Wanda Landowska

Biography

Born: July 5, 1879; Warsaw, Poland   Died: August 16, 1959; Lakeville, CT  
Perhaps the single most influential popularizer of the harpsichord in the twentieth century, Wanda Alexandra Landowska began playing piano at the age of four. She had lessons with Jan Klecynski, entered the Warsaw Conservatory where she studied piano with Aleksander Michalowski, and studied in Berlin with Moritz Moszkowski. In Berlin, she also studied composition, but admitted that she was put off by the textbook rules that bound the early stages Read more of study in that craft.

She had a strong predilection for the music of Bach in her earliest piano recitals. She began to tour widely as a pianist and, increasingly, as a harpsichordist. In 1909, on a tour of Russia, she played for the elderly writer Count Lev Tolstoi, who took a keen interest in her views of classical music performance. Her husband, writer Henry Lew, assisted her in her intense study of musical style and interpretation of the seventeenth and eighteenth centuries. She focused on reviving the harpsichord as a living concert and recital instrument, becoming an ancestor of the "original instruments" and "authentic performance" movements of the twentieth century. In 1912, she commissioned the Pleyel piano manufacturing firm to construct the first of many harpsichords built to her specifications.

In 1913, after being invited by Kretzschmar to give a harpsichord seminar at the Berlin Hochschule für Musik, she became trapped in Germany when World War I began. She and her husband were granted limited freedom as "civil prisoners on parole" for the duration as Russian subjects (Poland at the time was a province of Russia). After their release at the end of the war, her husband was killed in an automobile accident in Berlin. Soon after, she played the continuo part in a performance of Bach's St. Matthew Passion in Basel, the first time in that century that the harpsichord was used in the performance of the great work. Landowska had become convinced that only the harpsichord was truly appropriate to the Baroque and early Classical periods. She began teaching at the Basel Conservatory in 1919 and then returned to teach in Paris. She toured the United States for the first time in 1923, taking four Pleyel harpsichords with her. On this tour, she appeared with Leopold Stokowski and the Philadelphia Orchestra, making her first acoustic recordings. (She had previously made piano rolls.)

She established L'Ecole de Musique Ancienne in St.-Leu-la-Forêt, near Paris, in 1925. She appeared in concerts in Paris, sometimes still playing piano. She commissioned from Manuel de Falla a masterpiece of modern harpsichord literature, the Concerto for harpsichord and chamber ensemble, and then another one, Francis Poulenc's Concert champêtre for harpsichord and orchestra.

When the Germans invaded France, Landowska fled her establishment, leaving behind many harpsichords and a library of 10,000 volumes. She reached Banyuls-sur-mer, in the Pyrenees, and managed to get passage to the United States in 1941. She gave a concert of harpsichord music in New York on February 2, 1942, and returned to teaching as her main occupation. She toured widely and was particularly noted for her performance of Bach's Goldberg Variations. She found a new home in Lakeville, CT, and recorded a highly acclaimed collection of the complete Well-Tempered Clavier at the age of 70. She lived a few weeks past her 80th birthday.

Her playing was vigorous, rhythmic, and colorful. She had a predilection for a very strong-voiced, richly colored instrument that is questioned today by some; it is opined that this was a reaction against the instrument's general reputation for being dry and colorless. She developed modern harpsichord technique, which permits a considerable degree of legato playing despite the instrument's nature as a producer of individually plucked notes. Read less

There are 13 Wanda Landowska recordings available.

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Formats & Featured

Biography

Born: July 5, 1879; Warsaw, Poland   Died: August 16, 1959; Lakeville, CT  
Perhaps the single most influential popularizer of the harpsichord in the twentieth century, Wanda Alexandra Landowska began playing piano at the age of four. She had lessons with Jan Klecynski, entered the Warsaw Conservatory where she studied piano with Aleksander Michalowski, and studied in Berlin with Moritz Moszkowski. In Berlin, she also studied composition, but admitted that she was put off by the textbook rules that bound the early stages Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Goldberg Variations BWV 988 (1999 Digital Remaster): Aria - Andante espressivo
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 1 - Allegro moderato
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 2 - Allegretto
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 3 - Canone all'unisuono (Poco andante, ma con moto)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 4 - L'istesso movimento
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 5 - Allegro vivace
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 6 - Canone alla seconda (Allegretto)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 7 - Un poco vivace
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 8 - Allegro
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 9 - Canone alla terza (Moderato)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 10 - Fughetta (Un poco animato)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 11 - Allegro e leggiero
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 12 - Canone alla quarta in moto contrario (Allegretto moderato)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 13 - Andantino
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 14 - Allegro moderato
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 15 - Canone alla quinta in moto contratrio (Andante)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 16 - Ouverture (Maestoso - Allegretto)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 17 - Allegro
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 18 - Canone alla sesta (Con moto)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 19 - Allegro vivace
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 20 - Allegro
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 21 - Canone alla settima (Andante con moto)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 22 - Alla breve
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 23 - Allegro moderato
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 24 - Canone all'ottava (Allegretto con moto)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 25 - Andante espressivo
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 26 - Allegro
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 27 - Canone alla nona (Un poco vivace)
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 28 - Allegro
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 29 - Brillante
Goldberg Variations BWV 988 (1999 Digital Remaster): Variation 30 - Quodlibet (Moderato)
Goldberg Variations BWV 988 (1999 Digital Remaster): Aria da capo - Andante espressivo
Italian Concerto in F BWV 971 (1999 Digital Remaster): (Allegro giusto)
Italian Concerto in F BWV 971 (1999 Digital Remaster): Andante
Italian Concerto in F BWV 971 (1999 Digital Remaster): Presto
Chromatic Fantasia & Fugue in D minor, BWV 903 (1999 Digital Remaster): Fantasia
Chromatic Fantasia & Fugue in D minor, BWV 903 (1999 Digital Remaster): Fugue
Aria
Variation I
Variation II
Variation III: Canone all'unisuono
Variation IV
Variation V
Variation VI: Canone alla seconda
Variation VII
Variation VIII
Variation IX: Canone alla terza
Variation X
Variation XI
Variation XII: Canone alla quarta
Variation XIII
Variation XIV
Variation XV: Canone alla quinta
Variation XVI: Ouverture
Variation XVII
Variation XVIII: Canone alla sesta
Variation XIX
Variation XX
Variation XXI: Canone alla settima
Variation XXII
Variation XXIII
Variation XXIV: Canone alla ottava
Variation XXV
Variation XXVI
Variation XXVII: Canone alla nona
Variation XXVIII
Variation XXIX
Variation XXX: Quodlibet
Aria
Concerto, BWV 972, in D (after Vivaldi Op. 3, No. 9): Allegro
Larghetto
Allegro
Prelude, Fugue & Allegro, BWV 998 in E-Flat: Prelude
Fugue
Allegro
No. 15: B Minor
No. 15: B Minor
Capriccio on the Departure of His Beloved Brother, BWV 992, in B-Flat: Arioso
Andante (fugato)
Adagissimo
Aria Introduction
Aria di postiglione: Adagio poco
Fuga all'imitazione della cornetta di postiglione
Partita No. 2, BWV 826, in C Minor: Sinfonia
Allemande
Courante


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