Let's go back in time - to 1899, and meet (and hear) Alfred Grünfeld

It's time we became reacquainted with this man.

Pianist Alfred Grünfeld (1852-1924) was born in Prague, studied at the Kullak Academy in Berlin and eventually moved to Vienna, where he became a popular teacher and performer. He was court pianist to Emperor Wilhelm I of Germany. He knew Brahms, Strauss and Leschetizky.

Based on extant concert programmes, Grünfeld was a pianist of intellect and virtuosic abilities. Famed Viennese critic Eduard Hanslick said of Grünfeld, "He is a musician beyond criticism; in public and in private one of the best known members of Vienna society, and the greatest favorite with all musical people.  By his brilliant playing as well as his sweet expression and gay humour, he understands to perfection the art of charming his listeners in Vienna."  That's high praise from a notoriously tough critic.

He performed many of the major works of Beethoven, Bach, Chopin, Schumann, Schubert and Brahms, often including new works by composers of the day, such as Grieg’s Ballade, Op. 24. His brother, cellist Heinrich Grünfeld, was equally well known and made some recordings as well.

He was a prolific composer, mostly of shorter character pieces, and effective transcriptions. He toured extensively in Germany, Russia, Scandanavia, France, Hungary, Poland, Romania, and even the United States.  He recorded extensively, as early as 1899 (on acoustic Berliners).  So why is he forgotten today?

Actually, record collectors never forgot him.  But most pianists think of him as a "salon artist", whiling away the time playing salon paraphrases of this and that.  But he also recorded works by Brahms, Schubert, Grieg, and even something as "modern" as Debussy's "Golliwogg's Cakewalk"!  On these discs it is evident that his style was elegant and charming, just as Hanslick notes.  A pearly tone and tranlucent quality comes through on these recordings, even the earliest ones.

Here I present one of the rare 1899 Berliner recordings (alas, not mine) of the Grieg "Papillon", op. 43 no. 1.

His "Soiree de Vienne", op. 56 is still in the repertoire of pianists such as Evgeny Kissin, Jean-Yves Thibaudet, and even Lang Lang has been known to pound insensitively through it.  There are videos of many of these on You Tube, but let us see how Der Meister played it.  If it sounds familiar, it's because it is a transcription of waltzes from Johann Strauss's "Die Fledermaus".





From my collection.  Recorded c. 1905.

 
Scores of Grünfeld's works may be found at IMSLP by clicking here.  The score for his best-known work, the above-performed Soiree de Vienne, is still under copyright in the United States and can be purchased through the link below.

A teenager's first inspiration

Ingrid Haebler.
Don't know her?  You should.

When I was a teenage piano student growing up in rural Alabama, I didn't have much access to recordings of the "great pianists".

I was transitioning from method-book pieces and "teaching favorites" to more standard repertoire, and among that repertoire was Chopin Waltzes. My teacher at the time, Jimmy New, used the Chopin Waltzes as core repertoire (along with Beethoven Sonatas and Bach Inventions), and I probably played five or six of them during the two years I worked with him.

The Chopin Waltz op. 69 no. 1 was the first "repertoire" piece I performed in a recital. Before that, it had been a steady stream of Burgmüller, Heller, Anna Magdalena Bach Notebook, and the various delights that the John Thompson Modern Course for the Piano had to offer.

So, there in a drugstore (of all places! in Village Mall at Auburn, Alabama, I came across a box set of Chopin, played by the finest pianists the Vox Box had to offer. I snatched that baby up.

The set contained a disc of the Waltzes played by Ingrid Haebler.  This was the first time I had ever actually heard a recording of a concert pianist playing a piece I was playing, and it was an epiphany.  (Students nowadays can hear CD recordings of even the most basic piano repertoire, and there are even Heller and Burgmüller cycles on CD these days, but back then, we only had the Educo records, with variable and often terrible sound quality.)

Later I bought discs by better-known Chopin pianists, including the usually-preferred Arthur Rubinstein.  But one never forgets their first love, and I found his waltz recordings cold compared to Ms.  Haebler.

When Ingrid Haebler was included in Tom Deacon's Philips "Great Pianists of the Twentieth Century" collection, it was one of the more controversial choices.  But not for me.  Her Mozart is her calling card, and it is admired to this day.  But I will always adore her Waltzes, because of the inspiration they gave to a teenage piano student.  And I want to share some of her Chopin with you.

And if you've followed the trail of pianists whose work was cribbed and presented as the work of Joyce Hatto, you will find that "Hatto's" Mozart Sonatas are actually the work of Haebler for the Denon label.

I have been a "fan" of Ms. Haebler's playing for years.  There are currently no Haebler recordings available on Amazon.com, but the diligent record collector can find copies of her recordings at other sources. 

Many years later I gave that old LP box set to a student.  I later regretted it, and searched eBay and used-record stores until I found an old Vox LP disc of her Waltzes - so I have her performances again. 

I remember my first kiss, my first date, my first love - and my first Chopin.  To this day.  So thank you, Ingrid Haebler, for the inspiration you gave to this gangly teenage boy.  And I know that I am just one of many who have been inspired by your playing.

William Kapell plays - in only known video clip

William Kapell (1922-1953) was a brilliant American pianist whose life and career were cut short by the crash of an airplane on which he was returning from an overseas tour in October 1953. He was barely 31, but was already acknowledged as the leading American pianist of his generation; some have said he would have been the greatest pianist of the 20th century.

 

Born in 1922, Kapell studied piano with Dorothea Anderson LaFollette at the Yorkville Settlement School in New York and with Olga Samaroff at the Philadelphia Conservatory and, later, at the Juilliard School. In 1941, he won both a Naumburg Award and the Philadelphia Orchestra Youth Concert competition. This gave him opportunities for major debuts both as a recitalist and as a player of concerti. In 1942, he was given the Town Hall Endowment Series Award, providing him with yet another Town Hall recital during the 1942-43 season. He then signed a contract with RCA Victor and recorded a wide variety of repertoire for that company. (All of Kapell's RCA recordings have been reissued in compact disc format.)

 

He toured North America annually thereafter, performing both with major orchestras and as a recitalist. He became an advocate of contemporary American piano music, and seems to have been especially prized by American composers. In 1945, he played a series of concerts in Australia, beginning to build an international reputation. He toured South America three times (1946, 1948, and 1951). He seemed to have a particular affection for music of South America that is reflected in his personal collection of piano music. He first played in Europe in 1947. In mid-1953 he performed in Tel Aviv, played at Casals's Prades Festival, and gave his final series of performances during the course of a three-month Australian tour. Returning from Australia, his plane crashed into a mountain moments before its scheduled landing in San Francisco.   (This biographical sketch from the International Piano Archives website.)

This is the only known video footage of pianist William Kapell. He performs the Scarlatti Sonata in E major, K.380 (L.23), the Chopin Nocturne in E flat, op. 55 no. 2, and Gato, an Argentine dance by Emilio A. Napolitano.

And as an encore, here is his legendary performance of Liszt's Mephisto Waltz no. 1, recorded when he was only 22 and still considered among the best of this work.

William Kapell: A Documentary Life History of the American Pianist by Tim Page, available at amazon.com, as well as the CD collection below:

Myra Hess plays the "Appassionata" first movement - video

A treasure of a video - unfortunately she only made a motion picture of the first movement. Dame Myra Hess (1890-1965) in a lunchtime concert at the National Gallery during World War II, playing the opening movement of Beethoven's Piano Sonata in F minor, Op 57 ("Appassionata").

The 2011 American Liszt Society conference, as described to a layman

[This is a little note I posted to Facebook this morning, as many of my hometown friends do not understand or appreciate things that every reader of this blog takes for granted.

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I cannot begin to share how yesterday's experience at the American Liszt Society conference went - I felt like Cinderella at the ball.  And as many of us classical music folks know, it is difficult to describe certain events to those of our friends who do not understand our fascination, or do not know the accomplishments of certain people we respect and idolize.  So I will put it in layman's terms for you all, and send a private message later for those who really want to know the what and who.

When I arrived an hour and a half early, Paula Deen took me my the hand, hugged me, and we had lunch together, an unexpected surprise.  Once that was over, she and I ran into Tyler Florence.  Tyler had the inside scoop as to where Rachael Ray was, and he whisked me through the crowd to meet her.  Rachael seemed happy to meet me face-to-face, as we have communicated for five years only by e-mail and one phone call, because of the time she used my recipe for Romantic  Chicken  Pasta Bake in her book "Cooking: Casserole By Casserole".  She immediately introduced me to her traveling companion, an editor at Deep-Fat Frying Magazine - who actually expressed an interest in seeing some of my recipes, and possibly bringing back the idea of publishing an article about me, my small-town cooking career and my recipes, written by Emily Moe.  (Emily is the only character in this narrative, other than me, who is identified by her real name.)

Paula proceeded to accompany me to all the other events.  During Martha Stewart's lecture, we were amazed at the new ideas she is still able to produce.  Betty Crocker bowled us over with a new recipe, proving to the crowd she still "had it" after all these years.  She got the loudest, longest, and most heartfelt ovation of the day. 

Several of us were surprised that Emeril Lagasse didn't show up, but you know, he's so last-decade.  Aunt Jemima did attend Friday, however; I missed her presentation.  Paula Deen was quite impressed with her, and told me that she even wore her trademark bandanna.  Retro is good.

I will be forever in debt to Paula for thinking of me and inviting me to attend this convention - it was great to see Rachael, and perhaps, some of my recipes will FINALLY see the light in a more mainstream, and more readily available, cookbook.

(This write-up is dedicated to Matt Woods, who although he is an amazing musician, would have been more impressed, and far more envious, if the above narrative was what actually happened.)

I will reveal the identity of only one person in this write-up to you readers.  "Paula Deen" is actually Gregor Benko, the co-founder of the International Piano Archives, and an idol of mine since my teen years.  There's also a pretty strong clue here as to who Rachael Ray is.

Today, I said goodbye to my mother

Joyce Helen French Robertson Moring
May 26, 1930 - December 29, 2010

She wasn't famous, but she did play the piano.  By ear.  And pretty good at that.  She also sang, with a clear, pleasant voice, on key, but in a baritone range.  She always said it was because of a tonsillectomy she had relatively late in life, but I suspect it really was the years of smoking.

My mother ended her battle with chronic obstructive pulmonary disorder (COPD) yesterday.  The past year had been especially tough, as dementia took hold of her brain in late 2009, with a brief but not complete respite during the summer months of 2010.  Although her memory was not reliable, she never "forgot who we were" - well, she did call me by my late father's name once, but just once - and just this past Monday morning I took my laptop computer to the hospital to show her the video I had shot of our family Christmas Eve get-together.  She watched the video, pointing out her great-grandchildren and commenting on how pretty the decorations were.  She was unable to come home for Christmas, and my brother, his son's family, and I had worked until the morning of Christmas Eve to decorate the house for the gathering.

Mama loved Christmas.  She loved the music.  She loved the decorations.  Oh, how she loved the decorations.  Candles in the windows, wreaths on the shutters and on the big front door, at least two hand-painted ceramic manger scenes displayed throughout the house, all the knick-knacks packed up and replaced with special Christmas knick-knacks, and two Christmas trees.  One "real", and one aluminum tree.  When aluminum trees fell out of fashion, We just had a "real" one, which was eventually replaced with a tasteful artificial green tree.

Christmas 1962.  I'm the cute one..

The console stereo in the living room would be fitted with a stack of Christmas LPs: Floyd Cramer, the Lennon Sisters, Ferrante and Teicher, Andy Williams, Roger Williams, and the Organ and Chimes of Robert Rheims.  We wore out at least three copies of that organ and chimes record through the years.

Mama loved Christmas.  1976 or 1977.  She had not remarried, and there was only one grandchild.

I think my childhood love of music came from the Christmas season, from the lush harmonies and orchestrations of the records she played during that time of the year.  As I grew older, I found these lush sounds in the music of my piano lessons - Chopin, Debussy, Beethoven, Bartok.  Mama never really cared much for most of the classical music I played, but she supported me just the same.

After a few years of spiritual wandering, I returned to church music in August of 2006, taking a post as pianist in a small United Methodist Church in Franklin, Georgia.  My affiliation with this church went back a long way, as many of their members' children had studied with me.  I left that church in October 2016 and now serve as pianist at Loyd Presbyterian Church in LaGrange, Georgia.

Anytime I played for family gatherings, Mama would say, "Now, play my piece".  In three recitals that I performed in churches, she asked me to play "her" piece as an encore, and I did.  When she became ill, I dropped it from my repertoire.  An incident happened at my church recently, and I felt led to play the piece as a special music offering, without having practiced or played it in over ten months.  After church, I made the video below.

Mama, can you hear me? 

(Andrae Crouch's My Tribute (To God Be the Glory) - modeled after Dino Kartsonakis' arrangement)

JULY 2011 UPDATE:  I wrote an arrangement of a song Mama made up as a young girl and often played for me.  That story, and a link to a video performance, may be found here.

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Joyce Helen French Robertson Moring

(ROANOKE, ALABAMA) The funeral for Joyce Helen French Robertson Moring, 80, of Roanoke was held at 1 p.m., Friday, Dec. 31, 2010, at First United Methodist Church with the Rev. Steve Baccus officiating.  Burial followed in Randolph Memory Gardens.  Mrs. Moring died Wednesday, Dec. 29, at Randolph Medical Center, after a long battle with chronic obstructive pulmonary disorder.

Mrs. Moring was born May 26, 1930, the daughter of James Monroe and Mary Ella Sikes French. She was a member of Roanoke First United Methodist Church, had been a homemaker, and managed a family business, Bob's Grocery.

Mrs. Moring is survived by one daughter, Deborah Ann (husband Paul) McMurray of Roanoke; two sons, H.G. "Robbie" Robertson and Richard Earl "Rick" Robertson of Roanoke; two sisters, LaVelle Langley of Roanoke and Frances Johnson of McDonough, Ga.; seven grandchildren and 11 great-grandchildren.

Mrs. Moring was preceded in death by her husband of 24 years (1947-1971), Hansard "Bob" Robertson; her husband of 30 years (1977-2007), Douglas Grice Moring; her parents; and nine other brothers and sisters.

Pallbearers were Harry Botsford, Bobby Robertson, Steven Robertson, Gus McMurray, Will McMurray, Gilbert L. Huey Jr., David Cummings, and Steve Cummings.

Quattlebaum Funeral Home, Roanoke.

A picture from 1947, the year she married my father.  The picture is inscribed to him on the back.

Mama loved her cars.  Here she is with her beloved 1970 Cadillac Sedan de Ville, the last car my father

September 19, 2009. The day Robbie and I brought Cookie home to her new Mama. In a month the decline began and Mama was in the hospital. But hey, you're looking at a 79-year-old woman in this picture, and that's her real hair color.  I still have Cookie, and she is a comfort to a lonely old piano teacher.

Mama's 80th birthday.  May 2010.  She was lucid.  She was beautiful.  She so enjoyed spending time with her family, and her visit with friends Mary Reeves, Mary Agnes Messer, and Frankie Neighbors.

Florence Foster Jenkins - the Carnegie Hall Program!

A little sleuthing on the Internet can give us some of the most interesting things.

All I can say is - oh, to have been there.

Lady Florence (as she preferred to be called) in her younger years.
Us record collectors lovingly call her Flofojen.

Pictured below is what I believe to be the first commercial issue of the Florence Foster Jenkins recordings, a 10-inch LP containing only the Jenkins tracks.  It was later released on a 12-inch LP, deleting "Serenata mexicana" and including the "Jenny Williams and Thomas Burns" Faust recordings on the reverse.  There is also a two-45 rpm record set of the same material, which I own, but can't get my hands on at the moment.  She made her recordings at Melotone Studios in New York City, which was a label that made "vanity" recordings.  In other words, you paid, you recorded, you got boxes of records.  At least one of these (the Magic Flute aria) was sold commercially (and actually reviewed in record magazines!), but these were mostly made available to friends and admirers.

And even though I have shown it elsewhere, here is a copy of one of the Melotone 78 rpm records.  I am proud to own a complete set of the known extant recordings, and this one is by far the most scarce.

This DVD pictured on the left, produced by Donald Collup, is a highly recommended documentary of the life and times of Lady Florence.  It is beautifully and sensitively done, and gives the viewer a great deal of insight as to what drove her to perform.  The old BMG  (formerly RCA Victor) CD "The Glory (???) Of the Human Voice" is the standard old collection of Flofojen chestnuts, it is readily available, but does not include the "Valse caressante" featured on the Lennick "Murder on the High C's" on Naxos, or Gregor Benko's "The Muse Surmounted" on Homophone/VAI.  "The Muse Surmounted" is reviewed in depth on this blog, and that post may be read here.  I am probably not exaggerating when I say that my sense of humor, and my love of music, has been influenced by Florence Foster Jenkins, as I had a vinyl LP copy of her Victor album since my teenage years, and modeled a stage persona from my college years, "Tessie Tura", after her.  It's hard to deny that through the cacophony, the lack of rhythm, and frankly the lack of much else that marks even mediocre singing ability, that there was no lack of joy in her singing,