprisoned ina labour camp for refusing to accompanyconductor Wilhelm Furtwängler and the BerlinPhilharmonic on a tour of occupied Europe.

In any event, Backhaus resumedrecording for HMV after the war, moving toDecca in 1950, where he largely wouldconcentrate on Bach, Beethoven, Brahms,Mozart and Schumann. After a 28-year-absence Backhaus returned to New York’sCarnegie Hall in 1954 with an all-Beethovenrecital released by Decca. He continuedperforming and recording up until his final

recital on 28 June 1969 at the CarinthianSummer Festival in Villach, Austria, where hedied a week later.

Concerning Backhaus’ Beethoven, opinionsvaried widely among professional musiciansand critics. Daniel Barenboim recalled ArthurRubinstein’s dismissive exclamation about hisolder colleague: ‘Wilhelm Backhaus – all thisbusiness about Backhaus!’ ‘The great pianoGod in Vienna at that time was WilhelmBackhaus’, recalled Mitsuko Uchida of heradolescent years in that city. ‘I didn’t like himat all, but you couldn’t say that.’ In an overviewof Backhaus’ two Decca cycles, the late HarrisGoldsmith wrote that ‘Backhaus was notwithout insight. Still, to my taste, his ruddygood health far outstripped his vision. There isa burly weight and robust elementalism thatinfuses his playing, but it is the authoritativeweight of German Romanticism rather than themore specific linearity of the true Beethovenstyle.’ However, Backhaus impressed the youngMartha Argerich, who called his recording ofthe third concerto with Karl Böhm and theVienna Philharmonic ‘fantastic’. In an inter -view with David Dubal, Stephen Kovacevichsaid: ‘To my mind, Backhaus was the onlyperson who ever truly understood Beethoven’sHammerklavier Sonata’; while Andor Földesdescribed Backhaus’ Beethoven cycle inBudapest as ‘the greatest musical educationI ever received’. And when The Guardianasked Valentina Lisitsa if there were only onepianist (dead or alive) that she could hear, whowould it be, she simply answered: ‘WilhelmBackhaus’.

Bearing such disparate observationsin mind, pianophiles will find this collection

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of Backhaus’ complete pre-War Beethovenrecordings illuminating and instructive onmany levels. It should be remembered thatHMV originally approached Backhaus tomake the first recorded cycle of all thirty-two Beethoven sonatas, not Artur Schnabel.Backhaus refused, and the rest is history.

As such, his four pre-War sonatarecordings hint at what might have been. Whilethe interpretations do not markedly differ fromtheir later mono and stereo LP counterparts,they benefit from the younger Backhaus’generally faster tempos, more incisive tech -nical command, and stronger communicativeimmediacy. The ‘Pathétique’ sonata rondo’simpulsive tempo fluctuations may seemanachronistic to twenty-first-century ears, yetthe consistency and unambiguous intentiongoverning the pianist’s contouring of linescannot be denied. The ‘Moonlight’ sonata’sfamous opening adagio sostenuto exemplifiesthe so-called ‘old school’ approach with tasteand cultivation, akin to stylistically com par -able 78-era versions by Ignaz Friedman andHarold Bauer, along with Josef Hofmann’s 1936broadcast recording. In contrast to Schnabel’schamber-like voice-leading in the allegretto,Backhaus’ tempo bending draws moreattention to the piano than to the music. Notice,too, how he begins slowly and accelerates intotempo: a trait that persisted until the end of hiscareer. But whereas Schnabel occasionallysnatches at the agitato finale’s sforzandochords, Backhaus’ unflappable fingers take themusic’s wide dynamic contrasts and galvanicmomentum in their stride.

The gnarly writing in the ‘Les adieux’sonata’s outer movements takes powerful and

exhilarating wing as it never did in Backhaus’subsequent three commercially issuedrecordings. However, listeners familiar withSchnabel’s meaningfully inflected and multi-dimensional HMV Op 111 recording, or theleaner classism of Egon Petri’s later shellacedition, may take issue with how Backhausploughs through the first movement allegrosection’s decorative cantabiles and thearietta’s long chains of trills like a horse withblinkers on.

Beethoven’s fourth and fifth concertoscon stituted Backhaus’ first electricallyrecorded collaborations with orchestra, withmore than capable podium support fromLandon Ronald, another Gramophone pioneerwho was, for all intents and purposes, HMV’s‘house conductor’ in the acoustic and earlyelectrical eras. Because of myriad mechanicalproblems, No 4 ended up requiring fivesessions, three held in September 1929, andtwo more in March 1930. According to writerJonathan Summers, the final session on 13March 1930 proved particularly arduous, withseven or eight takes needing to be made formany sides. Nevertheless, the performance’sfleet and rippling continuity belies its difficultstudio birth, and Backhaus’ easy, unpressuredmastery is evident in every bar. Indeed, hehad long internalised this most subtle anddeceptively difficult of Beethoven’s fiveconcertos. As for cadenzas, Backhaus playsBeethoven’s more familiar first movementoption (the one favoured by Schnabel, Fleisherand Arrau), albeit with occasional filled-inchords, register transposition and added bassoctaves, but provides his own creation for thethird movement.

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Conversely, the ‘Emperor’ concerto tookonly one session to complete, on 27 January1927, with none of the eight sides requiringmore than two takes. Although one couldimagine more expansiveness and repose in thecentral slow movement, the outer movementsproject joyful exuberance, tempered byrhetorical respite on the pianist’s part. Thiswas only the second recording of the concertoand the first to be made electrically; uponits release, Gramophone’s critic cited therecording’s excellence of ensemble, the ‘nicelyadjusted’ balance between piano and orchestraand ‘excellent quality of the piano’s highregister’. Indeed, Backhaus told a Gramophoneinterviewer in 1928 that he considered this very‘Emperor’ the one recording he’d most like toleave behind for posterity; a bold statementfrom a seasoned forty-four-year-old studioveteran who had forty-one prolific years aheadof him. Yet in that same interview, Backhaussaid: ‘I place Beethoven before all others. Hetranscends them all in dynamic power and histitanic spirit and intensity of thought seem tosuggest a god or superman. His music satisfiesmy nature, in joy or sorrow, like no other.’

Three of the Beethoven sonatas whichBackhaus recorded ended up requiring anuneven number of 78-rpm disc matricesresulting in spare sides being available. Ineach case, to complete the set, Backhauschose a work by Bach – two Preludes andFugues from The Well-Tempered Clavier and atranscription from the Christmas Oratorio. Forcompleteness they are included here and showyet another side of Backhaus’ large pre-Warrepertoire. Bach was not new to the pianist’sdiscography; he had made the first everrecording of a Bach Prelude and Fugue (theC sharp major, BWV848) in 1909!

Jed Distler © 2018

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APR6026

WILHELM BACKHAUSplays Chopin, Liszt, Schumann& encores and transcriptions

HMV RECORDINGS, 1925–1937

Wilhelm Backhaus (1884–1969) left a 60-year recorded legacy which began in 1908, but the champion ofBeethoven and Brahms we know from his later years performed a much wider repertoire before the War.

This set focuses on this more ‘romantic’ repertoire – his Chopin études from 1928 were the firstcomplete recorded cycle and still astonish with their virtuosity, and what a delightful surprise it is to

hear him in his own spectacular transcriptions or in works by Albéniz and Moszkowski.

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Executive Producer:Michael Spring

Transfer engineer (disc 2) andremastering engineer:

Andrew Hallifax

Disc 1 previously issued on Biddulph LHW037 (1998)

and reissued here with permission

Special thanks to The King’sCollege Sound Archive for

providing source material for disc 2

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13 www.aprrecordings.co.uk