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Many of our downloads contain bonus tracks, many of which were previously unpublished.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

Publish or Perish?

As a great deal of unknown recordings keep emerging by William Kapell,

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one work risks being presented out of context and without  the objections it aroused in the pianist’s wife Dr. Anna Lou DeHavenon.

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DeHavenon had studied piano with Tarnowsky, Vladimir Horowitz’s teacher. Once we attended a concert of Indian ragas performed by the singer Pandit Jasraj and sitar-surbaharist Imrat Khan. Never in my life had I seen someone listen so intently, deeply immersing herself into every tone. I asked her afterwards if she ever had advised Kapell and she demurred, saying that she would mention details. They first met when she came backstage to congratulate him after a performance of Rachmaninoff’s Second Piano Concerto and made a few observations about his playing that turned him inside-out, struck by her acute perception and beauty. A good idea of her musical insight can be gleaned from an interview with her in 1995:

 

Once you knew DeHavenon, you could never have enough time with her and luckily an interview about her work as an urban anthropologist may be seen:

Soon after their marriage, Kapell was ordered by the martinet conductor Fritz Reiner

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to prepare Richard Strauss’ Burlesque for piano and orchestra. Not knowing the work and confident that his own choice of concerto would be accepted as a replacement, he ignored the request until receiving a phone call from Reiner, confirming their 1947 date with the Pittsburgh Symphony a week later. Realizing that Reiner meant business and there was no way out of playing the work, Kapell spent a traumatic week forcing himself to learn a work that was not in sync with his aims. After a Russian-heavy focus imposed on him by his teacher Olga Samaroff, Kapell sought to spend more time with Bach, Beethoven, Schubert, and others. Reiner knew the composer and often performed his works, making him a good ally for the piece but having to play it without the laborious preparations he usually devoted to all details in every work he programmed, the stress made it into a career nightmare.

Dr DeHavenon witnessed and tried to manage her husband’s anguish during a week of musical misery. The performance was recorded onto two discs: one was donated by the family along with his archive to IPAM (Interational Piano Archive, University of Maryland), but only half the performance seemed to have survived. One day while searching her Kapell papers, DeHavenon phoned to say that the missing disc had turned up and I was welcome to it. Eager to hear this one-time experience, warts and all, IPAM loaned their second disc and luckily it coincided at a time when Arbiter’s Sonic Depth Technology had been developed to rescue and liberate the sounds embedded within mediocre privately pressed broadcast discs. As this restoration is exclusive to us, we think best to offer the entire performance in this format, as most engineers favor a quiet vinyl-like playback that evirates the sound’s fullness.

 

When playing in the best of circumstances, with a simpatico collaborator like Maria Stader,

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Kapell breathes his musical grandeur. He and Stader offered six Schubert songs at the 1953 Prades Festival organized by Pablo Casals. This blossoming of his art makes it all the more tragic as belonging to his last year, one in which he planned more absorption with the classics and his concern to pioneer new music. We hear them in Schubert’s Im Frühling D.882 (In Spring), taken from the spring of Kapell’s life.

 

©Allan Evans 2016