Eduard Erdmann (5 March 1896 – 21 June 1958) Erdmann was born in Wenden (Cēsis) in Livonia. He was the great-nephew of the philosopher Johann Eduard Erdmann. His first musical studies were in Riga, where his teachers were Bror Möllersten and Jean du Chastain (piano) and Harald Creutzburg (harmony and counterpoint). From 1914 he studied piano in Berlin with Conrad Ansorge and composition with Heinz Tiessen. In the 1920s and early 1930s his name was frequently cited among Germany's leading composers. Moreover, Erdmann had an international reputation as an outstanding concert pianist whose repertoire encompassed Beethoven and the advocacy of contemporary music. In 1925, he gave the premiere of Artur Schnabel's Piano Sonata, at the Venice ISCM Festival. From 1925 he was professor of piano at the Cologne Academy of Music but was forced to resign from his post by the Nazis in 1935 and became an 'inner exile', composing almost nothing until after the end of World War II. He joined the Nazi Party in 1937; while not in sympathy with National Socialism, his decision was to avoid government harassment so that he could continue to work, like several other German musicians at the time. This action ruined his post-war reputation, and it did not recover in his lifetime. He resumed teaching as Professor of Piano at the Hochschule für Musik in Hamburg in 1950, but died of a heart-attack in 1958. His students at Hamburg included Aloys and Alfons Kontarsky. There has been little revival of interest in his own music and all his post-World War II works remain in manuscript; considering his inter-war eminence, he has received remarkably little attention up to the present day, but in 2006 the cpo label began issuing a series of CDs of his orchestral works. Erdmann came to critical notice as a composer with the sensational success of his First Symphony (dedicated to Alban Berg) in 1919. He was also close friends with Ferruccio Busoni's pupil Philipp Jarnach, as well as Ernst Krenek, Artur Schnabel and Emil Nolde. Like Tiessen and Schnabel, he was deeply impressed by Schoenbergian and Bergian Expressionism but did not adopt the twelve-note method, preferring a freely and often totally chromatic vocabulary with little or no sense of key. His total output is quite small, and surprisingly contains very little piano music: but it came to include four symphonies, Nos. 3 and 4 dating from after World War II and thus still unpublished. As early as 1920 Erdmann issued a credo in which he declared himself opposed to the extreme individualism in music from Ludwig van Beethoven to Arnold Schoenberg, and dedicated instead to the creation of a more objective music characterized by what he called the 'third-person forms' created by composers from Heinrich Schütz to Anton Bruckner. Between 1921 and 1943, Erdmann often appeared with the Australian violinist Alma Moodie, who lived in Germany. Erdmann dedicated his Sonata for Solo Violin, Op. 12 (1921) to her, and she premiered it in Berlin in October 1921. The Australian-English critic Walter J. Turner wrote of a recital he heard them play in London in April 1934, ‘it was the best violin piano duo that I have ever heard’. Their last concert together was given on 4 March 1943, three days before Alma Moodie's death, when they were in the middle of the cycle of Beethoven sonatas. 
Joseph Rosenstock (27 January 1895 in Kraków – 17 October 1985 in New York)
He worked at the State Opera in Wiesbaden before being brought into the Metropolitan Opera in New York to replace Artur Bodanzky in 1928. However, he received such poor critical reviews that he himself resigned after only six performances and Bodanzky was brought back. Returning to Germany, he worked in Mannheim and, from 1933-1936, as conductor of the Berlin Jüdischer Kulturbund, notably conducting the (all-Jewish) German premiere of Verdi's Nabucco on 4 April 1935. Rosenstock left Berlin and moved to Japan to conduct the NHK Symphony Orchestra 1938-1946. There he taught Roh Ogura how to conduct Beethoven's symphonies. In 1948 he returned to New York to work as a conductor with the New York City Opera (NYCO), debuting with Le nozze di Figaro. In 1951 he notably conducted the world premieres of David Tamkin's The Dybbuk. In January 1952 Rosenstock succeeded Laszlo Halász as General Director of the NYCO. He served in that post for four seasons, during which time he continued in Halász's steps of scheduling innovative programs with unusual repertoire mixed in with standard works. He notably staged the world premiere of Aaron Copland's The Tender Land, the New York premiere of William Walton's Troilus and Cressida, and the United States premieres of Gottfried von Einem's The Trial and Béla Bartók's Bluebeard's Castle.[4] Rosenstock was also the first NYCO director to include musical theatre in the company's repertoire with a 1954 production of Jerome Kern and Oscar Hammerstein II's Show Boat. This decision was ridiculed by the Press but Rosenstock felt justified as the production played to a packed house. Meanwhile the company's production of Donizetti's opera Don Pasquale that season only sold 35 percent of the house seats. Rosenstock returned to the Met on 31 January 1961 to conduct Tristan und Isolde and became a regular member of the Met conducting staff until his last performance conducting Die Meistersinger on 13 February 1969. During those eight years he conducted 248 performances at the Metropolitan Opera, including a number of Metropolitan Opera radio broadcast performances.
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Johannes Brahms
Concerto for Piano no 2 in B flat major, Op. 83
Eduard Erdmann, piano
Danish Radio Symphony Orchestra
Joseph Rosenstock
1950
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Запись из личной коллекции (недавно приобрёл в интернете). | 
