WILHELM KEMPFF
DISCOGRAPHY
by Frank Forman

WILHELM KEMPFF DISCOGRAPHY
(born 1895 November 25 in Jterborg, near Berlin; died
  1991 May 23 in Positano, Italy)
by Frank Forman
Version 2, 1995 May 27.
Version 1 was 1990 November.

THE QUIET PIANIST

  We often call opposite things which are very much
alike. Thus both Protestants and Catholics are Christians
and both liberalism and conservatism are Western
political philosophies. And Wilhelm Kempff and Wilhelm
Backhaus are two German pianists whose differences
very much complement each other.
  Backhaus' playing can be characterized as a masculine
carving of solid granite. Yet within this huge, rugged
framework, Backhaus is a subtle interpreter. He plays, it
might be said, from the outside in. You might say he is
the loudest of pianists, even in the quietest passages,
because he plays with the most authority.
  Kempff is the opposite, or as it might be better put,
the complement of Backhaus in German piano playing.
With Kempff, it is not the loudness but the quiet that one
hears. There is a *suspended* *tension*, a calm, and a
holding back between each note and the next. Under
Backhaus' playing there is a feeling of inevitable
movement; with Kempff's an unfolding. He plays, as it
were, from the inside out.
  The best example of this is the beginning of the last
movement of the Waldstein Sonata of Beethoven
(especially the 1951-2 monophonic LP recording). The
pensive second movement has just ended, and what will
become the stormy finale is quietly beginning. The
volume and speed gradually pick up; but, no, Beethoven
hesitates and begins quietly again again, before moving
up and down still more until the work's triumphant end.
Kempff keeps us suspended throughout, no matter how
well we think we know the music. This is a supreme
instance of his use of silence: the spaces between the
notes count as much as the notes themselves.
  Another instance of the subtlety of this gentle poet is
to be found in the fourth movement of Bach's Cantata
140. Bach transcribed the setting of the famous hymn,
"Zion Hears the Watchman Singing," for the organ (No.
1 in the Schbler set), but Kempff made his own piano
version. In the original Cantata, the violins and violas
play in unison over a separate continuous melody in the
bass. After twelve measures, the strings continue and the
tenor chorus joins in with the hymn.
  Kempff hardly has the resources of combined chorus
and orchestra at his disposal, or even an organ, but when
hearing the hymn theme intone, I forget momentarily that
it is a piano playing. I imagine myself sitting in a
cathedral and the organist pulling out the reed stops on
his instrument! I am not sure how Kempff accomplishes
this feat (again, especially in the 1953 monophonic LP
recording), but this kind of control is worth more than
all the pyrotechnics of all the so-called virtuosos put
together.
  In his notes to the second movement of Beethoven's
27th Sonata, Kempff remarked, "We hear the tune
played three times unaltered, but the fourth time
Beethoven cannot reist joining in quietly himself." To
this I should add that the pianist also joins in quietly, and
this is a key to understanding his interpretations. There
are times when I put his records on, not to be engaged
by them unitl I, as listener, join in too. Then the effect is
overwhelming.
  Wilhelm Kempff was born in a Jterborg, a small
town about thirty miles south of Berlin, on 1895
November 25. He was the son of a Lutheran pastor, who
was a pianist himself. The quality of the interpretation on
his first recording, an acoustic made about 1920, was
such that it was released even though his exclamation of
"Donnerwetter!" when he hit two notes by mistake was
audible [just barely: see the entry below]. He recorded
most of the Beethoven sonatas during the 78 rpm era, but
his finest achievements in the recording studio were on
33s, of which he made over a hundred.
  It was toward the end of his recording career that he
at last turned back to the Bach he was reared on. One
might have expected resigned meditation from an old
man, but ones gets the spirited probing and underlining
of youth. He great legacy was, of course, the two
complete cycles of Beethoven sonatas he recorded, first
in monophonic and then, with subtle differences, in
stereo. His Mozart 23rd Piano Concerto is the finest
Mozart I know of. His earlier recording of the 15th
Concerto is, perhaps, even better played, though the
composition itself is not the masterpiece the 23rd was.
  Between his Beethoven recordings and his late Bach,
Kempff turned to the romantics Schubert and Schumann.
His recording of the Schumann Fantasy in C is
particularly fine, and his recordings of the Schubert
Sonatas truly wafts the listener up into the Empyrean.
  It is not clear when Kempff made his last recordings.
There were several Bach recordings dated by Deutsche
Gramophon as 1976, but the dates specify only when the
recording engineers made the final mixing of the master
tapes, which may have been later than the date the
pianist was in the studio. There is a recording of excerpts
from Bach's Well-Tempered Klavier which is dated in
this way as 1980 and a recording of Mozart's Piano
Concerti 21 and 22 dated 1982. But it is just as probable
that Kempff retired from making recordings in 1976,
when he was eighty-one. He lived until age 95 and died
on 1991 May 23 in Positano, Italy, where he had his
summer home and taught master classes. Excerpts from
one have been preserved on disc. His passing truly marks
the end of the days when giants of musicians walked the
earth.

DISCOGRAPHY PROPER

I have all 33s (except the "Mystery Record" at the end)
  and the 78s marked "(own)" after the issue in question
  (and by * in the margin). I need the 45 rpm disc of
  Couperin and Rameau and the CDs of the Beethoven
  Concerti 3 and 5, Chopin Concerto 2, and the Mozart
  Concerto 24.

DISCS: 12" 78 rpm electric, unless: @ = acoustic 78
  rpm recording, b = 45 rpm (7"), # = mono 33 rpm,
  $ = stereo 33 rpm. I usually do not list the
  monophonic equivalent of discs recorded in stereo.
  P'xx is the year DGG lists as copyright and is the date
  when the recording engineers made the final mixing of
  the master tapes ("fixing in sound," according to the
  copyright laws); it is not necessarily the year Kempff
  made the recording. I have listed all Polydor 78s I am
  aware of but only what I believe are the first issues of
  the LPs. I have listed no CD reissues but have listed
  CDs of concerts and radio broadcasts. Sides of the
  78s: A = first side of a two-sided disc; B = second
  side of a two-sided disc; S = single-sided disc that
  ends a set. V = 78 rpm microgroove recording (all
  releases of the 1951-2 Beethoven Sonatas).

LABELS: Polydor (DGG), unless: B = Brunswick; D =
  Decca (England), except for DL prefixes and the set
  DX 125 (Beethoven Piano Concerti), which are U.S.
  releases of DGG recordings; L = London (USA)
  (These are U.S. releases of *English* Decca
  recordings; [ ] = matrix numbers; [B....] = (Polydor)
  side numbers.

BACH, JOHANN SEBASTIAN (1685-1750) Germany
Cantata 29: Wir danken dir, Gott, wir danken dir: 1,
  Sinfonia (arr. Kempff).
a. @65700 [1098 1/2as, B27003]
b. (10") 90189 [2901 BH], 65700; D.DE 7010
c. P'76. $2530 647

Cantata 140, Wachet auf!, ruft uns die Stimme: 4, Zion
  h"rt die W„chter singen (arr. Kempff).
a. [1936 Berlin]. 67086 [589 gs], 516.696 (France), D.K
  958, D.CA 8252
b. 1953 March London. D.K 28224, bD.4571124,
  bD.CEP 686, #D.LXT 2820; #L.LL 791
c. P'76 [1975 April Hannover]. $2530 647

Cantata 147, Herz und Mut und Tat und Leben: 6, Wohl
  mir dass ich Jesum habe (arr. Kempff).
a. 1945 Hamburg radio broadcast. Koch-Schwann.3-
  1029-2 H1 (CD)
b. 1953 March London. D.SX 63009, bD.45-77124,
  bD.CEP 686, #D.LXT 2820, #L.LL 791
c. P'76 [1975 April Hannover]. $ 2530 647

Cappricio (Departing Brother) in Bb, S. 992.
P'76 [1975 April Hannover]. $2530 723

Chorale Prelude, S. 307, Es ist gewisslich an der Zeit,
  mixed with S. 734, Nun freut euch, lieben Christen
  g'mein (arr. Kempff).
P'76 [1975 April Hannover]. $2530 647

Chorale Prelude, S. 639, Ich ruf' zu dir, Herr JC (arr.
  Kempff).
a. 1954 [1955 March]. (10") #17 069 (performed on the
  organ of the Church of World Peace in Hiroshima)
b. P'76 [1975 April Hannover]. $2530 674

Chorale Prelude, S. 659, Nun komm der Heiden Heiland
  (arr. Kempff).
a. 1953 March. #D.LXT 2820; #L.LL 791
b. P'76. $2530 647

Chorale Prelude, S. 727, Befiehl du deine Wege, also
  known as Herzlich thut mich verlangen (arr. Kempff).
a. 1953 March London. #D.LXT 2820; #L.LL 791
b. [ca. 1960 Positano] #104 486
c. P'76 [1975 April Hannover]. $2530 647

Chorale Prelude, S. 734, Nun freut euch, lieben Christen
  g'mein (arr. Kempff).
1953 March London. #D.LXT 2820; #L.LL 791

Chorale Prelude, S. 751, In dulci jubilo (arr. Kempff).
a. 1953 March London. bD.CEP 686, #D.LXT 2820;
  #L.LL 791
b. P'76 [1975 April Hannover]. $2530 647

Chromatic Fantasy and Fugue in d, S. 903.
a. 1945 Hamburg radio broadcast. Koch-Schwann.3-
  1029-2 H1 (CD). This performance is much better
  than the rather disappointing one below made in the
  studio.
b. 1953 March London. D.K 28225/6, #D.LXT 2820;
  #L.LL 791

Concerto 5 in f, S. 1056: 2, Largo (arr. Kempff).
a. 66685 [573bm, B27195]
b. P'76 [1975 April Hannover]. $2530 647

English Suite 3 in g, S. 808.
P'76 [1975 April Hannover]. $2530 723

French Suite 5 in G, S. 816.
a. [1935 Berlin]. 67006 [531 1/2gs, 532 1/2gs], 57000,
  [EM 15453]; D.CA 8127
b. P'76 [1975 April Hannover]. $2530 723

Goldberg Variations, S. 988.
[1969 July Hannover]. $139 455

Italian Concerto in F, S. 971: 
1, Allegro: [1931 Berlin]. (10") 90188B [2899], 25312;
  D.DE 7019; B.85021
3, Presto: @65700 [1095as, B27002]

Passacaglia and Fugue in c, S. 582.
1954 [1955 March]. (10") #17 069 (performed on the
  organ of the Church of World Peace, Hirshima)

St. Matthew Passion, S. 244: 51, Wenn ich einmal (arr.
  Kempff).
1954 [1955 March]. (10") #17 069 (performed on the
  organ of the Church of World Peace, Hiroshima)

Sonata 2 in Eb, flute and klavier, S. 1031: 2, Siciliano
  (arr. Kempff).
*a. @66045 (own)
b. [1931 Berlin]. (10") 90188 [2898], 25312; D.DE
  7019; B.85021
c. 1953 March. #D.LXT 2829; #L.LL 791
d. P'76 [1975 April Hannover]. $2530 647

Toccata 3 in D, S. 912.
P'76 [1975 April Hannover]. $2530 723

WTC 3 in C#, S. 848.
a. @65699 [1094as, B27001]
b. [1928 Berlin] 95017 [829bm, B27238], 67166,
  516.751 (France); D.K 958, D.X 210
c. P'76 [1975 May Hannover]. $2530 807

WTC 5 in D, S. 850.
a. @65699 [1093 1/2 as, B27000]
b. (10") 90189 [2900BH]; D.DE 7010
c. [1931 Berlin] 95017, 67099 [828bm, B27237],
  516.712 (France); D.CA 8261, D.LY 6176; Vox set
  459
d. P'76. $2530 807

WTC 1-3, 5-8, 15-17, 21-22.
P'76 [1975 May Hannover]. $2530 807

WTC 4, 9-13, 27, 30-31, 39, 48.
P'80 [1980 February Hannover]. $2531 299

BEETHOVEN, LUDWIG VAN (1770-1827) Germany
Andante favori in F, WoO 57 = Grove 170 (Originally
  intended for Sonata 21).
[1964 May Hannover]. $138 934

Bagatelle in c, WoO 52 (originally intended for Sonata
  5).
1955 May London. (10") #D.LW 5212; #L.LD 9220

Bagatelle in a, WoO 59 = Grove 173 (Fr Elise).
a. 1955 May London. (10") #D.LW 5212; #L.LD 9220
b. [1964 May Hannover]. $138 934

Bagatelle in C, Op. 33, No. 5.
*a. ca. 1920 Berlin (KEMPFF'S FIRST RECORDING).
  (10") @62400 [2062ar, B7000] (own). Shortly after
  the return of the "A" section, Kempff strikes two
  notes by mistake and makes an exclamation. In an
  interview, the pianist said the word was
  "Donnerwetter!" While a voice can be heard on the
  disc (barely), it is impossible to make out the specific
  word.
*b. [1931 Berlin]. (10") 62630, 24795, 47017, 90817;
  #Melodiya.D 21091/2 (10")

Bagatelles (6), Op. 126.
$138 934

CONCERTI FOR PIANO
Concerto 1 in C, Op. 15.
*a. ?conductor, Berlin State Opera Orchestra. @69815/8
  [822 1/2bz, 823 1/2bz, 824 1/2az, 825 1/2az, 828az,
  829az, 830 1/2az, 831 1/2az; B20163/20] (own)
b. Paul van Kempen, Berlin Philharmonic Orchestra.
  #18129; #D.set DX 125
c. Ferdinand Leitner, Berlin Philharmonic Orchestra.
  $138 774

Concerto 2 in Bb, Op. 19.
a. Paul van Kempen, Berlin Philharmonic Orchestra.
  #17083 (10"), #18310 (12"); #D.set DX 125
b. Ferdinand Leitner, Berlin Philharmonic Orchestra.
  $138 775

Concerto 3 in c, Op. 37.
a. Paul van Kempen, Dresden Philharmonic Orchestra.
  67946/50 [1854 1/2, 1855 1/2, 1856 3/4, 1857 1/2,
  1858 1/2, 1859 4/4, 1860 4/4, 1861 3/4, 1862 1/2,
  1863 3/4, all with suffix GS9]
b. Paul van Kempen, Berlin Philharmonic Orchestra.
  #18130; #D.set DX 125
c. Ferdinand Leitner, Berlin Philharmonic Orchestra.
  $138 776
d. 1966 in concert. Franz-Paul Decker, Montreal
  Symphony Orchestra. Music and Arts.CD 768 (CD)

Concerto 4 in G, Op. 58.
a. Paul van Kempen, German Opera Orchestra. 67674/8
  [1363 5/8, 1364, 1365 1/2, 1366 1/2, 1367 1/2, 1368
  1/2, 1369 1/2, 1370 3/4, 1371, 1372]
b. Paul van Kempen, Berlin Philharmonic Orchestra.
  #17084 (10"), #18310 (12"); #D.set DX 125
c. Ferdinand Leitner, Berlin Philharmonic Orchestra.
  $138 775

Concerto 5 in Eb, Op. 73 (Emperor).
a. Peter Raabe, Berlin Philharmonic Orchestra.
  67082/6A [some later pressings do not have the Bach
  "Wachet auf!" filler]; D.CA 8248/52A
b. Paul van Kempen, Berlin Philharmonic Orchestra.
  #18131; #D.set DX 125
c. Ferdinand Leitner, Berlin Philharmonic Orchestra.
  $138 777
d. 1966 in concert. Seiji Ozawa, Toronto Symphony
  Orchestra. Music and Arts.CD 768 (CD)

Ecossaisen in Eb, WoO 86.
*a. ca. 1920 (KEMPFF'S FIRST RECORDING). (10")
  @62400 [2064ar, B7001] (own)
*b. (10") 24795, 62630, 47017, 90187; #Melodiya.D
  21091/2 (10")
c. $138 934

Rondo in C, Op. 51, No. 1.
a. b30121; #D.DL 4086 (10"), #D.DL 9742 (12")
b. $138 934

Rondo in G, Op. 51, No. 2.
a. @66040
b. b30121; #D.DL 4086 (10")
c. $138 934

Rondo in G, Op. 129 (Wut ber den verlorenen
  Groschen).
*a. (10") 62802 [7303, 7809], 47021; D.PO 5129;
  #Melodiya.D 21091/2 (10")
b. $138 934 

Rondo in G = WoO 41, Grove 155.
Yehudi Menuhin, violin. $2720 018

SONATAS FOR CELLO
Sonata 1 in F, Op. 5, No. 1.
1961 Prades (France) in concert .Pablo Casals, cello.
  $Philips 835.101 LY

Sonata 3 in A, Op. 69.
Paul Grmmer, cello. 67097/9A [609 1/2, 610 1/2, 611
  3/4, 612 1/2, 613 1/2, all with suffix GS8],
  57035/7A, 516.710/2A (France); Vox set 459; D.CA
  8259/61A

ALL: Pierre Fournier, cello. Recorded in concert. $138
  993/5

SONATAS FOR PIANO
Sonata 1 in f, Op. 2, No. 1.
a. 1951/2. (10") 36013/4V, #18105; #D.DL 9583
b. $138 935

Sonata 2 in A, Op. 2, No. 2.
*a. 67590/2 [1351/6, ?takes, suffix GS9]; Ultraphon G
  19033/5; #Melodiya M10 45111 (own)
b. 1951/2. 72183/4V, #18105; #D.DL 9585
c. $138 936

Sonata 3 in C, Op. 2, No. 3.
a. 1951/2. #18079; #D.DL 9583
b. $138 936

Sonata 4 in Eb, Op. 7.
a. 67806/9S [1363/9 GS9, takes 4222222]
b. 1951/2. 72198/9V, #18071; #D.DL 9588
c. $138 938

Sonata 5 in c, Op. 10, No. 1.
*a. 67810/1; #Melodiya M10 45111 (own)
b. 1951/2. 72273/4SV, #18106; #D.DL 9587
c. $138 937

Sonata 6 in F, Op. 10, No. 2.
a. 67812/3S [1374/6 GS 9, takes 422]
b. 1951/2. #18106; #D.DL 9591
c. $138 937

Sonata 7 in D, Op. 10, No. 3.
a. 67814/6 [1377/82 GS9]
b. 1951/2. 72275/6SV, #18019; #D.DL 9584
c. $138 937

Sonata 8 in c, Op. 13 (Pathetique).
AT NINE RECORDINGS, KEMPFF'S MOST
  RECORDED WORK
a. @66176/7 [1712/5as, B27090/3]
b. 1927/8. 66676/7 [554bm, 555 IIIbm, 556bm, 830
  1/2bm; B27180/3. I thank Kevork Marouchian for
  discovering this recording and noting "not in the
  Forman discography!" in one of his catalogs. He said
  the recording was deleted in 1935.]
*c. 1929 (10"). 90184/6 [3001/6]; D.DE 7016/8;
  B.85029/31; #2810 051 (DGG) (own)
d. 1936. 57051/2 (original issue), 67113/4 [630 1/2, 631
  1/2, 632 1/2, 633 3/4, suffixes all GS8]; D.X 202/3
*e. 1940. 67682/3 (own)
f. 1951/2. 72048V, 5019V (France), #18019 (12"),
  17026 (10"); #D.DL 9578
g. 1957. #19087; #D.DL 9864
h. $136 227
i. $138 941

Sonata 9 in E, Op. 14, No. 1.
a. 67817/8S [1390/2, takes 422, suffixes all GS9]
b. 1951/2. #18071; #D.DL 9588
c. $138 938

Sonata 10 in G, Op. 14, No. 2.
*a. 67819/20; #Melodiya.D 21091/2 (10")
b. 1951/2. 72262V, #18079; #D.DL 9592
c. $138 938

Sonata 11 in Bb, Op. 22.
a. 67821/3
b. 1951/2. #18020; #D.DL 9590
c. $138 939

Sonata 12 in Ab, Op. 26 (Funeral March).
a. @66041/3
*b. 95465/7 [576 1/2, 577 1/2, 578 1/2, 579, 580, 581,
  suffixes all bm, B27196/201], 40516/8 (Japan) (own);
  B.90259/61; D.CA 8240/2
c. 67824/6; Vox set 457
d. 1951/2. #18076 ; #D.DL 9589
e. $138 935

Sonata 13 in Eb, Op. 27, No. 1.
a. 67858/9, 69077/8 (automatic coupling) [1621 GS9,
  1622 1/2 GS9, ?, ?]
b. 1951/2. #18076; #D.DL 9584
c. $138 939

Sonata 14 in c#, Op. 27, No. 2 (Moonschein).
a. @66172/3
*b. (10") 90191/2 [3037, 3363, 2999, 3000], 47012/3;
  B.85015/6 (own)
c. 67856/7 [1625/8, all 1/2GS9]; Vox set 642
d. 1951/2. 72047V, 5018V (France), #18020 (12"),
  17026 (10"); #D.DL 9582.
e. 1957. #19087; #D.DL 9684
f. $136 227
g. $138 941

Sonata 15 in D, Op. 28 (Pastorale).
a. 67860/2 [1628 1/2, 1630 1/2, 1631, 1632, 1633,
  1634, suffixes all GS 9]
b. 1951/2. #18055; #D.DL 9585
c. $138 941

Sonata 16 in G, Op. 31, No. 1.
a. 1951/2. #18055; #D.DL 9589
b. $138 940

Sonata 17 in d, Op. 31, No. 2 (Tempest).
a. 1951/2. #18056; #D.DL 9586
c. $138 942

Sonata 18 in Eb, Op. 31, No. 3.
*a. 57003/5 [537, 538 1/2, 539, 540 1/2, 541 1/2,
  suffixes all GS], 67069/71S, 45243/5S (probably
  Japan) (own)
b. 68273/5S
c. 1951/2. #18056; #D.DL 9586
d. $138 940

Sonata 19 in g, Op. 49, No. 1.
a. 1951/2. 72185V, #18021; #D.DL 9590
b. $138 935

Sonata 20 in G, Op. 49, No. 2.
a. 1951/2. 72185V, #18021; #D.DL 9590
b. $138 935

Sonata 21 in C, Op. 53 (Waldstein).
a. @66036/8 [1694 1/2, 1695, 1696, 1697 1/2, ?, ?,
  suffixes all as; B27052/3/4/5/?/?]
b. 66678/80 [558, 559, 560, 561, 562, 563 1/2, suffixes
  all bm; B27184/9]
*c. 95474/6 [1205 3/4, 1206, 1207 1/2, 1208, 1209,
  1210, suffixes all BI-1], 57009/11; B.90277/9 (own);
  D.CA 8044/6 (also own)
d. 68276/8 [2237-4, 2238, 2239, 2240-2, 2241, 2242-4,
  suffixes all GS 9]; Vox set 463
e. 1951/2. 72135/6V, #18089; #D.DL 9590
f. $138 943

Sonata 22 in F, Op. 54.
a. 1951/2. #18089; #D.DL 9591
c. $138 930

Sonata 23 in f, Op. 57 (Appassionata).
a. @66033/5 [1688 1/2, 1689, 1690, 1691, 1692 1/2,
  1693 1/2; B27046/51]
b. 66681/3 [?, 569 3/4, 570, 571 1/2, 572, ?, suffixes all
  bm, B27190/5]
c. 95471/3 [1199, 1200 1/2, 1201, 1202 1/2, 1203, 1204
  1/2, suffixes all BI-1], 57012/4 [ditto, same suffixes];
  B.90241/3 [ditto, suffixes all BMP]
d. 68270/2 [2237/42-GS 9, takes 422244]; Vox set 960
e. 1951/2. 72123/4V, #18021; #D.DL 9580
f. 1957. #19087; #D.DL 9864
g. $136 227
h. $138 943

Sonata 24 in f#, Op. 78.
*a. (10") 90193 [3088/9]; B.85011 (own)
b. 1951/2. 72263V, #17165 (10"), #18135; #D.DL 9578
c. $138 941

Sonata 25 in G, Op. 79.
a. 1951/2. 72263V, #18135; #D.DL 9578
c. $138 943

Sonata 26 in Eb, Op. 81a (Les Adieux).
a. @66174 + @65175 [1708/11as; B27086/9]
b. 66687/8 [582, 583, ?, 585 1/2, suffixes all bm,
  B27202/5]; B.90123/4
c. 1951/2. 72243V, #18135; #D.DL 9582
d. $138 952

Sonata 27 in e, Op. 90.
a. @62491 (10") [3311/2ar, B7012/3] + @66039 (12")
  [unknown]
b. 62639 (10") [?, 1402bk; B7058/9] + 66712 (12")
  [835/6bm, B27232/3]
c. 1951/2. #18135; #D.DL 9580
d. $138 939

Sonata 28 in A, Op. 101.
a. @66178/9
b. 1951/2. #18145; #D.DL 9590
c. $138 942

Sonata 29 in Bb, Op. 106 (Hammerklavier).
a. 67077/81; B.95020/4 [590 1/2-GS8, 591 1/2-GS 8,
  581 GS, 582 1/2-GS, 583 1/2-GS, 584 1/2-GS, 585
  1/2-GS, 586 3/4-GS, 587 1/2-GS, 588 3/4-GS],
  516.697/701 (France); Vox set 456; D.CA 8254/8
b. 1951/2. #18146; #D.DL 9579
c. $138 944

Sonata 30 in E, Op. 109.
*a. 67091/2, 57056/7, 516.756/7 (France) [615 1/2, 616
  1/2, 617, 618 1/2, suffixes all GS8], 566.305/6
  (France); Vox set 461; D.CA 8266/7 (own)
b. 1951/2. 72210V, #18145; #D.DL 9591
c. $138 944

Sonata 31 in Ab, Op. 110.
a. 67088/90A [610 1/2, 620, 621 1/2, 622, 623 3/4,
  suffixes all GS8], 57053/5A; D.X 151/3A
b. 1951/2. #18045; #D.DL 9592
c. $138 945

Sonata 32 in c, Op. 111.
a. 1936. 57058/60 (original issue), 67093/5, 516.743/5
  (France) [624, 625 1/2, 626 1/2, 627 1/2, 628 1/2,
  629, suffixes all GS8]; D.X 177/9
b. 1951/2. #18045; #D.DL 9587
c. $138 945

SONATAS FOR VIOLIN
Sonata 9 in A, Op. 47 (Kreutzer).
*1940. Georg Kulenkampff, violin. 67062/5 [505, 506,
  507, 508, 509, 518, 519, 520, all -1/2GS]. 35017/20;
  D.CA 8027/10; #17153 (DGG) 10")); #Heliodor 2548
  712 (own)
ALL. Wolfgang Schneiderhan, violin. Nos. 1 and 2 on
  #18083, Nos. 3 and 4 on #18138, Nos. 5 and 6 on
  #18082, Nos. 7 and 10 on #18209, No. 8 on #18144
  [with Brahms Violin Sonata No. 3, Schneiderhan and
  Friedrich Whrer, piano], No. 9 on 18092 [alone].
  No. 5 also on on #17164 (10")
ALL. Yehudi Menuhin, violin. $2720 018

Trio, clarinet, in Eb, Op. 11.
Karl Leister, clarinet, Pierre Fournier, cello. $2720 016

Trios, piano, complete (Opp. 1, 70, 96; WoO 38/9).
Henryk Szeryng, violin, Pierre Fournier, cello. $2720
  018

VARIATIONS
Op. 34: 6 in F, Original Theme.
$2530 249

Op. 35: 15 and a Fugue, Eroica.
$2530 249

Op. 44: 14 in Eb, Original Theme.
Henryk Szeryng, violin, Pierre Fournier, cello. $2720
  016

Op. 66: 12 in F, Ein M„dchen oder Weibchen.
Pierre Fournier, cello. Recorded in concert. $138 995

Op. 76: 6 in D, Turkish March.
(10") 62762; Fontana[Italy] 81009

Op. 121a: Adagio assai and 11 Variations in G, Ich bin
  der Schneider Kakadu.
Henryk Szeryng, violin, Pierre Fournier, cello. $2720
  016

WoO 40 = Grove 156: 12 in F, Se vuol ballere.
Yehudi Menuhin, violin. $2720 018

WoO 45 = Grove 157: 12 in G, See the Conquering
  Hero Comes.
Pierre Fournier, cello. Recorded in concert. $138 995

WoO 46 = Grove 158: 7 in Eb, Bei M„nnern.
Pierre Fournier, cello. Recorded in concert. $138 995

WoO 70 = Grove 180: 6 in G, Nel cor piu non mi
  sento.
a. 67090B, 57055B; D.X 153B
b. $138 934

WoO 80 = Grove 191: 32 in c, Original Theme.
$2530 249

BRAHMS, JOHANNES (1833-97) Germany (by Opus
  number)
Op. 4: Scherzo in eb.
#18510, $138010 (stereo LP issued in Germany only);
  #D.DL 9992. The CD reissue is in stereo.

Op. 5: Sonata 3 in f.
#18510, $138010 (stereo LP issued in Germany only);
  #D.DL 9992. The CD reissue is in stereo.

Op. 10: 4 Ballades.
a. #D.LXT 2914; #L.LL 959
b. $2530 321

Op. 15: Concerto 1 in d.
Franz Konwitschny, Saxon State Orchestra. #18376;
  #D.DL 9945. The CD resissue is, like the original,
  monophonic.

Op. 24: 25 Variations and Fugue, Handel.
#18461

Op. 76: 8 Pieces.
a. ALL. #D.LXT 2914; #L.LL 959
b. 1,2,4 only. $138 902

Op. 79: 2 Rhapsodies.
a. (10") #D.LX 3033; #L.LPS 205
b. (10") #D.LX 3134; #L.LS 961
c. $138 902

Op. 116: 7 Pieces.
a. #D.LXT 2935; #L.LL 960
b. $138 902

Op. 117: 3 Pieces.
a. (10") #D.LX 3033; #L.LPS 205
b. (10") #D.LX 3134; #L.LS 961
c. $138 903

Op. 118: 6 Pieces.
a. (10") #D.LX 3032; #L.LPS 204
b. $138 903

Op. 119: 4 Pieces.
*a. No. 4 in Eb. @66180 (own)
b. ALL. #D.LXT 2935; #L.LL 960
c. ALL. $138 903

CHOPIN, FREDERIC FRANCOIS (1810-49) Poland
Mazurkas 7 and 34.
1945 Hamburg radio broadcast. Koch-Schwann.3-1029-2
  H1 (CD)

Ballade 3; Fantasy, Op. 49; Polonaise 8; Andante
  Spianato and Grand Polonaise Brillante.
1958 March. $D.SXL 2081; $L.CS 6040

Impromptus; Berceuse; Barcarolle; Nocturne 3; Scherzo
  3.
1958 March. $D.SXL 2024; $L.CS 6041

Sonatas 2 and 3.
1958 March. $D.SXL 2025; $L.CS 6042

Concerto 2.
Karel Ancerl, Czech Philharmonic Orchestra. Recorded
  in concert, ?date and place. Praga.254 000-1 (CD)

COUPERIN, FRANCOIS (1668-1773) France
Le Carillon de Cithere.
bD.45-71 083


FAURE, GABRIEL URBAN (1845-1924) France
Nocturne.
1945 Hamburg radio broadcast. Koch-Schwann.3-1029-2
  H1 (CD)

GLUCK, CHRISTOPH WILLIBALD (Ritter von) (1714-
  87) Bohemia
*Iphigenie en Aulide: Gavotte (arr. Brahms).
@66045 (own)

Orpheo and Eurydice: Orpheus' Lament and Dance of
  the Blessed Spirits (arr. Kempff).
P'76. $2530 647

HANDEL, GEORGE FREDERICK (geb. Georg
  Friedrich H„ndel) (1865-1759) Germany
Suite I:5 in e: H.B. Smith Variations.
1955 May. (10") #D.LW 5212; #L.LD 9220

Suite II:1 in Bb: Minuet in g, Bell 175.6 (?arr. Kempff).
a. 1955 May. (10") #D.LW 5212; #L.LD 9020
b. P'76. $2530 647

KEMPFF, WILHELM (1895-1981) Germany
Libellen ber dem Froschteich.
1953 Stuttgart radio broadcast. Koch-Schwann.3-1029-2
  H1 (CD)

Lieder (4) after C.F. Meyer: Lederseelen, Op. 56.1;
  Alle, Op. 56.2; Die Gesang des Meeres, Op. 53.6; In
  einer Sturmnacht, Op. 55.1.
Dietrich Fischer-Dieskau, baritone. $138 946

LISZT, FRANZ (geb. Liszt Ferenc) (1811-86) Hungary
Concerti (2).
Anatole Fistorali, London Symphony Orchestra. #D.LXT
  5025; #L.LL 1072

Legends (2).
a. #D.LXT 2572; #L.LLP 315
b. $2530 560

Years of Pilgrimage: First Year (Switzerland), G. 73 =
  S. 160: 2, Au Lac de Wallenstadt; 7, Eglogue; 4, Au
  Board d'une Source.
#D.LXT 2752; #L.LLP 315

Years of Pilgrimage: Second Year (Italy), G. 74 = S.
  161: 1, Sposalizio.
$2530 560

Years of Pilgrimage: Second Year (Italy), G.74 = S.
  161: 4-6, Petrarch Sonatas 47, 104, 123.
a. #D.LXT 2670; #L.LLP 515
b. $2530 560

Years of Pilgrimage: Supplement (Venezia e Napoli), G.
  75 = S. 162: 1, Gondoliera.
a. 1945 Hamburg radio broadcast. Koch-Schwann.3-
  1029-2 H1 (CD)
b. #D.LXT 2752; #L.LLP 315
c. $2530 560

Years of Pilgrimage: Supplement (Venezia e Napoli), G.
  75 = S. 162: 2, Il Penseroso; 3. Canzonneta di
  Salvator Rosa.
a. #D.LXT 2752; #L.LLP 315
b. $2530 560

MENDELSSOHN-BARTHOLDY, JAKOB LUDWIG
  FELIX (1809-47) Germany
Capriccio in e, Op. 16.2; Songs without Words: 47 in A,
  Op. 102.5 ("The Joyous Peasant") and 30 in a, Op.
  62.6 ("Spring Song").
@66044

Trio 2 in c minor, Op. 66
1959 Prades (France) in concert. Christian Ferras, violin,
  Pablo Casals, cello. AS disc (Italy).AS 353 (CD)

MOZART, WOLFGANG AMADEUS (geb. Johannes
  Chrystostomus Wolfgangus Theophilus Mozart) (1756-
  91) Austria, son of German parents
Concerto 8 in C, K. 246.
Ferdinand Leitner, Berlin Philharmonic Orchestra. $138
  812

Concerto 9 in Eb, K. 271.
Karl Munchinger, Stuttgart Chamber Orchestra and Wind
  of L'Orchestre de la Suisse Romande. #D.LXT 2861;
  #L.LL 998

Concerto 15 in Bb, K. 450.
Karl Munchinger, Stuttgart Chamber Orchestra and Wind
  of L'Orchestre de la Suisse Romande. #D.LXT 2861;
  #L.LL 998

Concerto 20 in d, K. 466.
*a. Paul van Kempen, Dresden Philharmonic Orchestra.
  67706/9S [1551/6, all -1/2GE9]; Fontana
  (Italy).91144/7; #D.DL 7515 (10") (own)
b. 1956.1.21 in concert in Berlin. Herbert von Karajan,
  Berlin Philharmonic Orchestra. #Cetra.LO 531

Concerto 21 in C, K. 467 (Elvira Madigan).
P'82. Bernhard Klee, Bavarian Radio Symphony
  Orchestra. $2531 372

Concerto 22 in Eb, K. 482.
P'82. Bernhard Klee, Bavarian Radio Symphony
  Orchestra. $2531 372

Concerto 23 in A, K. 488.
Ferdinand Leitner, Bamberg Symphony Orchestra. $138
  645

Concerto 24 in c, K. 491.
a. Ferdinand Leitner, Bamberg Symphony Orchestra.
  $138 645
b. 1967 October 11 in concert. Bruno Maderna, Residenz
  Orchester Den Haag. Arkadia.CDMAD 013 (CD)

Concerto 27 in Bb, K. 595.
Ferdinand Leitner, Berlin Philharmonic Orchestra. $138
  812

Fantasy in d, K. 397.
$138 707

Fantasy in c, K. 475.
$138 707

Pastorale vari‚e, K.Anh. 209b (?arr Kempff).
1956 Berlin radio broadcast. Koch-Schwann.3-1029-2 H1
  (CD)

Rondo 1 in D, K. 382.
*Paul van Kempen, Dresden Philharmonic Orchestra.
  67710; #D.DL 9535 (own)

Sonata 8 in a, K. 310.
$138 707

Sonata 11 in A, K. 331.
a. 67067/8, 69467/8 (automatic coupling) [?/?/?/536
  GS8], 57001/2
b. $138 707

Variations on Unser dummer P"bel meint in G, K. 455.
1956 Stuttgart radio broadcast. Koch-Schwann.3-1029-2
  H1 (CD)

RAMEAU, JEAN-PHILIPPE (1683-1764) France
Le Rappel des Oiseaux.
bD.45-71 083

SCHUBERT, FRANZ SERAPH PETER (1797-1828)
  Austria
Allegretto in c, D. 900.
$2530 090

Horch, horch, die Lerch in Atherbian, D. 889 (arr. Liszt
  as his G. 343.9 = S. 558/9).
*(10") 62746 [6069 1/2 GR], 47007; #Melodiya.D
  21091/2 (10")

Impromptus (8), Opp. 90 and 142 = D. 899 and 935.
No. 3 in Gb, D. 899.3: International Piano Festival.
  $Everest.SDBR 6128 = UN 2
No. 7 in Bb, D. 935.3: (10") 62745, 47007
ALL: $139 149

Moments Musicaux, D. 870.
Nos. 3 and 4: (10") 62747 [6070/1-1/2GR], D.DE 7040
ALL: $139 372

Piece in A, D. 604.
$2530 090

Pieces (3), D. 946.
$2530 090

Scherzo in Bb, D. 593.1.
$139 323

SONATAS
No. 16 in a, Op. 42 = D. 845.
#D.LXT 2834; #L.LL 792

No. 21 in Bb, Op. Posth. = D. 960.
#D.LXT 2577; #L.LL 307

ALL 21 (except the unfinished sonatas D. 571, 613, and
  655).
$2720 024

Variations, Anselm Httenbrenner, in a, D. 576.
$2530 090

Wanderer Fantasy in C, D. 760.
$139 372

SCHUMANN, ROBERT ALEXANDER (1810-56)
  Germany (by Opus Number)
 2, Papillons.
a. #D.LXT 2670; #L.LL 515
b. P'67. $139 316

 6, Davidbndlert„nze.
P'67. $139 316

*7, Toccata in C.
@66180 (own)

 9, Carnival.
P'72. $2530 185

12,  (8) Fantasy Pieces: 2, Soaring.
*(10") 62746 [6088 3/4GR], 47007; #Melodiya.D
  21091/2 (10")

13, Symphonic Studies.
a. #19077
b. P'73. $2530 317

15, Childrens' Scenes.
7, Tr„umerei: (10") 62762
ALL: P'73. $2530 348

16, Kreisleriana.
a. #19077
b. P'73. $2530 317

17, Fantasy in C.
a. #18461
b. P'72. $2530 185

18, Arabesque in C.
a. #D.LXT 2670; #L.LL 515
b. P'73. $2530 321

20, Humoresque in Bb.
P'74. $2530 321

22, Sonata 2 in g.
P'73. $2530 348

23, (4) Night Pieces.
P'75. $2563 412

28, (3) Romances.
P'73. $2530 321

54, Concerto in a.
a. Joseph Krips, London Symphony Orchestra. #D.LXT
  2906; no U.S. London issue
b. P'74. Rafael Kubelik, Bavarian Radio Symphony
  Orchestra. $2530 484

82, (9) Tree Scenes:
6, Bird as Prophet: P'73. $2530 321
ALL: P'74. $2530 410

92, Concert Piece (Introduction and Allegro
  appassionato).
P'74. Rafael Kubelik, Bavarian Radio Symphony
  Orchestra. $2530 484

99, (14) Album Leaves: 9, Novelette.
P'73. $2530 484

WILHELM KEMPFF talking to a master class in
  Positano, Italy. Plays parts of Beethoven Sonatas 30-
  32 and an arrangement of a Bach Chorale Prelude.
  #104 486, released 1966.

The 10" organ disc, #17069, also contains a recording of
  the bells of the Church of World Peace in Hiroshima
  and Kempff giving a short talk. The disc dates from
  1954.

MYSTERY RECORD
DGG 2610 009 (Sampler): Kempff's 75th Birthday
  (would have been 1970): Beethoven, Chopin, Brahms,
  Kempff talking. All of Kempff's studio Chopin was
  recorded for Englsih Decca/American London; so this
  disc may contain otherwise unreleased material.

KEMPFF TRANSCRIPTIONS AND COMPOSITIONS
Idil Biret, piano. Recorded 1991.11.30-12.2, Tonstudio
  van Geest, Heidelberg. Marco Polo.8.223452 (CD).
  Contains:

BACH-KEMPFF:
Nun komm der Heiden Heiland, S. 659a.
Es ist gewisslich and der Zeit, S. 307, mixed with Nun
  freut euch, liebe Christen g'mein, S. 734
Siciliano from Flute Sonata 2 in E, S. 1031.
Hezlich tut mich verlangen, S. 727.
Jesu bleibet meine Freude, from Cantata 147. This is
  movement 10 of the Cantata and is identical with
  movement 6 (Wohl mir, dass Jesum habe), only with
  different words. So the notes are the same. See the
  main section.
In dulci jubilo, S. 751.
Sinfonia from Wir danken dir, Gott, Wir danken dir,
  from Cantata 29.

HANDEL-KEMPFF
Menuet in g.

BACH-KEMPFF
Wachet auf! ruft uns die Stimme, S. 645. This is the first
  Schbler Chorale Prelude and was adapted by Bach
  fom the fourth movement of Cantata 140. I presume
  that this transcription has the same notes as the ones
  Kempff recorded in the main section.
Largo from Concerto 5 in f, S. 1056.
Ich ruf zu dir, Herr Jesus Christus, S. 639.

GLUCK-KEMPFF
Ballet Music and Reigen der seligen Geister from
  Orpheus and Eurydice.

MOZART
Pastorale vari‚e, K.Anh. 209b. It is not clear whether
  this is a Kempff arrangement. The work received
  three electrical recordings, all made between 1925-36:
  Poldi Mildner (Gramophone EG 2346), Regina
  Patorni-Casadesus (harpsichord, Columbia DX 53),
  and Marie Panthes (Columbia LFX 169).

All of the above have been recorded by Kempff in the
  studio, except the Mozart, which was played in a
  radio broadcast and which is on CD.

KEMPFF'S COMPOSITIONS on the same CD:
Italian Suite, Op. 68 (published by Kempff in 1953).
Sonata 2 in g, Op. 47 (1947).

TAPES OF CONCERT PERFORMANCES HELD BY
  THE DISCOGRAPHER. It is unclear whether the
  broadcasts were live.
Beethoven: Piano Concerti. Tadashi Mori, NKH
  Symphony Orchestra (Japan). Broadcast on 1970 April
  8 (Concerti 1 and 2), 9 (Concerti 3 and 4), 10
  (Concerto 5).
Beethoven: Sonatas 30-32. Performed in Vienna.
  Broadcast 1980 March 25.

ACKNOWLEDGEMENTS
I thank Morgan Worthy, formerly director of the
  International Piano Archives at [the University of]
  Maryland for furnishing me photo copies of their
  microfiche holdings of Kempff recordings. I silenty
  corrected some obvious errors of matrix and side
  numbers, but in many cases the numbers were missing
  or illegible. I also thank Donald Hodgman for tapes of
  the acoustic Kempff recordings I have, for the organ
  disc and the master class record, and for helpful
  information generally. Gershon Schatzkamer furnished
  a tape of the Japanese performances of the Beethoven
  Concerti, and David Glass furnished a tape of
  Viennese performances of Sonatas 30-32.