Eugene d'Albert: Discography

The tortuous d'Albert discography was finally made straight in 2006 with the release of Arbiter 147, a two-CD set containing d'Albert's complete studio recordings - some never before reissued, and others never reissued on CD. The sound is excellent (for d'Albert, that is) and his exciting playing can finally be appreciated in all its flawed greatness. (The Symposium CDs are still the only source for d'Albert's amazing - and amazingly sloppy - "Emperor" first movement.)

Though there's a great deal of doubt exactly when d'Albert's recording sessions took place, his records' consecutive matrix numbers suggest that he recorded infrequently. There appears to have been:

In addition to his records as pianist, d'Albert made two recordings as conductor: "Zwischenspiel" and "Schau her, das ist ein" from his opera, "Tiefland." Both are included on the Arbiter and Symposium CDs.

 Composer  Piece  Orig. Issue / Matrix  Date (most dates approx.)  CD Reissue
 d'Albert  Scherzo, Op. 16 #2  Odeon 76941, matrix xxB 5734  1910-1912 (ca)  Arbiter 147, Pearl GEMM CDS 9972
 d'Albert  Scherzo, Op. 16 #2  DGG 62338, matrix 19060 L  1916 (ca)  Arbiter 147, Symposium 1146
 d'Albert  Capriolen, Op. 32, #s 2, 4, 5  DGG 66032, matrix 466 az  1921-1922 (ca)  Arbiter 147, IPAM 1206 (1)
 d'Albert-d'Albert  Die Toten Augen: Lied de Myrtocle  DGG 45599, matrix 19059 L  1916 (ca)  Arbiter 147, Symposium 1046, Symposium 1146 (2)
 d'Albert  Suite, Op. 1, Gavotte and Minuet  Odeon 76938, matrix xxB 5729  1910-1912 (ca)  Arbiter 147, Pearl GEMM CDS 9972
 d'Albert  Suite, Op. 1, Gavotte and Minuet  DGG 62338, matrix 19058 L  1916 (ca)  Arbiter 147, Symposium 1146
 d'Albert  Suite, Op. 1, Gavotte and Minuet  Vox 06140, matrix 1468  1923 (ca)  Arbiter 147
 Bax  Mediterranean  DGG 66032, matrix 468 az  1921-1922 (ca)  Arbiter 147
 Beethoven  Andante Favori in F, WoO 57  DGG 66028, matrix 461az  1921-1922 (ca)  Arbiter 147, Pearl GEMM CDS 9972
 Beethoven  Piano Concerto #5 ("Emperor"), Op. 73, first movement  Radio 329/333  1930/12/01  Symposium 1046, Symposium 1146
 Beethoven  Rondo a capriccio (Rage over a Lost Penny), Op. 129  DGG 66029, matrix 462 az  1921-1922 (ca)  Arbiter 147
 Beethoven  Sonata #21 ("Waldstein"), Op. 53, 3: Rondo  DGG 66029, matrix 463 az  1921-1922 (ca)  Arbiter 147
 Beethoven  Sonata #18, Op. 31 #3, 2: Scherzo  DGG 66029, matrix 464 az  1921-1922 (ca)  Arbiter 147
 Beethoven  Sonata for Violin and Piano #5 (Spring), Op. 24, 3: Scherzo (w/ (w/ Andreas Weissgerber)  Odeon 80706, matrix xxB 6885  1923/10/13  Arbiter 147, Symposium 1146
 Beethoven  Sonata for Violin and Piano #5 (Spring), Op. 24, 4: Rondo (w/ Andreas Weissgerber)  Odeon 80706, matrix xxB 6885  1923/10/13  Arbiter 147, Symposium 1146
 Beethoven - d'Albert  Ecossaises, WoO 86  Odeon 76935, matrix xxB 5733  1910-1912 (ca)  Arbiter 147, Symposium 1046
 Beethoven - d'Albert  Ecossaises, WoO 86  DGG 45600, matrix 19057L  1916 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Boccherini - Sandberger  Minuet  Vox 06169, matrix 1467  1923 (ca)  Arbiter 147
 Brahms  Capriccio in b, Op. 76 #2  Odeon 76934, matrix xxB 5726  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Carreno  Kleine Walz  Vox 06140, matrix 1470a  1923 (ca)  Arbiter 147, Pearl GEMM CDS 9972
 Chopin  Berceuse, Op. 57  DGG 66031, Polyphon 50487, matrix 470 az  1921-1922 (ca)  Arbiter 147
 Chopin  Etude, Op. 25 #2  Odeon 76939, matrix xxB 5731  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Chopin  Etude, Op. 25, #9 ("Butterfly")  Odeon 76939, matrix xxB 5731  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Chopin Etude, Op. 25, #9 ("Butterfly") DGG 66030, matrix 465 az  1921-22 (ca)  Arbiter 147
 Chopin  Etude, Op. 25, #9 ("Butterfly")  Vox 06168, matrix 1465  1923 (ca)  Arbiter 147
 Chopin   Nocturne, Op. 15 #2  DGG 045578, matrix 1120m  1916 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Chopin  Polonaise #6 ("Heroic"), Op. 53, abridged  Odeon 76936, matrix xxB 5727  1910-1912 (ca)  Arbiter 147, IPAM 1206
 Chopin  Polonaise #6 ("Heroic"), Op. 53, abridged  DGG 66031, Polyphon 50487, matrix 469 az  1921-22 (ca)  Arbiter 147
 Chopin  Waltz #5, Op. 42  Odeon 76937, matrix xxB 5728  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Chopin  Waltz #5, Op. 42  DGG 045579, matrix 1121m  1916 (ca)  Arbiter 147, Symposium 1046
 Chopin  Waltz #7, Op. 64 #2  DGG 66030, matrix 465 az  1921-22 (ca)  Arbiter 147
 Chopin  Waltz #7, Op. 64 #2  Vox 06168, matrix 1466  1923 (ca)  Arbiter 147
 Debussy  Estampes, #3: Jardins sous la pluie  DGG 66031, matrix 467 az  1921 (ca)  Arbiter 147
 Goosens  Casprule Theatre (or "Kaleidoscope"), Op. 18, #6: The Punch and Judy Show  DGG 66032, matrix 468 az  1921-1922 (ca)  Arbiter 147
 Liszt  Annees de pelerinage, 1st year, S. 160, #4: Au bord d'une source  Odeon 76565, matrix xxB 5732  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Liszt  Annees de pelerinage, 1st year, S. 160, #4: Au bord d'une source  DGG 65577, matrix 1125m  1916 (ca)  Arbiter 147, Pearl GEMM CDS 9972
 Mozart  Sonata #11, K. 331, #3: Rondo alla turca  DGG 65577, matrix 1124m  1916 (ca)  Arbiter 147
 Mozart  Sonata for Violin and Piano #19, K. 296, 2: Andante Sostenuto (w/ Andreas Weissgerber)  Odeon 80707, matrix xxb 6884-3 (Arbiter also contains alternate take 6884-1 or -2)  1923/10/13  Arbiter 147, Symposium 1146
 Sauer  Spieluhr  Vox 06168, matrix 1469  1923 (ca)  Arbiter 147
 Schubert  Impromptu, D. 935 (Op. 142) #3 in B flat  DGG 045576, matrix 1126m  1916 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Schubert  Impromptu, D. 935 (Op. 142) #4 in f  DGG 045577, matrix 1123m  1916 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Schubert - Tausig  Marche Militaire, D. 733 #1 (Op. 51 #1)  Odeon 76932, matrix xxB 5725 (Arbiter also contains alternate take w/ same matrix number)  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146
 Weber  Aufforderung zum Tanz, Op. 65  Odeon 76933, matrix xxB 5730 (Arbiter also contains alternate take w/ same matrix number)  1910-1912 (ca)  Arbiter 147, Symposium 1046, Symposium 1146

(1) IPAM 1206, an essential disk for historical piano fans, is available only through the University of Maryland. Click here for more information from U of M's website. Back

(2) While it's common for a record company to issue a particular recording repeatedly (just think of RCA's myriad repackagings of Horowitz), it may be unprecedented that the reissues are as similar as Symposium 1046 and Symposium 1146. Their first 17 tracks are identical, even down to the order on the CD. The liner notes are also identical, though they've been retyped, and originate not with either CD but with Symposium's two earlier LP reissues of d'Albert, which is why they contain discussions of several performances that aren't on either CD.

The chief difference between the two CDs is the pitch, though it's not always better on the later CD: For instance, while Brahms' Capriccio in B minor is correct - almost - on 1146 but a half-step sharp on 1046, Weber's "Invitation to the Dance" is in E flat on 1146 and correctly pitched in D flat on 1046. The Schubert-Tausig "Marche Militaire" is wrong on both CDs, a half-step sharp on 1046 (D instead of D-flat), and a whole-step sharp on 1146. What transforms this issue from niggling to substantive isn't pitch but tempo: Those items that are pitched sharp are also considerably faster than d'Albert actually played them, giving the performances a more frantic character than they in fact possess. Since d'Albert has a reputation for being somewhat wild, it's not hard to imagine that Symposium's engineers, not knowing the speed of the original recording or the music's key, chose the higher pitch/faster tempo because it seemed more in character with d'Albert's reputation. This would be a case of unintentionally altering the facts to fit the theory.

Nevertheless, die-hard Lisztians will want one of the Symposium CDs, since they're the only source for his "Emperor" concerto first movement. The signal is slightly hotter on 1146, but otherwise the concerto is identical on both CDs. Back

Maintained by Mark Arnest / last revised April 2006

Back to Liszt Students

Back to Mark's Work

Back to Mark & Lauren's Homepage