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Many of our downloads contain bonus tracks, many of which were previously unpublished.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:

info /at/ arbiterrecords.org

Latest Arbiter Records Release

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Brahms: Recaptured by Pupils and Colleagues

  • 2 cd set. First publication of recently discovered & lost recordings from 1889-1959. For too long, Brahms has been damaged as a sacred cow mounted on a pedestal. Our newly discovered live and private performances allow all to closely approach Brahms, including a funky improvisation by the composer himself from 1889, to witness a style more Harlem than Habsburg. Nearly all the musicians heard here were in contact with Brahms and play his works as new music: jazzy, as if created on the spot. His lost language is fully revealed here for the first time through their sounds and words. Brahms’ pupil Carl Friedberg even taught Nina Simone, who carried on their tradition. Extensive recorded excerpts from Carl Friedberg’s lessons to Bruce Hungerford are accessible on our website.

Latest World Arbiter Release

Latest from the Blog

Russian dreams lead to Debussy.

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Whenever we try to snare Debussy his seductive oneiric sounds allow him to keep safely away. How subtle of him to compose and publish pieces that only reveal their titles after the last note expires, in parens, as if ashamed that his ether has imposed expectations.

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Debussy absinthed his soul with Mallarmé and Baudelaire, hung out with the writer Huysmans

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and other Decadents at the bookseller Bailly’s that lured many such as the Symbolist painter Gustave Moreau

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and his pupil Redon.

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Their verbal interactions can only be dreamed of until their paths cross in one another’s works.

One primal Blues-era song projects American nostalgia for a lost mythical haunt: Jim Canaan’s saloon, a mecca in St. Louis immortalized by Robert Wilkins before his ordination proscribed earlier sinful singing.

Robert Wilkins

 

Keep to his French influences and you’ll only get so far as Debussy’s life changer struck in 1889 when Paris hosted its global Exposition. On the musical front came Nikolai Rimsky-Korsakov (painted by Repin) from St. Petersburg to conduct new Russian music.

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Rimsky-Korsakov introduced works that would influence his future pupil Stravinsky, who would become acquainted with and influence Debussy. Rimsky’s spirit possessed musicians in Paris in works such as King Dodon on the Battlefield (from Le Coq d’Or Suite, conducted here by Dobrowen & the Philharmonia Orchestra.)

 

One of the pieces performed was the Polovetsian Dances (Bilibin: Justice of the Kievan Rus) by his colleague Borodin who sought to evoke pagan rites.

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An early performance was captured in a Berlin studio with the local Staatsoper Orchestra led by Issay Dobrowen, c. 1928.

 

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His name is no longer familiar as is a great admirer during Dobrowen’s Stockholm exile – a young stage assistant of Dobrowen’s who took part in their Mozart operas: Ingmar Bergmann (photo: Irving Penn)

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Debussy heard two orchestral concerts that Rimsky-Korsakov presented and one can detect more than traces of the Borodin in his own Fêtes, an orchestral nocturne directed by Gabriel Pierné, a conductor he esteemed (Orchestre Colonne in 1929 on 78rpm shellac)

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The greatest impact on Debussy was his discovery of Musorgsky (by Repin; portrait detail),

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and one song in particular, By the River (played & transcribed by Vladimir Horowitz, 1947)

 

This overlooked work became a seed for his masterpiece The Engulfed Cathedral, played by Jacques Fevrier (seated), who knew Mme. Debussy and was in close contact with Ravel (standing).

 

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Leaving behind the tangible reality for mythic and oneiric quests, Debussy composed a glimpse of the water nymph Ondine (played by Eduard Erdmann in Berlin, 1928).

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The dream of Oenone,  a mountain nymph was to be part of the soundtrack to Antonioni’s film Zabriskie Point.

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The Pink Floyd’s organist and guitarist offered their subsumation of Debussy’s elusive Ondine.

 

Debussy also encountered Javanese music and dance at the East Indies pavilion in 1889 but that’s another trail to haunt and Rev. Wilkins’ legacy would later appear in the transformed modernist Debussy’s Minstrels and Golliwog’s Cakewalk.

Allan Evans ©2016