1929 ALFRED HOEHN Piano Chopin Etude Op 25.2 Op 10.2 Scarlatti Pastoral Hohn 78

$

20

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Great German pianist and teacher ALFRED HOEHN in an early German Odeon recordings

Chopin Etude A Minor Op 25.2 - C minor Op 10.2/  Scarlatti Tausig Pastoral

From Arbiterrecords.com:

Alfred Hoehn, a pianist no longer remembered, as he died at a modest age and only recorded four short works (Chopin’s Barcarolle, two Etudes, Scarlatti-Tausig Pastorale), yet is usually referred to as a poet whenever his name appears. A wondrous performance comes to light, immediately startling in approaching the piano’s entrance: a familiar arrival is hypnotically guided by Fiedler’s stealthily delving the orchestra into a vanishing point to reveal space for the piano’s initial hushed tones, intimating a secret narrative exploring its inner life, the music becoming rescued through their insight.

US Decca 12" 78 rpm record

Condition: Excellent plays quiet w lightest crackle

Alfred Hoehn (* 20th October 1887 in Oberellen ; † 2. August 1945 in Koenigstein im Taunus ) was a German pianist , piano teacher and editor of much of the piano sonatas and individual piano pieces by Ludwig van Beethoven for the Edition Schott .

Life [ Edit | Source Edit ]
Hoehn was a pupil at the Hoch Conservatory in Frankfurt . From 1907 to 1908, he was then a pupil of Lazzaro Uzielli at the Music Academy in Cologne. In addition, studies with Eugen d'Albert and Ferruccio Busoni .

In 1910 he became Meiningen'scher Pianist. In the same year he won in St. Petersburg the Rubinstein Prize before Arthur Rubinstein , who in his memoirs Memories: The Early Years reported extensively about this contest and no doubt be that he deserved the 1st prize and Hoehn especially had won for protection by his aristocratic patrons. But it is fair enough to admit that Hoehn, with whom he got on well during the competition, have accomplished with his interpretation of Beethoven's Hammerklavier sonata, Op. 106 a masterful performance, while he himself only the minor E minor Sonata, Op. 90 had argued.

Hoehn was particularly reputed as one of the best pianists of his time is it a great wealth of timbres and an immediacy of the game. Its sustainable earnings is primarily the systematization of attack types on the piano. Instead mindless practicing the Etudes literature technical problems have been overcome by targeted gymnastic training of attack types. Hoehn used in the classroom (and a lecturer at the.. Hochschule für Musik Franz Liszt following mounting options in the form of 16 basic exercises, illustrated by his pupil, 1934-39) Georg Roth :

The impact
a) of the wrist
b) from the forearm
The case held
The legato
The piano-forte of the wrist
The piano-forte from the metacarpophalangeal joint
The Finger Game
The pressure from the whole arm
The pressure from the metacarpophalangeal joint
The pressure to lifting, breaking down and releasing the finger
The pressure with the rotation of the arm
The drawing in Fingerendgelenk
The drawing in the proximal interphalangeal joint
The staccato in digital proximal interphalangeal joint with retraction of the finger
The staccato of the wrist with the mute event
The staccato of the arm with pulling the finger
The side impact
His students went through all the same training program: only three months practicing the stop types, then rehearsing different attack types on the concert pieces. The attack types were first systematically in the book of the student of Hoehn, Georg Roth, methodology of virtuoso piano playing , appear at Breitkopf & Hartel , Leipzig 1949 shown. It must be emphasized that these mounting options do not come during the actual presentation on the application, but only during practice.

Hoehn was, inter alia, teachers of Erik Then-Bergh (1916-1982), Hans Rosbaud and Gisela Soot . Gisela Sott said about him:

"Hoehn was a first class artist. He had everything on it - by heart, of course. He arrived in 1933 with Brahms' D minor Concerto under Furtwängler to Hannover. We were at the concert until then in the more casual type of fishing and the Ney , the yes ever had any technique used. And now Hoehn came up with this kind of distancing, and that was obviously a shock. He directed everything, without having practiced. But of course he has practiced insane. When he came from the concert, he still practiced at night. And then he got the massive stroke. During the second sentence of the first Brahms concerto it happened. Afterwards he told me, the keyboard has gone higher and higher. Then he was on the right side paralyzed and had to give up his great career. The man had won after all international competitions. The Rubinstein Competition for example. And when Arthur Rubinstein says how wonderful he played piano, then wants to surely saying something. " [1]
Alfred Hoehns grave is in the cemetery in Kronberg i. Taunus.

Alfred Hoehn left few recordings, including the Reich radio recordings of the Piano Concerto No. 1 of Brahms (under Max Fiedler) and the Piano Concerto No. 2 by Rachmaninoff (under Hans Rosbaud). Both photographs are held by the German Broadcasting Archives . Hoehn has multiple music rolls for the system Welte-Mignon recorded that were later played on audio cassettes. (Bach: Chromatic Fantasy and Fugue Beethoven. Piano Sonatas op 7 and op 106. Beethoven:.. Variations and Fugue 0p 35. Brahms:. Sonata Op 5 Brahms:.. Variations and Fugue on a Theme by Handel, Op 24. Rameau : Gavotte with variations etc.)

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