Arbiter of Cultural Traditions is a 401c3 non-profit arts organization founded in 2002 as a means to continue the work of the former Arbiter Recording Company by saving performances of musicians whose work embodies our classical music at its height. Our efforts are critical as the aging survivors of past traditions are not long for this world and decaying media threatens to lose its sounds: our cultural heritage often hangs by a thread. Western classical musicians we have saved such as as Roman Totenberg, Mieczyslaw Horszowski and Ignace Tiegerman played at the highest musical level of their time, of any time. We spare no effort to locate such music-making wherever it survives.
World Arbiter seeks authentic traditional music from cultures beyond Western European classical music. The late Teresa Sterne who created Nonesuch’s legendary Explorer series was our guiding light in the beginning. Sterne personally intervened to sharpen and define our methodology. Our vital examples document traditions with scholarly texts to serve as a musical guide and reference work. Multimedia CD projects go beyond music with extensive PDF and video files when placed in a computer. Arbiter recently received a grant from the Mellon Foundation to restore and publish the entire known surviving recordings of Balinese music made in 1928. The resulting publication effected a repatriation of performances that had remained inaccessible since their release and subsequent destruction.
Many of our downloads contain bonus tracks, many of which were previously unpublished. All are available only as downloads; many CDs also have been completely remastered with new software provided to our studio through a grant. All discs and bonus tracks are listed below in the catalog. CD Orders within the United States are shipped gratis: foreign requests should email us for postage fees:
2 cd set with many first publications. Arbiter has uncovered unknown performances by musicians who reached Debussy's inner life moreso than those accepted as his emblematic interpreters. Marius-François Gaillard played Debussy's piano music from memory, starting in 1920 when he was twenty, receiving praise from Mme. Debussy. Each work explores an enigma that reveals itself through its individuality. Horszowski heard the composer play and brings his experience into pieces that he performed for over eighty years. Marik played the composer during her entire life and had been close to Bartók, who often performed Debussy's music. Fourneau, a lost master, takes a late work to an unprecedented height. Our restorations of Debussy himself at the piano with Mary Garden capture 1904 sounds that have finally become audible. Gailliard's Debussy recordings include early works, Suite Bergamasque, Pour le Piano, Estampes, nine Préludes, and others. Marik plays two Préludes and En Blanc et Noir. Horszowski is heard in Children's Corner Suite and Fourneau in a late Étude. Most of the recordings are published for the first time and Gaillard's Debussy receives its first restoration from original shellac discs. An extensive 1910 interview is included in the notes and more material will be added to a Debussy section hosted on our website: www.arbiterrecords.org
First complete publication ever! The sounds and intensity of Volume Five's folk music surpasses anything heard in their classical music. With Japan's ongoing modernization and loss of its traditional music, our audio restoration removes artifacts from chronological chains to resonate in the eternal flow of sound that defies time and space to remain vital and always in the present.
It’s always a shock to hear a favorite composer take on a new identity. François Couperin (1668-1733) seemed limited to being folksy, melodic, subtle with his enigmatic titles.
A French master musician, Laurence Boulay (1925-2007) understands his ornaments the way people conceive single notes. It’s in her blood! She was often on Radio France and busy in Baroque chamber ensembles, teaching.
Erato had recorded 12 hours of her playing Couperin’s four books of harpsichord works and some pieces by his uncle Louis Couperin (1626-1661). Following her through the suites we hear a deft composer aware of proportion in his early works as embellishments increase a role that rivals melodic and rhythmic notes to take on a new dimension that adds a layer of accents, usually on structural tones, to further expose a complex depth residing the deceptive simple appearance of his pieces. No wonder he and Bach corresponded! By the Fifth Ordre we find chromatic explorations that amaze, given their being studded with ornaments. The first allemande heard here is La Logivère, perhaps named after someone in that family.
Before Couperin, Francisco Correa de Arauxo (1584-1654), a Spanish composer wrote polyphony with striking
solo passages, something that turned up amongst the English composers (Bull, Byrd, Farnaby, etc.), taken to jazzy extremes. Odile Bailleux often played
his organ works on old instruments. Radio France again featured her performances and she often participated in travelogues to remote towns and cities with antique instruments, describing and illustrating in detail their components. Listeners throughout France had the chance to hear each stop-over on the antique organ caravan with master musicians playing works that resonate from their vintage. Here is a pre-fugal Tiento, a proto-ricercare on an organ in Santanyi, Majorca:
How many elements from Arauxo, Grigny, and Couperin went into Bach’s bloodstream? Bach and Couperin both wrote keyboard Rondeaus. Laurence Boulay plays one from Couperin’s 8th ordre:
Bach had an example that impresses as though certain patterns were linked to the dance in the way Flamenco proliferates traditional themes from unknown originators. Mieczyslaw Horszowski (1892-1993) understood Bach (1685-1750) in a way that few reached. We published a CD taken from concerts in Italy and elsewhere.
Here is the Rondeau from Bach’s Partita no.2 in C minor:
A musician continuing Bailleux’s art is Aude Heurtematte
who recorded the young Couperin’s two organ masses at the Parisian church of Ste. Gervais, where Couperin had been organist. In his Messe pour les Paroisses is the Fugue sur les jeux d’Anches:
I wonder if it influenced Ravel’s fugue in Tombeau de Couperin, played here by Madeleine de Valmalète (1899-1999). I was for one sole night in Marseilles to visit Mme. Francescatti in La Ciotat, wondering if de Valmalète would be alive at age 99. On my return I learned that she had gone swimming that day at Cassis’ beach, eternally kicking myself in regret for having missed her. Again a CD had to be published with her artistry, as she was the first to record the Ravel in Berlin at age 29 in 1928.
Unless they happen upon this post, listeners and musicians in the US were and are still deprived of such musicians and composers as their physical presence only manifests through the alleged savvy of promoters and the press. So listen and defy these mysterious cultural barricades.