Frieder Weissmann’s (1894-1984) name is too little known nowadays. He recorded extensively for Parlophon, particularly in the acoustic era, with Beethoven and Haydn symphonies to his credit, as well as various shorter works. In the electrical era he recorded, among other things, Strauss’s Tod und Verklärung.
Bizet – Carmen – Orchestral selections
Berlin State Opera Orchestra, Frieder Weissmann

Prelude (Act 1)
First Intermezzo (Avec la garde montante)
Second Intermezzo (Entr’acte Act 3)
Chorus of the Smugglers (Act 3)
Third Intermezzo (Entr’acte Act 4) (Includes extra repeat to fill out disc)
Ballet (Farandole from L’Arlèsienne, Danse bohemienne from La Jolie Fille De Perth)

Mediafire link for Bizet – Carmen – Orchestral selections – Weissmann

(This is a zip file – left click the link, download the file, then unzip when downloaded)

Odeon 5027-9
Matrices C5027A-1, D5027B-1, A5028A-2, A5028B-5, C5029A-4, F5029B-2
Recorded 24th January 1923
Haydn – Symphony No.94 in G “Surprise”
I. Adagio cantabile – Vivace assai (2 sides)
II. Andante (2 sides)
III. Minuetto – Allegro molto (1 side)
IV. Allegro di molto (1 side)
Opera House Orchestra (Berlin State Opera Orchestra), Frieder Weissmann

Available to download from Historic Recordings

Parlophone E 10242-4
Matrices: 7635, 7636, 7689, 7690, 2-7637, 2-7691
Recorded: 23rd October 1924 (1st and 3rd movements), 21st November 1924 (2nd and 4th movements)

Haydn’s Symphonies were fairly well served in the acoustic period. There were complete recordings of No.45 “Farewell” (Bruno Seidler-Winkler, 1924), No.88 (Leo Blech, 1924 & George Szell, 1925), No.92 “Oxford” (Hyam Greenbaum, 1924 & Hans Knappertsbusch, 1925) and No.94 “Surprise” (Grosses Odeon-Streichorchester, 1913; Leo Blech, 1924; Frieder Weissmann, 1924; Henry Wood, 1925). There were early versions on 4 sides, probably abridged of No.94 and No.100 “Military” from the Victor Concert Orchestra in 1912-3 and 1913-5. Also individual movements of No.94 were recorded by Weyersberg & Stransky (2nd movement, abridged) and Szell (3rd movement).

Johann Strauss II – Der Lustige Krieg – Overture
Mozart – Die Entführung aus dem Serail – Overture

Opera House Orchestra (Berlin State Opera Orchestra), Frieder Weissmann
Parlophone E 10273
Matrices 2-7718Bhm, 2-7736Bhm
Recorded 28th and 26th November 1924
Available from May 1925
Bizet – Carmen – Prelude Act 1, Act 3
Berlin State Opera Orchestra, Frieder Weissmann

Bizet – Carmen – Prelude Act 1 – Weissmann
Bizet – Carmen – Prelude Act 3 – Weissmann

(mp3 files – click to play, or right click the link, then select “Save as”)

Parlophone E 11015
Matrices W 2-20769-2 ab, 2-20768 Bm
Recorded late 1920s

Play at 75.9rpm

R. Strauss – Tod und Verklärung – Symphonic Poem Op.24
Philharmonic Orchestra, Frieder Weissmann

Mediafire link for Strauss – Tod und Verklärung – Weissmann

(This is an mp3 file – left click the link, download the file)

American Decca 25350/2
Matrices 2-21619-2, 21620, 21621-2, 21622-2, 21623, 21624 C
Recorded c1930
Verdi – Aida – Triumphal March Act 2
Side 1 (VS p111-117,120-122)
Side 2 (VS p121 line 4 -122, 132-141, 196-203)
Berlin State Opera Orchestra, Frieder Weissmann

Mediafire link for Aida Ballet music and Grand March – Herbert Haarth, Frieder Weissmann

(This is a zip file – left click the link, download the file, then unzip when downloaded)

Parlophone E 11041
Matrices XXB 8479/80
Recorded probably 31st March 1930

Plays at  75.1rpm

Chopin – Piano Concerto No.1 in E minor Op.11

I. Allegro maestoso
II. Romanza
III. Rondo vivace

Moritz Rosenthal, piano
Berlin State Opera Orchestra, Frieder Weissmann

Mediafire link for Chopin – Piano Concerto 1 – Moritz Rosenthal, Frieder Weissmann

(This is a zip file – left click the link, download the file, then unzip when downloaded)

Parlophone R 902-4, E 11113-4 (3 10” and 2 12” records)
Matrices W 38839, 38840, 133019, 133020, 133021, 133026, W 2-21695-3, 21696-2, 2-21697, 2-21698
Recorded 1st May 1930, 26th November 1930, 2nd March 1931, Berlin

Several sides of this recording are afflicted with a high pitched whistling noise, which I have done my best to ameliorate. Additionally, there is a twenty-six bar overlap between sides 3 and 4, so I have given two versions of the first movement, with the edit at the start and end of the overlapping section.

The recording is also somewhat cut:

1st movement:
Side 1: b1-24, b139-221
Side 2: b221-333
Side 3: b333-434
Side 4: b408-510
Side 5: b510-588
Side 6: b589-689

2nd movement:
Side 7: b12-71 (orchestral introduction omitted)
Side 8: b72-126

3rd movement:
Side 9: b1-47, b88-260
Side 10: b260-295, b327-520