IC 76003 Booklet - Ivory Classics

Accolades
7
“Earl Wild is still Earl Wild”
“The reason Mr. Wild’s Chopin keeps us
unfailingly mesmerzerized is the endless and
absoulte poetry of his glowing performance.”
“No rickety joints here at 77, just pure motion
and artistry, with the fluid technique and
musical depth of a seasoned artist.”
“This is Mr. Wild’s ‘magic’, with age has
come a great wondrous wisdom.”

Chopin Etudes
EARL WILD
Twelve Etudes, Op. 10 Twelve Etudes, Op. 25
1) No. 1 in C Major 2:15 13) No. 1 in A-flat Major 2:40
2) No. 2 in A minor 1:35 14) No. 2 in F minor 1:30
3) No. 3 in E Major 4:26 15) No. 3 in F Major 1:51
4) No. 4 in C-sharp minor 2:07 16) No. 4 in A minor 1:51
5) No. 5 in G-flat Major 1:43 17) No. 5 in E minor 3:11
6) No. 6 in E-flat minor 3:45 18) No. 6 in G-sharp minor 2:02
7) No. 7 in C Major 1:36 19) No. 7 in C-sharp minor 5:03
8) No. 8 in F Major 2:26 20) No. 8 in D-flat Major 1:10
9) No. 9 in F minor 2:04 21) No. 9 in G-flat Major :58
10) No. 10 in A-flat Major 2:09 22) No. 10 in B minor 3:46
11) No. 11 in E-flat Major 2:30 23) No. 11 in A minor 3:38
12) No. 12 in C minor 2:32 24) No. 12 in C minor 2:39
Trois Nouvelles Etudes
25) No. 1 in F minor 2:15
26) No. 2 in A-flat Major 1:46
27) No. 3 in D-flat Major 1:48
Total Time: 66:48
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Frédéric Chopin (1810-1849)
The Complete ETUDES
The tragedy that so brilliant a prodigy as Frédéric Chopin should have
lived so brief a life is one of the great laments of humankind. Born in 1810
in Zelazowa Wola, Poland, he was dead by the year 1849, when at age thirty-nine
he succumbed to frailty and sickliness in Paris, which had been his
home since 1831. As a pianist he performed in public only rarely and reluctantly,
in an exquisitely delicate and ephemeral style. In 1836 Henrietta Voigt
said that “wonderful is the ease with which his velvet fingers glide, I might
say fly, over the keys… What delighted me was the childlike, natural manner
which he showed in his demeanor and in his playing.”
Though Chopin’s hands were not large, they were flexible, enabling him
to maneuver wide stretches without the least apparent exertion. According to
Carl Mikuli he recommended bending the wrist inward and outward and
pressing the fingers apart, but without over-exertion. For practicing scales he
insisted on a very full tone, as legato as possible, with metronomic steadiness.
Perhaps most importantly, he held that evenness in playing scales and arpeggios
depended not only on the equality of strength of the five fingers, “and a
perfect freedom of the thumb in passing under and over, but foremostly on
the perfectly smooth and constant sideways movement of the hand (not step
by step), letting the elbow hang down freely and loosely at all times.” He
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taught scales with many black notes first (the C major scale came last as the
most difficult), using the thumb on the black notes and sometimes passing it
under the fifth finger (with a necessary bend of the wrist).
The piano was in transition in Chopin’s day, having evolved from a delicate
wooden instrument to a bold instrument with a very different key
action and a reinforced soundboard, allowing richer sympathetic vibrations
and increased carrying power for the concert hall. In Paris at that time there
were some 180 manufacturers producing a wide range of experimental
pianos, leading its citizens to refer to their city as Pianopolis. Some manufacturers
developed a more expressive instrument, one equal to the demands
of Chopin’s works.
Countless piano studies were composed in the eighteenth century and
early in the nineteenth by the likes of Berger, Moscheles, Hummel, Steibelt,
Reicha, Czerny, Cramer, Kalkbrenner and Clementi. Their starkly educational
purpose was strictly to perfect the techniques needed to play the repertoire
of the day, and they thus lacked the musical and affective properties required
for pieces intended for the public. Chopin’s etudes, however—twenty-seven
of them in all—eclipsed the earlier models and led piano technique to the
next logical step, exploiting the new resources of the evolving instrument,
and all its color possibilities, and exploring revolutionary techniques through
their stunning inventiveness. Each study concentrates on a single technical
problem and fully exploits the possibilities of the human hand, so much so
that a leery Ludwig Rellstab wrote that “those who have crooked fingers may
put them right by practicing these studies; but those who have not, should
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not play them, at least not without having a surgeon at hand.” Composed
between 1829 and 1839 (in a sequence different from their numbering), the
etudes represent Chopin’s early maturity—written between his late teens and
his late twenties—and possess a youthful vigor not seen in his later works.
They launched the modern school of piano playing.
But the real genius of the etudes lies in the poetry by which they surpass
all precedents, thus constituting the new genre of the concert-etude. They are
boldly creative expressions of human emotion, studies in mood, inventively
encapsulated in vignettes of virtuosity. Chopin admonished his students to
make the piano sing and to express personal emotion, never using technical
exercises in a mechanical way, but investing them with intelligence and will.
Indeed, the etudes succeed resoundingly at melding formidable technique
with fresh musical expression. As James Huneker has written: The etudes are
“not only the foundation of [Chopin’s] technical system—a system new to
pianism when they appeared—but they also comprise some of his most imaginative
and enchanting creations, judged exclusively from the musical point
of view.” All the etudes are marked either allegro, vivace, presto or agitato—
apart from three lentos and two andantes—making them fiendishly difficult
pieces and explaining why they are the only Chopin works Arthur Rubinstein
refused to record (Although Mr. Wild performed the complete etudes many
times throughout his career, he waited to record them until he was seventyseven).
They have appeared in a number of editions over the years.
Chopin wrote of his etudes that he “tried to put not only science but
also art into them. Since a virtuoso must practice for a long time, he should
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e given exercises in which he will find proper food for his ears and his soul
lest he be bored to death. I am disturbed because there are no beautiful exercises
for beginners. A virtuoso has everything open to him; when he is bored
by exercises, he can reach out for the most beautiful music. But a poor fellow
who cannot play anything except exercises, whose fingers are as though
tied, needs beautiful exercises that will save him from becoming disgusted
with music. I have tried to write something of this kind, but I haven’t been
successful, because for the beginner anything is too difficult.”
Pianists began recording Chopin’s etudes in the nineteenth century. The
earliest were probably the random samplings of them by a variety of pianists
(including Horowitz) who recorded single movements on the pneumatic
Welte-Mignon recording system, perfected in the 1890s. In terms of fidelity,
the device far exceeded all other approaches to piano roles, including especially
the gramophone and cylinder records of the period. But the first
pianist to record the complete opus 10 and 25 was Wilhelm Backhaus.
The opus 10 etudes were published as a set in 1833 and dedicated to
Franz Liszt, whom Chopin considered their best interpreter. No. 1 is a study
for extended right-hand arpeggios, often with a stretch of six notes between
adjacent fingers. No. 2 explores chromatic scales for the weak fingers 3, 4
and 5 of the right hand. Chopin said of No. 3 that he had never written so
beautiful a melody. It involves playing three continuous voices with the two
hands, and has been called a study in expression. The sheer velocity and
pyrotechnics of No. 4, with frequent shifts of the melody between the hands,
make it one of the most exciting of the studies. Apart from a single white
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note, the right hand in No. 5 plays exclusively black notes, giving it a pentatonic
character. One of the easier pieces, the elegiac melody of No. 6 nevertheless
places musical demands on the performer. A toccata with repeated
notes in the right hand, No. 7 alternates thirds and sixths, the lower note of
which requires changing fingers. With simple chords in the left hand, the
right hand in No. 8 is a study in arpeggios covering the spread of four
octaves. No. 9 is a turbulent study in repeated notes, with arpeggios of a
tenth or more in the left hand. In No. 10 the alternating sixths and broken
octaves require a flexible wrist in rhythms of two against three. Von Bülow
said of it that “anyone who can play this etude in a really finished manner
may be congratulated on having climbed to the highest point of the pianists’
Parnassus.” No. 11 is a study in harp-like chords covering the range of twoand-a-half
octaves in both hands. The only etude known to have been
inspired by events in his life, Chopin is said to have composed No. 12 after
learning that Warsaw had fallen to the Russians. It involves tumultuous
arpeggios in the left hand, and a forbidding melody in octaves in the right.
The opus 25 etudes were published in a single volume in 1837, and are
dedicated to Liszt’s mistress, the Countess Marie d’Agoult who bore his children.
Robert Schumann heard Chopin play No. 1 and wrote: “Imagine an
Aeolian harp having all the scales and the hand of an artist combining them
with all kinds of fantastic embellishments, but always with an audible deep
tone in the bass and a softly singing melody in the treble, and you will get
some idea of Chopin’s playing. When the etude was ended, we felt as
though we had seen a radiant picture in a dream which, half awake, we
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ached to recall.” The technical challenge in No. 2 is to play the triplet eighthnotes
in the right hand and the triplet quarter-notes in the left with an unaccented
quality. The capricious No. 3 pits the gestures in the right hand
against those of the left, and layers four motives upon each other in every
beat. No. 4 is a nervous study in syncopation and staccato. No. 5 explores
leggiero and scherzando with grace notes and passing tones, and in the slow
section contains one of Chopin’s most beautiful melodies. No. 6 is a study in
rapid thirds while No. 7, with the sweet sadness of its left-hand melody, is
perhaps the most poetic of the lot. No. 8 is a study in parallel double sixths.
In No. 9 the right hand plays a broken chord and two staccato octaves on
every beat. The furious No. 10 presents the challenge of rapid chromatic
legato octaves in both hands, and has a lyrical middle section. Chopin
warned students that the march-like No. 11 “can be treacherous and dangerous
for the uninitiated.” No. 12 involves fast arpeggios in both hands.
Beginning in m. 40 Mr. Wild plays octaves on the first beat of every measure
in a version favored by Rachmaninoff.
The Trois Nouvelles Etudes, published in 1840 without an opus number,
are erroneously known as the posthumous etudes; in fact they were published
while Chopin was still alive. No. 1 is characterized by the cross rhythms of
triplet quarters against four eighth-notes. Following the example of Liszt, Mr.
Wild plays a repeat beginning at measure 22. No. 2 is a study in three against
two, and No. 3 involves simultaneous staccato and legato in the right hand.
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© James E. Frazier 2006

Earl Wild
Earl Wild is a pianist in the grand Romantic tradition. Considered by
many to be the last of the great Romantic pianists, this eminent musician is
known internationally as one of the last in a long line of great virtuoso
pianist / composers. Often heralded as a super virtuoso and one of the
Twentieth Century’s greatest pianists, Earl Wild is a legendary figure performing
throughout the world for over eight decades.
Major recognition is something Mr. Wild has received numerous times
in his long career. He was included in the Philips Records series entitled The
Great Pianists of the 20th Century with a double disc devoted exclusively to
piano transcriptions. He has been featured in TIME Magazine on two separate
occasions, most recently in December of 2000 honoring his eighty-fifth
birthday. One of only a handful of living pianists to merit an entry in The
New Grove Dictionary of Music and Musicians, Mr. Wild is therein described
as a pianist whose technique “is able to encompass even the most difficult
virtuoso works with apparent ease.”
Earl Wild was born on November 26, 1915 in Pittsburgh, Pennsylvania.
As a child Earl Wild’s parents would often play opera overtures (such as the
one from Bellini’s Norma) on their Edison phonograph. At three, he would
go to the family piano, reach up to the keyboard, find the exact notes, and
play along in the same key. At this early age, he displayed the rare gift of
absolute pitch. This and other feats labeled him as a child prodigy and led
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immediately to piano lessons.
At six, he had a fluent technique and could read music easily. Before his
twelfth birthday, he was accepted as a pupil of the famous teacher Selmar
Janson, who had studied with Eugen d’Albert (1864-1932) and Xaver
Scharwenka (1850-1924), both students of the great virtuoso pianist / composer
Franz Liszt (1811-1886). He was then placed into a program for artistically
gifted young people at Pittsburgh’s Carnegie Tech (the Institute of
Technology) -- now Carnegie Mellon University. Enrolled throughout Junior
High, High School, and College years, he graduated from Carnegie Tech in
1937. By nineteen, he was a concert hall veteran.
He was invited at the age of twelve to perform on radio station KDKA in
Pittsburgh (the first radio station in the United States). Mr. Wild had already
composed many compositions and piano transcriptions as well as arrangements
for chamber orchestra that were regularly performed on KDKA radio.
At twelve, he made such an impression that he was asked to work for the station
on a regular basis for the next eight years. Mr. Wild was only fourteen
when he was hired to play the Piano and Celeste in the Pittsburgh Symphony
Orchestra under the batons of many different conductors; Otto Klemperer
and Fritz Reiner being two of the more well-known personalities.
Mr. Wild’s other teachers included the great Dutch pianist Egon Petri
(1881-1962), who was a student of Ferruccio Busoni (1866-1924); the distinguished
French pianist Paul Doguereau (1909-2000), who was a pupil of
Ignace Jan Paderewski (1860-1941) and Marguerite Long (1874-1966), who
studied the works of Gabriel Fauré and Claude Debussy with Jean Roger-
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Ducasse (1873-1954 - a pupil of Fauré’s), and was a friend and protégé of
Maurice Ravel (1875-1937). Mr. Wild also studied with Helene Barere, the
wife of the famous Russian virtuoso pianist, Simon Barere (1896-1951), and
with Volya Cossack, a pupil of Isidore Philippe (1863-1958), who had studied
with Camille Saint-Saëns (1835-1921).
With immense hands, absolute pitch, graceful stage presence, and
uncanny facility as a sight-reader and improviser, Earl Wild was well
equipped for a lifelong career in music.
During this early teenage period of his career, Earl Wild gave a brilliant
and critically well received performance of Liszt’s First Piano Concerto in E-
flat with Dimitri Mitropoulos and the Minneapolis Symphony in Pittsburgh’s
Syria Mosque Hall. Performing the work without the benefit of a rehearsal.
In 1937, he joined the NBC network in New York City as a staff pianist.
This position included not only the duties of playing solo piano and chamber
recitals, but also performing in the NBC Symphony Orchestra under
conductor Arturo Toscanini. In 1939, when NBC began transmitting its first
commercial live musical telecasts, Mr. Wild became the first artist to perform
a piano recital on U.S. television. In 1942, Toscanini added a dimension to
Earl Wild’s career when he invited him to be the soloist in an NBC radio
broadcast of Gershwin’s Rhapsody in Blue.
It was the first performance of the Rhapsody for both conductor and
pianist, and although Mr. Wild had not yet played any of Gershwin’s other
compositions, he was immediately hailed as the major interpreter of
Gershwin’s music. The youngest (and only) American piano soloist ever to
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perform with the NBC Symphony and Maestro Toscanini, Mr. Wild was a
member of the orchestra and worked for the NBC radio and television
network from 1937 to 1944.
During World War II, Mr. Wild served for two years in the United States
Navy as a musician, playing 4th flute in the Navy Band. He also performed
numerous solo piano recitals at the White House for President Franklin D.
Roosevelt and played twenty-one different piano concertos with the U.S.
Navy Symphony Orchestra at the Departmental Auditorium, National
Gallery, and other venues in Washington, D.C. During those two years in
the Navy he was frequently requested to accompany First Lady Eleanor
Roosevelt to her many speaking engagements, where he performed the
National Anthem as a prelude to her speeches.
Upon leaving the Navy in 1944, Mr. Wild moved to the newly formed
American Broadcasting Company (ABC), where his duties consisted of being
staff pianist, conductor, and composer where he conducted and performed
many of his own compositions – he stayed at ABC until 1968. During both
his NBC and ABC affiliations he was also a traveling musician, performing
and conducting many concert engagements around the world. In 1962, the
ABC network commissioned him to compose an Easter Oratorio. It was the
first time that a television network subsidized a major musical work. Mr.
Wild was assisted by tenor William Lewis, who wrote the libretto and also
sang the role of St. John in the production. Mr. Wild’s composition titled,
Revelations was a religious work based on the apocalyptic visions of St. John
the Divine. Mr. Wild also conducted its world premiere telecast in 1962,
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which blended dance, music, song, and theatrical staging. The large-scale
oratorio was sung by four soloists and chorus and was written in three sections:
Seal of Wisdom, The Seventh Angel, and The New Day. The first telecast was so
successful that it was entirely restaged and rebroadcast on TV once again in
1964.
Earl Wild has participated in many premieres. In 1944 on NBC radio,
he performed the Western World premiere of Shostakovich’s Piano Trio in E
minor. In France, in 1949, he was soloist in the world premiere performance
of Paul Creston’s Piano Concerto. He gave the American premiere of the same
work with the National Symphony in Washington, D.C. the next year. In
December of 1970, with Sir Georg Solti and the Chicago Symphony, Mr.
Wild gave the world premiere of Marvin David Levy’s Piano Concerto, a work
specially written for him.
Mr. Wild has had the unequaled honor of being requested to perform
for six consecutive Presidents of the United States, beginning with President
Herbert Hoover in 1931. In 1961 he was soloist with the National
Symphony at the inauguration ceremonies of President John F. Kennedy in
Constitution Hall – a legendary performance that has been historically
preserved and made available through the National Symphony on their
75th Anniversary 4-CD set.
A common element among the great pianists of the past and Earl Wild is
the art of composing piano transcriptions. Mr. Wild has taken his place in
history as a direct descendant of the golden age of the art of writing piano
transcriptions. Often called “The finest transcriber of our time,” Earl Wild and
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his numerous piano transcriptions are widely known and respected. Over
the years they have been performed and recorded by pianists worldwide.
In 1986, on the occasion of the hundredth anniversary of the death of
Franz Liszt, Earl Wild was awarded a Liszt Medal by the People’s Republic
of Hungary in recognition of his long and devoted association with this legendary
composer’s music.
Liszt is a composer who has been closely associated with Mr. Wild
throughout his long career - he has been performing Liszt recitals for well
over sixty years. Championing composers such as Franz Liszt, Nikolai
Medtner, Ignace Jan Paderewski, Xaver Scharwenka, Karl Tausig, Mily
Balakirev, Eugen d’Albert, Moriz Moszkowski, Reynaldo Hahn and countless
others long before they were “fashionable” is part of the foundation on
which Mr. Wild has built his long and successful career.
In addition to pursuing his own concert and composing career, Earl
Wild has actively supported young musicians all his life. Over the years he
has taught at Eastman, Penn State, Manhattan School, Ohio State and The
Juilliard Schools of Music. He currently holds the title of Distinguished
Visiting Artist at his alma mater, Carnegie Mellon University in Pittsburgh.
Carnegie Mellon has honored Mr. Wild with both their Alumni Merit Award
and their more prestigious Distinguished Achievement Award.
Mr. Wild has appeared with nearly every orchestra and performed
countless recitals in virtually every country. In the past ninety years he
has collaborated with many eminent conductors including: Toscanini,
Stokowski, Reiner, Klemperer, Horenstein, Leinsdorf, Fiedler,
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Mitropoulos, Grofe, Ormandy, Sargent, Dorati, Maazel, Solti, Copland,
and Schippers. Additionally, Earl Wild has performed with violinists:
Mischa Elman, Oscar Shumsky, Ruggerio Ricci, Mischa Mischakoff, and
Joseph Gingold; violists: William Primrose and Emanuel Vardi; cellists:
Leonard Rose, Harvey Shapiro, and Frank Miller; and singers: Maria
Callas, Jenny Tourel, Lily Pons, Marguerite Matzenauer, Dorothy Maynor,
Lauritz Melchior, Robert Merrill, Mario Lanza, Jan Peerce, Zinka Milanov,
Grace Bumbry, and Evelyne Lear.
Highlights include a March 1974 joint recital with Maria Callas as a
benefit for the Dallas Opera Company and a duo recital with famed
mezzo-soprano Jennie Tourel in New York City in 1975.
In 1960, at the Santa Fe Opera, Earl Wild conducted the first seven
performances of Verdi’s La Traviata ever performed in that Theatre, as well
as conducting four performances of Puccini’s Gianni Schicchi on a double
bill with Igor Stravinsky (who conducted his own opera Oedipus Rex).
From 1952 to 1956 Mr. Wild worked with comedian Sid Caesar on
the very popular TV program The Caesar Hour. During those years, he
composed and performed all the solo piano backgrounds in the silent
movie skits. He also composed most of the musical parodies and burlesques
on operas that were so innovative that they have now become
gems of early live television.
In 1986 Mr. Wild was asked to participate in a television documentary
titled, “Wild about Liszt,” which was filmed at Wynyard, the Marques of
Londonderry’s family estate in Northern England. The program won the
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British Petroleum Award for best musical documentary that year.
Mr. Wild is one of today’s most recorded pianists, having made his first
disc in 1939 for RCA. His discography of recorded works includes more
than 35 piano concertos, 26 chamber works, and over 700 solo piano pieces.
In 1997, he received a GRAMMY Award for his disc devoted entirely too
virtuoso piano transcriptions titled, Earl Wild - The Romantic Master (an 80th
Birthday Tribute).
For the first official release of the newly formed IVORY CLASSICS label
in 1997, Earl Wild recorded the complete Chopin Nocturnes (CD-70701),
which the eminent New York Times critic Harold C. Schonberg reviewed in
the American Record Guide saying, “These are the best version of the
Nocturnes ever recorded - even better than Rubinstein’s.”
Since its inception, IVORY CLASSICS has released twenty-five newly
recorded or re-released performances featuring Earl Wild.
In May of 2003 the eighty-eight year-old Dean of the Piano recorded a
new CD of solo piano material he had never recorded before: Mozart –
Sonata K.332; Beethoven - 32 Variations; Chopin – Four Impromptus;
Balakirev – Sonata No.1 and Earl Wild – Mexican Hat Dance, all performed
on the new limited edition Shigeru Kawai Concert Grand EX piano.
For the year 2005, in which Earl Wild celebrated his ninetieth
birthday, he recorded a new CD of four major works (Bach – Partita
No.1, Scriabin – Sonata No.4, Franck – Prelude, Chorale & Fugue and
Schumann - Fantasiestucke Op. 12).
His historic year tour culminated with an extremely well-received 90th
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irthday recital at Carnegie Hall in New York City on November 29, 2005.
Ivory Classics is proud to present several newly remastered CDs (such
as the works on this disc) all of them featuring Mr. Wild’s performances of
some of the world’s greatest repertoire for solo piano. Recent re-releases were
the “Earl Wild Legendary Rachmaninoff Song Transcriptions” (CD-74001),
released in 2004 and discs of Chopin’s Scherzos and Ballades (CD-75001) and
solo works by Nikolai Medtner (CD-75003) which were both released in
2005. In the coming months, Ivory Classics intends to re-release the following
Earl Wild recordings: Rachmaninoff’s Variations on a Theme by
Chopin, his Variations on a Theme by Corelli, his Complete Preludes, Op. 23,
and Op. 32, and his Piano Sonata No. 2.
Ivory Classics is also looking forward to re-releasing Mr. Wild’s own
composition Variations on a Theme of Stephen Foster for Piano and Orchestra
(“Doo-Dah” Variations) originally recorded in 1992. Each of these original
digital recordings will be remastered utilizing the latest 24-bit technology
and will feature new artwork, rare photographs, and insightful liner notes.
Mr. Wild is currently working on his memoirs to be released soon.
Earl Wild’s compositions and transcriptions are published by
Michael Rolland Davis Productions, ASCAP
mrdavisprod@sprintmail.com
Telephone: 614.761.8709
Mr. Wild’s official website: www.EarlWild.com
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Earl Wild on Ivory Classics
BEETHOVEN (CD - 76001) (DDD)
Stunning performances of ‘Hammerklavier’ & Op. 31, No.3 Sonatas.
NIKOLAI MEDTNER (CD - 75003) (DDD)
Definitive performance of solo piano music by Medtner. Second
improvisation Op. 47; forgotten melodies Op. 39; Sonate-Idylle Op. 56.
LIVING HISTORY (CD - 75002) (DDD)
Bach – Partita No.1; Scriabin – Sonata No.4; Franck – Prelude, Chorale
and Fugue; Schumann - Fantasiestücke Op. 12.
CHOPIN SCHERZOS & BALLADES (CD - 75001) (DDD)
Four Scherzos and Four Ballades.
EARL WILD at 88 (CD - 73005) (DDD)
Beethoven, Mozart, Chopin, Balakirev, Earl Wild
“At 88 Earl Wild’s fabled technique remains staggeringly intact, while his artistry
continues to evolve! When you hear this disc, you'll believe in miracles. Buy it.”
RACHMANINOFF SONG TRANSCRIPTIONS (CD - 74001) (DDD)
“Earl Wild is the finest transcriber of his time.”
Thirteen Rachmaninoff / Wild Song Transcriptions.
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Credits
Recorded in Fernleaf Abbey, Columbus, Ohio, June 8-12, 1992
20-bit State-of-the-Art Original recording.
Remastered at 24-bit using the SADiE Artemis
High Resolution digital workstation.
Original and Remastering Producer: Michael Rolland Davis
Original and Remastering Engineer: Ed Thompson
Piano Technician: Paul Schopis - Baldwin Piano
Liner Notes: James E. Frazier
Cover photo of Earl Wild by Richard Pare
Design: Samskara, Inc.
To place an order or to be included on our mailing list:
Ivory Classics ® • P.O. Box 341068 • Columbus, Ohio 43234-1068
Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799
michaeldavis@ivoryclassics.com • For easy and convenient
shopping online, please visit our website: www.IvoryClassics.com
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