Leah Effenbach (1915-1978) was born in New York. She studied piano with Alexander Sklarevski and Olga Samaroff. Elegance and eloquence, purity of style with a uniquely individual sensitivity seem to unite her spiritually with the composers very soul.
Perhaps it would be best to convey some idea of Leah Effenbach's reputution and past achivements by a reprint from New York Times of January, 5th, 1947.
アレキサンドル・スカラレフスキと、かのストコフスキー夫人であるオルガ・サマロフ門下のピアニストのリーア・エッフェンバッハ(1915-1978)は、メリハリの利いたリズム感覚、瑞々しさ、溢れるような生命力を感じさせるタイプの魅力的な女流ヴィルトゥオーゾ。 このショパンのエチュードから14曲をセレクトしたこのモノラル初期盤は、そんなエッフェンバッハのピアニズムを知るにはうってつけの一枚である。(その後、エッフェンバッハはステレオ録音期に「12のエチュードOp.25」、「4つのスケルツォ全集」の独奏レコードと、姉妹デュオの二枚のLPレコードを残している。) CD復刻にあたり、コンディションの良いレコードに巡り会えるまでには数枚のレコードを要した。それだけこのレコードの持ち主たちは、繰り返しエッフェンバッハの演奏に耳を傾けたという証しでもある。 ぜひ何度も何度も、このCDで繰り返し聞いて欲しい一枚。(1957年モノラル録音)
01. ハ長調 Op.10-1
02. イ短調 Op.10-2
03. ホ長調 Op.10-3
04. 嬰ハ短調 Op.10-4
05. 変ト長調 Op.10-5
06. 変ホ短調 Op.10-6
07. ハ長調 Op.10-7
08. へ長調 Op.10-8
09. ハ短調 Op.10-12
10. 嬰ト短調 Op.25-6
11. 嬰ハ短調 Op.25-7
12. 変二長調 Op.25-8
13. 変ト長調 Op.25-9
14. イ短調 Op.25-11
TOTAL TIME : 34'52"
"LEAH EFFENBACH RETURNS" "Generally when musicians make successful debuts, they capitalize on their good notices to make a commercial splurge. It is their custom to strike soon again while the iron is hot. But Leah Effenbach, who gave a piano recital last night at Town Hall, took a different course. She made her debut here on Nov.30, 1940, under the auspices of the Society for the Advancement of Young Musicians. Then she left New York to tour in North and South America. After this country became involved in the war, she jointed a USO concert unit and went to the South Pacific. Then, feeling she needed futher preparation, she spent two more years in study. Technically, she was already an accomplished performer when she first played here six years ago. But she returned last night for her second local recital a considerbly more mature artist. Especially noticeable was the development of the tragic sense, which made her performances of the slow movement of the Beethoven "Appassionata" and the Chopin C sharp minor Scherzo,Op39 movingly impressive. Her playing, in fact , was satisfying throughout, both from the intellectual and the emotional standpoint. She always knew clearly what she was doing, and each note she played had a meaning in her interpretative plan. And, though her rythms were always firm, the melodic lines were supple, flowing and alive."
We should also like to add significant excerpts from other papers throughout the country about her playing : - "Miss Effenbach is a brilliant technician and a satisfying musician." - N.Y.Herald Tribune, Jan. 5, 1947. "Uncommonly gifted." - N.Y.Herald Tribune, Jan. 5, 1947. "Such piano playing is all too rare. At the moment I can name only two women who match it in artistic completeness ; nor are there many men, Miss Effenbach having arrived at that eminent position where there is room for only a few." - Washington Times Herald, 1946. "Leah Effenbach, pianist. gave the greatest performance of Bach I ever heard." - Los Angeles Daily news, 1946. "She has much more than the usually effective technical equipment to offer, having arrived at the precise point where she can discard it as an attraction and really play to the heart." - Los Angeles Herald-Express, 1946. "She played standard works by Bach, Beethoven, Brahms and Chopin with a power and solidity which set her far above the usual woman piano recitalist." - Los Angeles Times, 1946. "Leah Effenbach distinguished American Pianist, bring to Chopin a poetic insight and beauty of tone" - New York Herald Tribune "An artist of stature, she directs her magnificent technical skills into the most musical channel" - Los Angeles Times
About this recording, she made recordings only selected 14 Etudes of Chopin. But then she made re-recordings of 12 Etudes,Op.25 in 1976. Both recordings shows her brillant technic and great virtuosity.
Very faithful & high quarity DSD transfer & 32bit 192kHz.
Sound Engineer : Hisao Natsume - Sakuraphon
Format : Mono CD & mini LP CD