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Many of our downloads contain bonus tracks, many of which were previously unpublished.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.
His thin blond hair cut round in bangs, Soulima Stravinsky stands at medium height, with the identical mustache, hands, and deep bass voice as his father Igor. When he sat, his tense clasped hands at once resemble that famous ink portrait done by Picasso!
A tape of David Simmons’s Five PianoBagatelles was played. Soulima commented on their clarity of expression, variety of touch, and effective idiomatic use of the keyboard in the work. He asked David [a student of Charles Jones at the Mannes College of Music] several questions, pertaining to the extent of the work’s “composing itself.”
A round of discussion began. I referred to an early work of Igor Stravinsky’s, the cantata Zvezdoliki, or King of the Stars. Based on a mystic poem with a vague harvest theme by Balmont, it is an enigmatic work for several reasons. The harmonic idiom use is unique to Stravinsky, an elaboration of earlier ideas, and a vein left unexplored after its completion. Set for male choir and orchestra, this colorful work falls between Petrushka and Le Sacre. Quite a company to be surrounded with! Soulima commented that he had only heard the work once, and this was awhile back. It fell into the category of Stravinsky’s Japanese songs.
Stravinsky: Zvezdoliki conducted by Hans Rosbaud with the South West German Radio Orch. 1957.
Béla Bartók with Hans Rosbaud.
At this time, his father had attended the premiere of Schoenberg’s Pierrot Lunaire. Perhaps, Soulima postulated, this may have had more bearings on the directions of the Cantata. I remarked that the Zvezdoliki had traces of Scriabin in parts. “No!” For Soulima and father, “Scriabin’s works are poison!”
He alluded to Diaghilev, and his prophetic quality in recognizing potential in the young Stravinsky, who approached him with his Scherzo fantastique, an idiosyncratic Russian-styled orchestral work. Diaghilev instinctively felt there were greater ideas to be developed than what he was presented with, and thus Stravinsky was commissioned, resulting in The Firebird. Soulima commented on the nature of opinions, and demonstrated how change may occur. Igor Stravinsky had a loathing of Beethoven’s work in his youth. After studying this music that he despised, and gaining experience, he came to love Beethoven, and considered the Grosse Fuga to be one of the finest compositions ever written.
Soulima then was invited to discuss the new work he had composed. For the piano he had just completed Three Fairytales:Cinderella, Jack and the Beanstalk, and Sleeping Beauty. Explaining that he had temporarily ceased concertizing, and had not touched the keyboard in six weeks, he sat at the Steinway grand, and narrated the episodes of each tale as he played. As interesting as the music were the motions of his wide chubby hands, his wrists uniquely pivoting the heavy fingers. Visually, his hands appeared to have the same contact with the keys that jazz pianists convey. What seems to be an instinctive untrained touch, with positions accommodating such large fingers, convey the percussive approach to the keyboard expounded by Stravinsky, Prokofiev, and others. Yet, watching the notions of his hands, the sensitivity and finesse are very elegant.
Wine was being served downstairs in Charles Jones’s East 58th Street antique townhouse so we took this opportunity to corner him and ask further questions. He expressed satisfaction with Stravinsky’s late serial works, emphasizing that the force of his father’s personality transcended the dodecaphonic idiom. He mentioned Threni, the Movements for Piano and Orchestra as fine works but added that the early ballets will stand as his finest achievements. I asked about a 78 RPM record made in France of Bach’s Prelude and Fugue in F sharp major from Book One of the Well Tempered Clavier here with two Etudes of his father’s on the opposite side. He was surprised to hear of this desk,
Bach Prelude & Fugue in F#, WTC Book I. Soulima Stravinsky, piano. Paris, 1939.
remarking that it was his first record, made before the Second World War [1 May 1939] for a shop in Paris, Boite à Musique. He was engaged to record a series of works for them. The first was issued but the others never started. He does not possess this disc, and was given a tape of it by the New York Public Library a few years ago. He confessed that, although he was young when the recording was made, he was surprised at how good the playing is.
The conversation turned to Poulenc. He and his father attended a piano recital given by Poulenc in which the Mouvements Perpétuels were played. They are extremely close to the Balalaika of Stravinsky’s piano four-hands music (later orchestrated). After hearing this, Igor turned to his son and commented: “This isn’t stealing, it’s kleptomania!” Soulima remarked how Poulenc, in another work, footnoted a passage citing its origins to Stravinsky’s Serenade in A. Soulima, who knows “every note in the Serenade,” found no likeness in this but looked on a far bars and noticed a direct quote from Rachmaninoff, and later, one from a Hindemith piece (the name eludes him.)
Stravinsky Serenade in A. Soulima Stravinsky, piano. rec. c.1950
I asked him if and when he will resume concertising. Pointing to the space between his left thumb and index finger, he mentioned that an occasional arthritic pain occurred. When his left hand would play arpeggios, especially the passages in Chopin’s Revolutionary Etude (Op. 10, No. 12), his hand would respond well, but in execution of an ordinary scale, he has felt pain. “I can perform well enough for myself, but for a recital, this would be a little uncomfortable.” Which concerti were in his repertoire? The two of his father’s, eight of Mozart, one each of Beethoven and Brahms, altogether about twenty. He began concertising at age twenty. It did not concern him if he played inaccurately in spots, or had a poor instrument, but Soulima was anxious to give recitals. He had no instruction from his father. The first few piano teachers were of little use. Isidor Phillip, the great French pedagogue, helped him further his artistry. He learned much in technique and style from the great French musician. Of the pianists he’s heard, he admires Horowitz greatly. Having attended the recent orchestral appearance given by Horowitz (“rehearsals. I couldn’t afford $100 for a seat,”) he finds the power in Horowitz’s playing to be magnificent. “You may not care for his approach or for the piece (Rachmaninoff’s Third Piano Concerto), which I don’t particularly like, but the man has great power, and at his age!
Did he know Manuel de Falla? He had met him on several occasions and “studied the excellent Harpsichord Concerto. First I practiced on a harpsichord, then switched to piano – the score sanctions this –to do it justice.” Soulima likes Falla’s works.
Emphasizing a melody that recurs in his Jack and the Beanstalk, (someone pointed this out to him) he emphasized the importance of letting the music carry out its intentions, and not for the composer to worry about deliberate linking and forming.
Igor and Soulima Stravinsky play Mozart: Fugue in c, K.426.