Sound Fountain




Conrad Hansen (1906 - 2002)

Edwin Fischer, Conrad Hansen's teacher.
Picture taken from French EMI LP PM322 with Beethoven's Fifth Concerto with Wilhelm Furtwangler conducting.



































































Electrola E 70 039 /
WBLP 1063





Wilhelm Furtwängler conducting in the Old Philharmonic Hall (Alte Philharmonie) which was destroyed in 1944. Picture taken from the Unicorn release of Beethoven's Symphony No. 9, 'Choral' - UNI. 100/101.




















































The Masterseal release of Tchaikovsky's Op. 23 with conductor Wolfgang Sawallisch.


















4 x 78 rpm records: Tchaikovsky's 1st Concerto on the original Telefunken label.





























The release of the Tchaikovsky Concerto with the RIAS Symphony and Wolfgang Sawallisch on a 10" Deutscher Schallplattenclub record, reference DSC C-67.

















Search The Remington Site















Visit also the interesting Furtwangler page published by Jimbob.


See also Youngrok Lee's Wilhelm Furtwangler discography

Already at a very young age Conrad Hansen performed with conductor Eugen Jochum and from 1927 on he often concertized with Wilhelm Furtwängler as well. With Furtwängler he performed Beethoven's Piano Concerto No. 4 Op. 56, in 1943, which was to become Conrad Hansen's most famous recording. But he also made a recording for Remington Records. 

Conrad Hansen was born on the 24th of November, 1906, in Lippstadt in Westphalia. According to Robert Nemecek (who in 1999 interviewed pianist Gisela Sott) wrote that Hansen was discovered by Fritz Volbach when the latter was 'Generalmusikdirektor' in Münster. It was in 1920 that young Conrad Hansen came to Berlin. Two years later he was accepted as a student by the great Edwin Fischer. He studied with Fischer until 1930. Later Hansen became an adept of the Cortot-school of piano playing. He knew Cortot well and every time the French maestro was in Berlin, the two pianists met, despite great differences in the style of piano playing.

Edwin Fischer, who had a busy concert schedule, asked Hansen to be his assistant and to teach Fischer's students when the great performer was on tour. So from 1935 on Hansen taught at the Berlin Municipal Conservatory (Berliner Musikhochschule, formerly 'Sternsches Konservatorium').

After a successful concert performance with Wilhelm Mengelberg playing Tchaikovsky's Piano Concerto No. 1 in B-flat minor, Op. 23, commemorating the composer's 100th birthday (April 25th, 1940), Hansen was asked to play the popular concerto one more time with famous Dutch conductor Willem Mengelberg and the Berlin Philharmonic Orchestra, but now for a recording. Hansen told Hans-Heinrich Raab during a conversation on July 24, 1996 (later broadcast by Nordeutscher Rundfunk) how the recording was made. AEG Magnetophon recorded Tchaikovsky's Piano Concerto No. 1 with Conrad Hansen and Wilhelm Mengelberg in July 1940

The Telefunken Gesellschaft had acquired the new Magnetophon (Tonbandgerät = tape recorder) which was developped by the German firm AEG and had been on display at the Radio Exposition in Berlin in 1935. Now the recording team aproached the artists and managers with the wish to use the Magnetophon for the recording of the Tchaikovsky Concerto. Mengelberg and Hansen were asked to play the Piano Concerto not in subsequent parts of the score to be engraved on the spot in the lacquer discs that were prepared on the many lathes. Now the Telefunken people asked to play the movements of the concerto without interruption. Mengelberg and Hansen agreed. And that made Hansen's Tchaikovsky recording one of the first - if not the first ever - of a classical work done on tape.

The Tchaikovsky recording was made in July of 1940 just about two months after the Netherlands had been invaded by the Nazis on May 10th, 1940. The Dutch army was defeated at Grebbeberg. Furthermore the center of the city of Rotterdam was severely bombed by the Germans on May 14th. Traveling in Germany just a few weeks after one's country has been attacked and after it had to surrender to Hitler's army, shows what Willem Mengelberg's position was. In short: life must go on and music is more important than politics. The political, social and humanitarian consequences of Germany's War were generally not fully understood by everebody at the time, or the meaning of being occupied by the Germans was deliberately neglected by many, and specifically by such a celebrity as Willem Mengelberg.

The cooperation between Hansen (25) and Mengelberg (69) resulted in a balanced performance. Mengelberg did not put his personal stamp on the music and let Hansen be his own self. It is known that Mengelberg did not "interpret" specific popular works like the Tchaikovsky B Flat. The Berlin Philharmonic plays the part as probably any good orchestra led by a first class conductor would have. A Mengelberg approach would be in great contrast with Conrad Hansen's pure pianistic style. In this recording, Hansen - in the first movement - plays the shortest cadenza ever, skipping several bars and proceeding practically immediately to the end of the cadenza. Despite the convenience of the tape recorder, the performance had to be timed to a certain number of discs as was the custom in those days. In this performance the emphasis is on precision. It is also a performance without much passion.
"Mengelberg was very happy with my playing", Hansen later said.
As so many Mengelberg recordings also this performance was released not only on the Telefunken label but also on the Czech label Ultraphon which had been acquired by Telefunken in 1932 after it filed for bankruptcy.

4 x 12" 78 RPM records with Tchaikovsky's 1st Piano Concerto in B Flat, Op. 23, performed by Conrad Hansen and Willem Mengelberg on the Ultraphon label. Ref.U-G14273/6 (Telefunken SK3092/5)

In the early 1920s Berlin inventor Heinrich J. Küchenmeister (*1893, Berlin, †1971, Bremen) developed "the Ultraphon", a player for records in a round housing with 2 sound boxes, 2 arms and 2 rectangular offset sound openings. Both needles run at a fixed distance through the same groove, whereby during playback a small time difference in the audio signal was achieved. As a result there is a gain in volume and because of the time difference a "surround sound" or pseudo-stereo effect was created. The sound reproduction may have been enhanced but the record wear was doubled as was the amount of money spent on needles.

The "German Ultraphon AG", whose purpose was the production of these talking machines, was founded on August 13, 1925 in Berlin-Lichtenberg when the electrical recording process was introduced. Naturally the commercial success did not meet the expectations and it was soon decided to build conventional devices with a single tonearm and soundbox. In 1928, the company "BERTONA" (Berliner Tonapparate-Fabrik GmbH"), took over the production.

In May, 1929, a new company, "N.V. Küchenmeister's Internationale Maatschappij voor Accoustiek" was founded with predominantly Dutch capital. The company included "N.V. Küchenmeister's Internationale Maatschappij voor Sprekende Films", established in December 1927, which later became "Internationale Tobis Maatschappij N.V." See also Willem Mengelberg filmed at the Tobis Studio, Epinay sur Seine, 1931.

The radio department was another division named "N.V. Küchenmeister's Internationale Radio Maatschappij" which only reached the planning stage.

As of October, 1928, "N.V. Küchenmeister's International Ultraphoon Maatschappij" was responsible for the record and talking machine sector. In early 1929, the "German Ultraphon AG" from Berlin merged with "Küchenmeisters Internationale Ultraphoon" from Amsterdam. The goal was to build up their own record production in Germany. The first records became available in the Fall of 1929. Within a short period of time record producer Herbert Grenzebach (*1897 Berlin, †1992 Mallorca) created a wide repertory. Among the artists were Marlene Dietrich, Joseph Schmidt and Erich Kleiber. (Retreived in April, 2018, from

The Ultraphon label ceased to exist in France, Germany and Holland. But not in Czechoslovakia. In November, 1931, Ultraphon was acquired by
Ravitas and the labelname continued to exist. Hence the appearance of the Hansen/Mengelberg recording pressed on the Ultraphon label, licensed by Telefunken.

During the period of the Third Reich, the artists who had specialized in performing modern repertory, had difficulty in keeping their positions as the modern repertory soon was declared to be 'entartete Musik' (degenerated music). Others felt that the spiritual freedom was restricted. Many performing artists, composers and conductors fled the country. Among these was conductor Fritz Busch. Those who stayed just kept a low profile and tried to come by. Not all musicians and especially the performers of the classical repertory did have too much to fear. Conductors Wilhelm Furtwängler, Herbert von Karajan, Karl Böhm, Carl Schuricht, Richard Strauss, Willem van Hoogstraten, and pianists Elly Ney and Wilhelm Backhaus, and singer Elisabeth Schwarzkopf (and others) could continue their careers. Some because they sympathized more or less with the Nazis, others despite of the Nazi regime as in the case of conductor Günther Wandt who had a narrow escape after he had been arrested.

These were dangerous times as is illustrated by the arrest, trial and execution in September 1943 in Berlin of young concert pianist of Dutch origin, Karlrobert Kreiten (1916-1943) who as a young man was careless when he expressed his views on Adolf Hitler and said that the Führer was merely a mad man and that the Third Reich would soon end. He said this during an afternoon tea at the home of a friend of his mother in Berlin. Two women who were present informed the Secret Police (Gestapo) about Karlrobert's views and when after a couple of weeks there had been no action by the Nazis, they went to the Police a second time. Now Karlrobert was arrested.

Wilhelm Furtwangler was asked to intervene, but the conductor merely wrote a note thinking that this was sufficient to free young Kreiten. Furtwängler's intervention was ineffective right from the start. Kreiten was executed. See the German website about the young pianist Karlrobert Kreiten in Berlin in 1943. Another Reference is Wikipedia.
Many artists in Germany and other European countries did not flee. Also Conrad Hansen continued to perform. After World War II had ended Wilhelm Furtwangler's behavior was under scrutiny and he could not perform for two years until 1947. Conrad Hansen was not banned for two years, the general verdict for those who had been working close to the Nazis.

Conrad Hansen in the mid nineteen fifties.
Image taken from the 1958 Tefi catalog, photo copy of original picture submitted by Dr. Klaus Holzapfel (Germany) and edited and artistically rendered by R.A.B.

Immediately after World War Two in 1945 (as his biography tells), Hansen founded his own trio, The Conrad Hansen Trio, together with Arthur Troester (cello) and Erich Röhn (violin). But he always remained a devoted teacher. He also was one of the founders of the Detmold Music Academy. The idea for this music college had come up already in 1944, near the end of the war, but the realization of the project started in 1946.

In 1960 Conrad Hansen moved to Hamburg to teach at the Hamburger Musikhochschule as a successor to Eduard Erdmann (who had first taught at the Cologne Conservatory from 1925 till 1935, then followed exclusively a career as concert pianist, and in 1950 had become a professor in Hamburg). At the same time Hansen continued teaching in Lübeck.
As so many pianists have done and still do, also Hansen edited Beethoven's original manuscripts (Urtext) of the Piano Sonatas and prepared this edition for publication.
For many years he continued to teach and many young students from all over the world, in his later years many students from the Far East, came to Hamburg to have lessons with the professor.

Professor Hansen always stressed that it is important to be able to play legato. He also said that the intrinsic value of the interpretation is the highest goal to be reached. To play brilliantly is easy, but to perform the inner truth of the music is quite something else.
This adage is a trait of his performances of several Mozart Sonatas which he recorded for Deutsche Grammophon. Sure, he is a creative performer who analyses any composition he is going to play thoroughly. But his sense for detail can easily temper passion. The intrinsic value is a subjective notion of course. There is a large difference between the intrinsic value of Mozart Sonatas and the recorded live performance of Beethoven's 4th Concerto (Klavierkonzert Nr. 4) together with conductor Wilhelm Furtwaengler in 1943. This compelling performance was the result of Furftwangler's views which must have inspired the pianist to a large extend. But the influence of Edwin Fischer, the teacher, is also evident. It suffice to listen to the recording of Fischer's performance of Beethoven's Piano Concerto No. 3 and then specifically the Second Movement.

Conrad Hansen also found that the Compact Disc is inadequate to store the many dynamic variations, the impact and depth of the sound of musical instruments, and because of that, the CD is incapable to fully convey the interpretation of the artist.

Laszlo Halasz supervised the Remington MUSIRAMA recordings in Berlin (at times together with Don Gabor himself who then traveled to Berlin). The project started in the Fall of 1953. A new recording of Tchaikovsky's Piano Concerto Op. 23 in B flat minor was on the list. It should replace the early recording on Remington R-199-76 of pianist Hermann Schwertmann and conductor Alexander Paulmüller with the Austrian Symphony Orchestra (Oesterreichisches Sinfonieorchester).

That is when Conrad Hansen was asked to be the soloist in a new LP recording of Tchaikovsky's popular work for Remington Records Inc. In this recording Hansen illustrates what he preaches. It is a very articulate performance, conducted very ably by 30 year old Wolfgang Sawallisch. Hansen scarcely uses the pedal and plays legato and staccato were appropriate and never gets sentimental or romantic. His approach is merely classical and has a beautiful lightness. Hansen gives precise passage work and also his "jeu perlé" can be witnessed in this recording. His interpretation has great purity and perfect timing. This performance is above all about esthetics. Only in the cadenzas Hansen is more telling.

The cooperation between any conductor and any artist is significant for the interpretation of a composition. Hansen and Sawallisch go well together as they have more or less the same strict ideas. Yet one cannot fail to notice that Hansen is very conscious about his art as he also illustrates in his other recordings, for example Beethoven's Piano Concerto No. 5 with Eugen Jochum, and in the performance of Piano Concerto No. 1 of Johannes Brahms with Ferenc Fricsay and the RIAS Symphonieorchester dated April 19, 1953, a performance with all the advantages and disadvantages of a live recording (available on I grandi Concerti, Longanesi Periodici No. 50).

NOTE If you are looking for humanity in the Tchaikovsky, there are other recordings to go for. Witold Malcuzynski, together with conductor Witold Rowicki, gave a compelling virtuoso performance, dynamic and passionate, on Muza SX 0123 (stereo). Or you may even try out of curiosity the old imperfectly recorded Remington disc of pianist Hermann Schwertmann for a change, who interestingly takes all the time he needs and has moments of fine phrasing and timing, but did not have the same quality of orchestra mostly due to a bad recording technique with a more or less altered frequency characteristic, and there was practically no possibility for more takes and splicing. But his performance is right from the heart and has no pretense!

Hansen's recording on Remington R-199-197 was later released on Don Gabor's Masterseal label (MSLP 5006). There is no information about Conrad Hansen on the Remington Musirama cover. But on the later Masterseal release the liner notes state this simple phrase:

"Conrad Hansen is one of Europe's most gifted and upcoming young pianists, whose sensitive interpretations have established him along the top rated European pianists."

This of course was advertising talk as Hansen had recorded the work when he was 48 and the Masterseal was released a few years later, around 1957/1958, when Hansen was about 52. He hardly could have been an "upcoming young pianist".
Much later there was a release of Tchaikovsky's 1st Concerto on Don Gabor's Masterseal label in stereo which mentions Conrad Hansen as being the soloist, but this is definitely not Conrad Hansen, as producer Tom Null told me in 2001. (The same could be true for the Webster Continental LP with reference number St-12-2.)


Conrad Hansen did not make too many recordings. Of the recordings he made there are a few cherished by connoisseurs. 

On the recordings of Mozart's Piano Sonatas and Fantasy K475.
Hansen's cycle of Mozart Sonatas on the Hammerklavier (pianoforte) for Deutsche Grammophon was started in 1956 and was not completed when in 1958 the stereo format arrived.
Although admired by a few purists, the recordings apparently did not sell in quantities high enough to justify the continuation of the project.

About the recording of Beethoven's Fourth Piano Concerto
This performance with Wilhelm Furtwängler is -as said earlier- very compelling. It was a live performance, probably recorded on acetates (as far as I can judge), although the tape recorder, the Magnetophon (which had been presented in 1936 at the Berlin Radio Fair) was already in use by the RRG (Reichs Rundfunk Gesellschaft, the Third Reich Radio Broadcast Corporation) in those days.

I advise you to look for the Italian Ariston LP release which has the concerto spread over the two LP sides. It is the same as the release on Unicorn UNI 106 in the UK, although the latter also contains the Fifth Symphony, more or less to the detriment of the sound of both the Concerto and the Symphony. The Ariston edition, made in Italy, indicates that the record is playable on mono and stereo equipment. The transfer is done in electronic stereo, but this time in a rather unobtrusive way and is really well done. And if your speakers are well positioned, this really is enjoyable. It has the beautiful harmonic sound of ancient tube gear with all the distortion, the coughing and door slamming included, while the Deutsche Grammophon release in the 2000 Series (2535 807) has been filtered and restored a bit too much to my taste, and thus does not convey the atmosphere and does not have that same intensity. The Melodiya Lp (M10 46067 003 GOST 5289-80) is a somewhat less clean version if compared to to the Deutsche Grammophon effort, but done Melodiya style with bright dynamics.

Click here for a Sound Clip of the Second Movement from Piano Concerto No. 4 of Ludwig van Beethoven with Conrad Hansen and Wilhelm Furtwängler.


The Unicorn UNI 106 and Deutsche Grammophon releases are of course worthwhile alternatives if you do not find the Ariston release or the cheaper Super Oscar SPO 1001 release which is pressed from the same plates as the Ariston. I cannot judge about the quality of the various CD-transfers, because I do not own one of them. But generally these transfers have often been cleaned up so severely that they lack the naturalness, plasticity of the piano tone and miss the atmosphere of the old transfers to analog LP. So when I made a transfer to CD I found an acceptable balance between hiss and distortion on the one hand and on the other hand musical and relatively clean sound. And then there is the influence of the hifi set.

Tchaikovsky: Concerto No. 1
in B Flat Op. 23, with the Berlin Philharmonic Orchestra, Willem Mengelberg
(recorded July 9, 1940)
Dubbed to Long Playing record by Capitol and first released in September 1950 on P 8097
Later issued as PAST MASTERS PM-18

Irving Kolodin reviewed the 1940 performance on Ultraphon 78s in 'The New Guide of Recorded Music' (Doubleday and Company, New York, 1950):

"Should the Mengelberg version appear here in a reasonable pressing, or an LP transfer, it can be noted in advance as an imperious statement of the orchestral score, with facile assistance from Hansen. It is also a better recording than any of the domestic ones." (Rubinstein-Mitropoulos, Levant-Ormandy, Horowitz-Toscanini.)
- Irving Kolodin, 1950

In this recording the full cadenza was not played as was often the case in the 78 RPM era. Reasons could be:
a) the pianist finds the cadenza too difficult to perform impeccably in a direct-to-disc recording session;
b) it saves a minute or two and that section of the movement can be accommodated on one specific side. No matter if the lacquers were cut during the performance or the lacquers were cut from a tape.

Beethoven: Concerto No. 5
with the Orchestra of the Deutsches Opernhaus, Eugen Jochum (recorded June 22 + 23, 1941)
TELEFUNKEN SK 3203/7 (also referred to as TSK 3203/7)

Mozart: Concerto No. 26 KV 537
Berlin State Opera House Orchestra, Arthur Rother
(recorded June 27, 1941)

Liszt: Concerto No. 1
with Berlin State Opera Orchestra, Arthur Rother
(recorded July 4, 1941)
TELEFUNKEN, not issued

Beethoven: Concerto No. 4
with the Berlin Philharmonic Orchestra, Wilhelm Furtwängler
(recorded live 31 October - 3 November 1943). This performance was never issued on 78 RPM but was later transferred to LP in the nineteen seventies. The Melodiya transfer apparently was made much earlier from the original Reichs-Rundfunk-Gesellschaft tape which was cofiscated by the Russians and returned when Gorbachev was in power.
Melodiya M 10 49721
Super Oscar SPO 1001 (pressed from the plates of Ariston ARCL 13028)
(Mike Gray, in his excellent Berlin Philharmonic discography, gives only October 31, 1943, as recording date) (see the NOTE above).

NOTE The pitch of the Italian Ariston and Super Oscar editions is not correct and differ at least one note if compared to the other releases. The technicians who cut the matrix from the tape supplied by Unicorn had not checked their machines! Those who have a variable pitch on their turntables can easily adjust to the right speed by comparing it to a modern edition of Beethoven's 4th Piano Concerto.

Frank: Prelude, Fugue and Variations
(recorded July 20, 1942)
+ Brahms: Ballade Op. 118, No.5
(recorded July 20, 1942)

Mozart: Rondo D Major KV 485
(recorded July 20, 1942)

Mozart: Piano Sonata G Major KV 283
(recorded July 21, 1942)

Brahms: Intermezzo Op. 117, No. 2
(recorded July 21, 1942)
TELEFUNKEN not issued

Chopin: Nocturne E Flat Major Op. 9, No. 2
(recorded July 21, 1942)
TELEFUNKEN not issued

Recordings made in the LP era:

Tchaikovsky: Concerto No. 1
with the
RIAS Symphony Orchestra and conductor Wolfgang Sawallisch
Released in Germany on the Bertelsmann label, 'Bestell-Nummer' 13 174.
Released in 1955 and reissued around 1958 as MASTERSEAL MSLP 5006

Beethoven: Trio for Piano, Clarinet and Violoncello Op. 11
Conrad Hansen (Piano), Erich Röhn (Violin), Arthur Troester (Cello) Brahms: Trio for Clarinet Op. 114
Conrad Hansen (Piano), Heinrich Geuser (clarinet), Arthur Troester (Cello)
ELECTROLA/COLUMBIA SMC 80902. Later reissued on Mace.

Brahms: Piano Concerto No. 1
with the RIAS Symphony Orchestra conducted by Ferenc Fricsay (live recording April 19, 1953)
LONGANESI I grandi Concerti No. 50
NOMOS 9.809212

Schubert: Trio Op. 100
Conrad Hansen (Piano), Erich Röhn (Violin), Arthur Troester (Cello) (recorded September 14-16, 1954 Hamburg)
TELEFUNKEN LE 6525 / LGX 66039

Dvorak: Trio E minor, op. 90
Conrad Hansen (Piano), Erich Röhn (Violin), Arthur Troester (Cello) (recorded December 8-11, 1954 Berlin)

Mozart: Trio B Flat major, KV 502
Conrad Hansen (Piano), Erich Röhn (Violin), Arthur Troester (Cello) (recorded December 8-11, 1954 Berlin)
TELEFUNKEN issued ??

Schubert: Trio Op. 100
Conrad Hansen (Piano), Erich Röhn (Violin), Arthur Troester (Cello) (recorded June, 12-14, 1956)

Schubert: Forellenquintett (Trout Quintet)
with Max Strub (Violin), Walter Müller (Viola), Irene Güdel (Cello), Rolf Heister, (Contrabass)
BERTELSMANN Schallplattenring 13353 P10

Brahms: Trio in A minor Op. 114, Beethoven trio in B Flat Op. 11
with Heinrich Geuser (clarinet) and Arthur Troester (cello)
MACE MS/MCS-9038 (a Electrola GmbH recording)

Mozart: Sonatas Nos. 1 (K279), 2 (K280), 3 (K281) and 4 (K282)
performed on Hammerklavier


Mozart: Sonatas Nos. 5 (K283), 11 (K331) and 15 (K545)
performed on Hammerklavier


Mozart: Sonatas Nos. 6 (K284) and 8 (K310) 
performed on Hammerklavier


Mozart: Sonatas Nos. 7 (K309) and 11 (K331)
performed on Hammerklavier


Mozart: Fantasie (Fantasy) K 475 and Sonata K 457, and Sonatas K533-494

Beethoven: Piano Concerto No. 1
with the Bamberg Symphony Orchestra/Heinz Wallberg

OPERA 3959 (Stereo). Later reissued on Eurodisc 70296.

Beethoven: Piano Concerto No. 3
with the Bamberg Symphony Orchestra/Istvan Kertesz
OPERA/Europäischer Phonoklub 3269
Later reissued on PARNASS S 61 425 (Stereo)

Discographer Ernst Lumpe - known for his research on the Allegro-Royale bootlegged recordings - notes that the recording on REGENT MG 5026 of Piano Concerto No. 3 of Beethoven with pianist Franz Schultz and the Berlin Symphony Orchestra conducted by Gustave Kuntz is actually the radio recording of the German Reichsrundfunk Gesellschaft (RRG)with Conrad Hansen and the "Grosses Orchester des Berliner Rundfunks" (Large Orchestra of the Berlin Radio), Artur Rother conducting. He adds:

I now have definite proof of the identity of this recording with Hansen's RRG recording. The DRA (Deutsches Rundfunkarchiv) in Frankfurt still has the first movement of Hansen's recording, and it is absolutely identical to the movement on Regent. The DRA does not have movements 2 and 3 which are on the Regent LP. So the complete performance has only been preserved under pseudonym on the Regent LP. - Ernst Lumpe

In his late seventies Conrad Hansen recorded in the newly introduced digital format a Mozart Program for the SIGNAL record label, issued in 1984.
Mozart: Sonata No. 11 in A major K. 331, Rondo a la Turca, Rondo D major K. 485, Fantasy in D minor K. 397, Sonata No. 16 in C major K. 545

On Compact Disc:

Beethoven: Piano Concerto No. 5, Sonata No. 5, Sonata No. 32. Brahms: Piano Quartet Op. 25, Sonata Op. 5, Intermezzo Op. 119 No. 1. Conrad Hansen with the RIAS Symphony Orchestra conducted by Karl Böhm, Ernst Doberitz, viola.

Rudolf A. Bruil, Page first published in September of 2000.

On Tuesday June 25, 2002 the German newspaper 'Die Welt' announced that "pianist and pedagogue Conrad Hansen died on Saturday June 22, 2002 at the age of 95." - R.A.B.



Copyright 1995-2011 by Rudolf A. Bruil