Damian's 78s (and a few early LPs)

Historic recordings remastered. Not a sales list!

Coates and Shakespeare

April 23rd is Shakespeare day, and also the birthday of the great Albert Coates.

Firstly, two songs by Peter Warlock, the first to a Shakespeare test, sung by Parry Jones.

Warlock – Take, o take those lips away (Shakespeare)
Warlock – There is a lady sweet and kind
(Thomas Ford)
Parry Jones,
tenor with piano

Warlock – Take, o take those lips away – Parry Jones

Warlock – There is a lady sweet and kind – Parry Jones

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

Columbia DB 1443
Matrices CA 14645-1, 14647-1
Recorded 4th September 1934, London
Play at 78rpm

Next, two unaccompanied choral works conducted by Coates.

Sterndale Bennett – God is a Spirit
Sullivan – O Gladsome Light (from The Golden Legend)
British National Opera Company Chorus, Albert Coates

Sterndale Bennett – God is a Spirit – BNOC Chorus, Coates

Sullivan – O Gladsome Light – BNOC Chorus, Coates

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

His Master’s Voice E 397 (side numbers 4984, 4985)
Matrices Bb 6404-II, 6405-II
Recorded 27th July 1925, Hayes
Play from 77.9 to 80.7 and 81.8rpm

Finally a selection of Wagner, for which Coates was justly famed.

Wagner – The Valkyrie – The rock is surrounded by fire. Finale of opera (Loge, hear)
Orchestra, Albert Coates
Clarence Whitehill,
bass

Wagner – The Valkyrie – Loge, hear – Whitehill, Coates

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

His Master’s Voice 3-0782
Matrix Cc 1524-I
Recorded 22nd June 1922, Hayes, Room 1
Plays from 78.4 to 77.5rpm

 

Albert Coates conducts choral music

April 23rd is St George’s Day, Shakespeare’s birthday, and more importantly for this site, the anniversary of Albert Coates’s birth. For this year’s Coates tribute, we have two early electrical choral recordings: excerpts from Mendelssohn’s Elijah, and unaccompanied spurious Bach!

Georg Gottfried Wagner – Blessing, Glory and Wisdom (attr. J.S. Bach, BWV Anh 162)
Sung in English
Choir from the Chorus of the British National Opera Company, Albert Coates

G.G. Wagner – Blessing, Glory and Wisdom – BNOC Chorus, Coates

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

His Master’s Voice D 1036
Matrices Cc 64624-I, 6425-II (single side numbers 04852, 04853)
Recorded 30th July 1925, Studio B, Hayes
These sides play at standard pitch at about 74.5rpm (putting the music in E flat)

This is a rare example of Coates conducting unaccompanied choral music – the piece in question was attributed to Bach, but is now known to be by Georg Gottfried Wagner, who worked with Bach in Leipzig for a little while.

Mendelssohn – Elijah – Baal chorus; Thanks be to God
Sung in English
Chorus and Symphony Orchestra, Albert Coates

Mendelssohn – Elijah – Baal chorus – Coates
Mendelssohn – Elijah – Thanks be to God – Coates

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

His Master’s Voice D 1070

Matrices CR 37-II, CR 38-II (single side numbers 4-0781, 4-0782)
Recorded 1st December 1925, Queen’s Hall, London
These sides play in score pitch at about 78.5rpm

Easthope Martin – Godard and Grieg; Albert Coates – Tchaikovsky’s Romeo and Juliet, Rimsky-Korsakov’s Dance of the Tumblers

There are two parts to this latest addition to my site. First, a performer who has appeared already as a composer: Easthope Martin, whose popular “Come to the fair” has been heard here performed both by Julie Andrews, and her stepfather Ted Andrews. However, in the period before the First World War, Martin recorded a number of sides for Zonophone, though he was disguised behind a pseudonym.

Godard – Second Mazurka Op.54
Grieg – Norwegian Bridal March Op.19 No.2
Easthope Martin,
piano
(credited on label as Paul Astor)

Godard – Second Mazurka – Easthope Martin
Grieg – Norwegian Bridal March – Easthope Martin

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

Zonophone Record The Twin Serial A 144
Matrices z7135f, z7136f (side numbers Z-045509, Z-045508)
Recorded 24th February 1913

To commemorate Shakespeare’s anniversary, and the birthday of the Anglo-Russian  conductor Albert Coates, I present here one of Coates’s later Decca recordings – Tchaikovsky’s Romeo and Juliet, with Rimsky-Korsakov’s Dance of the Tumblers as the filler side.

Tchaikovsky – Romeo and Juliet – Fantasy Overture
Rimsky-Korsakov – The Snow Maiden – Dance of the Tumblers
National Symphony Orchestra, Albert Coates

Tchaikovsky – Romeo and Juliet – Coates
Rimsky-Korsakov – Snow Maiden – Dance of the Tumblers – Coates

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

Decca (Dutch) X 10068/9, X 10170
Matrices AR 9109-2, 9110-1, 9111-2, 9112-2, 9113-1, 9152-2
Recorded 8th February 1945 (sides 1 and 4), 23rd February 1945 (sides 2, 3, 5 and Rimsky-Korsakov), Kingsway Hall, London

Curiously, sides 1 to 4 are coupled in automatic sequence on X 10068/9, and side 5 and the Rimsky-Korsakov are on X 10170

Carmen excerpts: 1920 Columbia abridged recording; highlights on LP from Walter Goehr and Erasmo Ghiglia; orchestral and choral excerpts – Weingartner, Pitt, Maclean, Ronald, Sabajno, Matacena, Mackenzie-Rogan, Weissmann, Coates; excerpts from 1911 Pathé recording; other vocal excerpts in French, English, German, Italian and Russian

It has taken a long time to prepare this update, which focuses on Bizet’s Carmen. The centrepiece is the abridged 1920 Columbia set on 10” records. This is complemented by two LPs of excerpts from the 1950s, and then a wide selection of 78s of orchestral and vocal excerpts, whether in more or less their original forms, or as “gems.” The sung languages range from French, via Italian, English and German to Russian. Where Carmen excerpts occupy only one side of a record, the other side is, as usual, given here too. In some cases additional recordings by the same performer are included.

Complete or substantial excerpts:

Bizet – Carmen (abridged)
Orchestra of La Scala, Milan
sung in Italian

1. Prelude
2. Chorus of Cigarette Girls – Suono la campana
3. Habanera – E l’amore
4. Duet – Ah, mi parla di lei
5. Duet – Mio vegga ancor
6. Seguidilla – Presso il bastion di Siviglia
7. Duet – Carmen quest’ ufficiale
8. Bohemian Song – All’ udir
9. Bohemian Song – Or ben Pastia desia
10. Toreador Song – Part 1 (Con voi ber)
11. Toreador Song – Part 2
12. Quintette – Part 1 – Noi s’lia in vista un bell’ affar
13. Quintette – Part 2 – Certo la cosa
14. Duet – Alfin sei qui
15. Duet – Al quartier
16. Flower Song – Il fior
17. Duet – No, tu non m’ami
18. Duet and Finale (Part 1) – No, piu non ti voglio
19. Finale, Act 2 (Part 2) – Dubbio non c’e
20. Trio – Part 1 – Io ci veda
21. Trio – Part 2 – Invan par evitar
22. Ensemble – E nostr’ affar il doganier
23. Aria – Io dico
24. Recit & Duet Part 1 – Ma non m’inganno
25. Duet Part 2 – Per amante ell’ avveva
26. Finale Act 3, Part 1 – Ola! Jose
27. Finale Act 3, Part 2 – Ah! bada a te
28. Finale Act 3, Part 3 – Ah! paventa
29. Duet – Se tu m’ami
30. Duet – Sei tu?
31. Finale Act 4, Part 1 – Piu non m’ama il tuo cor?
32. Finale Act 4, Part 2 – No davver

Fanny Anitua, mezzo-soprano – Carmen
Luigi Bolis, tenor – Don José
Ines Maria Ferraris, soprano – Micaëla
Cesare Formichi, baritone – Escamillo
Lina Garavaglia, soprano – Mercédès
Rosa Garavaglia, soprano – Frasquita
Enrico Spada, bass – Zuniga
Luigi Baldassare, bass – Il Dancairo/Moralès
Carlo Paltrinieri, tenor –  Il Remendado
La Scala Chorus

Mediafire link for Bizet – Carmen – acoustic Columbia – Acts 1 & 2
Mediafire link for Bizet – Carmen – acoustic Columbia – Acts 3 & 4

(These are zip files – left click the link, download the file, then unzip when downloaded)

Columbia D 5582-97
Matrices 42436, 42381, 42384, 42427, 42398, 42416, 42431, 42412, 42411, 42382, 42383, 42395, 42396, 42413, 42414, 42415, 42420, 42429, 42430, 42406, 42388, 42424, 42426, 42392, 42397, 42389, 42434, 42421, 42385, 42432, 42435, 42433
Recorded 1920

Play at 82.6rpm (1, 19, 31-2), 78rpm (2-5, 7, 10-14, 16-18, 21, 24), 81.6rpm (6, 8, 9, 15, 22-3, 28, 30), 79.6rpm (20, 25-6), 83.4rpm (27), 80.9rpm (29)

Sides in order of matrix number:
2, 10, 11, 3, 29, 21, 26, 24, 12, 13, 25, 5, 20, 9, 8, 14, 15, 16, 6, 17, 28, 22, 23, 4, 18, 19, 7, 30, 32, 27, 31, 1

This recording, though of course publicised as the complete opera, is heavily cut, with substantial omissions at the start of Acts 1 and 4, among others. It’s still an interesting performance, though Luigi Bolis (Don José) tends to pronounce Carmen so that it sounds like Carmeng!

The first record in my copy of this set is broken, and I’ve done my best to repair it for this transfer.

Bizet – Carmen – Concert performance
Orchestra del Teatro Comunale, Firenze, Erasmo Ghiglia

1. Act 1. Habanera: L’amour est un oiseau rebelle
2. Parlez-moi de ma mère
3. Seguidilla: Près des remparts de Séville
4. Act 2. Chanson bohème (abridged, solo)
5. Toreador Song: Votre toast
6. Flower Song: Le fleur que tu m’avais jetée
7. Act 3. Card Scene
8. C’est des contrabandiers… Je dis que rien ne m’épouvante
9. Duet Escamillo/ Don José
10. Act 4. Si tu m’aimes, Carmen… C’est toi! C’est moi!

Franca Sacchi, mezzo-soprano  – Carmen
Eddie Ruhl, tenor – Don José
Alberta Hopkins, soprano – Micaela
Antonio Boyer, baritone – Escamillo

Mediafire link for Bizet – Carmen – concert performance – Ghiglia

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

Saga XID 5264
Matrices XID 5264A, 5264B
Recorded 1950s
Play at about 32.7rpm (-2%)

The record label notes “First issued 1965”, but this is likely to have been recorded in the 1950s. Ghiglia is credited as Ghili, and Ruhl as Rhul on the record sleeve. The soloists sing in French, but the chorus sings in Italian throughout.

Bizet – Carmen – Opera in four Acts – a concise version
Netherlands Philharmonic Orchestra, Walter Goehr
(Performers credited on label as:
Orchestra and Chorus of The Opera Classica Society of New York. William Stellar, conductor)

1. Prelude Act 1 (without Coda)
2. Habanera (abridged)
3. Parle-moi de ma mère (abridged)
4. Seguidilla (tenor is a bar behind in final section)
5. Act 2. Chanson bohème
6. Toreador Song (omits L’amour interchange at end)
7. Flower Song
8. Act 3. Smugglers’ march
9. Card Song and Trio
10. Micaela’s aria
11. Act 3. Finale
12. Intermezzo Act 4
13. Act 4. Finale (abridged)

Cora Canne Meyer, Carmen
Leo Larsen, Don José
Corry van Bekkum, Micaëla
Gerard Holthaus, Escamillo
Rick van Veen, Frasquita
Betty de Jong, Mercédès

Mediafire link for Bizet – Carmen – concise version – Goehr

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

The Classics Club Rembrandt X64
(Originally issued by The Musical Masterpiece Society)
Matrices X64A1P, X64B1P
Recorded 1953-4
Reviewed in July 1954
Play at about 33.6rpm

This Classics Club reissue is slightly later than the original MMS issue.

Orchestral:

Wagner – Die Walküre – Magic Fire Scene
Bizet – Carmen – Overture and Intermezzo Act IV
Grand Symphony Orchestra, Felix Weingartner

Wagner – Die Walküre – Magic Fire – Weingartner
Bizet – Carmen – Overture, Intermezzo IV – Weingartner

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

Columbia L 1097 (pale blue label)
Matrices 36914-2, 36916-1
Recorded 23rd March 1914
Available from September 1916 to May 1928
(Previously available on D17724 from September 1914 to October 1916)
Play at about 79rpm (though speed is a little variable)

These recordings were among Weingartner’s earliest, made in America.

PREVIOUSLY AVAILABLE:
Bizet – Carmen selection
New Queen’s Hall Light Orchestra, Alick Maclean

Bizet – Carmen – selection – Maclean

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

Columbia L1485
Matrices 76991-2, 76992-2
Recorded 10th May 1923
Available from September 1923 to February 1928

PREVIOUSLY AVAILABLE:
Bizet – Carmen – selection
BBC Wireless Symphony Orchestra, Percy Pitt

Bizet – Carmen – selection – Pitt

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

Columbia 9125
Matrices WAX 1509-1, 1510-1 (6172, 6174)
Recorded 28th April 1926
Available from March 1927 to April 1941

The recordings below contain Landon Ronald’s complete orchestral excerpts from Carmen and almost all of his recordings from Delibes’s Sylvia – only the early 1913 account of the Prelude is missing (recorded on the same day as the Pizzicato)

Delibes – Sylvia – Prelude les Chasseresses
Bizet – Carmen – Intermezzos, Acts 3 & 4

Royal Albert Hall Orchestra, Sir Landon Ronald

Delibes – Sylvia – Prelude les Chasseresses – Ronald
Bizet – Carmen – Intermezzos, Acts 3 & 4 – Ronald

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

His Master’s Voice D 134
Matrices HO 1867ac, 3640af (side numbers 2-0698, 2-0912)
Recorded 27th May 1916, 8th March 1919
Play at 78.1rpm, 77.2rpm

Bizet – Carmen – Prelude
Mascagni – Cavalleria Rusticana – Intermezzo

Royal Albert Hall Orchestra, Sir Landon Ronald
(label for Mascagni “late New Symphony Orchestra”)

Bizet – Carmen – Prelude – Ronald
Mascagni – Cavalleria Rusticana – Intermezzo – Ronald

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

His Master’s Voice D 137
Matrices HO 456 aj, Cc 2755-I (side numbers 0863, 0739)
Recorded 8th February 1913, 27th March 1923
Play at 77.8rpm, 76.5rpm

This is the later of Ronald’s two recordings of the Cavalleria Intermezzo

Delibes – Sylvia – Cortège de Bacchus
Mendelssohn – Spring Song, Bees’ Wedding

Royal Albert Hall Orchestra, Sir Landon Ronald

Delibes – Sylvia – Cortège de Bacchus – Ronald
Mendelssohn – Spring Song, Bees’ Wedding – Ronald

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

His Master’s Voice D 160
Matrices HO 406aj, Cc 2754-I (side numbers 0845, 0738)
Recorded January 1913, 27th March 1923
Play at 76.6rpm, 77.2rpm

Ronald recorded the Mendelssohn pieces on 18th November 1911, but this side was not issued. On 6th January 1912 the side was recorded twice more, with the second attempt being issued. The 1923 remake given here (the first of two takes made on the same day) was his last issued recording of these works.

Delibes – Sylvia – Intermezzo and Valse Lente; Pizzicato
Royal Albert Hall Orchestra, Sir Landon Ronald

Delibes – Sylvia – Intermezzo and Valse Lente – Ronald
Delibes – Sylvia – Pizzicato – Ronald

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

His Master’s Voice D 161
Matrices HO 427af, HO 448aj (side numbers 0849, 0852)
Recorded January 1913, 3rd February 1913
Play at 78.1rpm, 77.5rpm

PREVIOUSLY AVAILABLE:
Bizet – Carmen – Preludes to Act 1 and 2
Royal Albert Hall Orchestra, Landon Ronald

Bizet – Carmen – Prelude Act 1 – Ronald
Bizet – Carmen – Prelude Act 2 – Ronald

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

His Master’s Voice E 461
Matrices BR 936-IA, 937-II (single side numbers 6-830/1)
Recorded 21st January 1927, Queen’s Hall, London

Bizet – The Toreador Song “Carmen”
Band of H.M. Coldstream Guards, John Mackenzie-Rogan

Bizet – Carmen – Toreador Song – Coldstream Guards

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

Gramophone Concert Record G.C.-283
Matrix 2482(b)-WG (side number 283)
Recorded 9th October 1902

Transferred at 78rpm, to play in G minor/major at A452.

Bizet – Carmen – Prelude to Act III (Intermezzo)
Orchestra of La Scala, Milan, Carlo Sabajno

Bizet – Carmen – Prelude Act 3 – Sabajno

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

Gramophone Concert Record G.C.-760
Matrix 8121b (side number 760)
Recorded May 1906, Milan

PREVIOUSLY AVAILABLE:
Bizet – Carmen – Selection I
Bizet – Carmen – Preludio Atto I
La Scala Symphony Orchestra, Carlo Sabajno

Bizet – Carmen – Selection I – Sabajno
Bizet – Carmen – Overture – Sabajno

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

Bizet – Carmen – Preludio atto IV
Orchestra of La Scala, Milan, Carlo Sabajno

Bizet – Carmen – Prelude Act 4 – Sabajno

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

His Master’s Voice C428
Matrices: 925c, 1045c (side numbers 0548, 05025)
Recorded 1906, April 1907, Milan

No conductor is identified in the recording ledgers for the April 1907 sessions. Fred Gaisberg recorded various solo items with Alice Cuccini, the La Scala Chorus and La Scala Orchestra. Other items from Carmen  were recorded at these sessions. When Gaisberg returned to Milan in May 1907, after recording in Egypt, Sabajno was in the studios, and  identified as such in the ledgers. It remains uncertain, therefore, whether he was involved in the April sessions.

Gramophone Concert Record G.C.-50547
Matrix 10383b (50547 IV)
Recorded April 1907

PREVIOUSLY AVAILABLE:
Bizet – Carmen – Intermezzo Act IV
Wagner – Lohengrin – Prelude Act III
Musica della R. Marina Italiana, Mo. Cav. Saba Matacena

Bizet – Carmen – Intermezzo IV – Matacena
Wagner – Lohengrin – Prelude Act III – Matacena

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

Fonotipia 39471, 39470 (Nos. 1927, 1926)
Matrices: XPh 1595m 1594
Recorded 9th February 1906

These performances are certainly spirited, but it is noticeable how ragged  they are, when compared with the much more polished performances by the  Coldstream Guards and the Garde Républicaine from around the same time.

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

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

French:

Bizet – Carmen – excerpts from complete Pathé recording
Sides 5 and 6 – Choeur des gamins (Suite); Choeur des cigarieres: La cloche a sonné
Sides 15 and 16 – Ou me conduisez-vous… [Seguidille]; Oui mais toute seule
Sides 19 and 20 – Les tringles des sistres; Tra la la la
Sides 31 and 32 – Tu m’entendras [Air de la fleur]; Non tu ne m’aime pas

Chorus and Orchestra of the Opéra Comique de Paris, François Ruhlmann
Marguerite Mérentié,
soprano – Carmen
Agustarello Affre, tenor – Don José
Marie Gantéri, soprano – Frasquita
Jeanne Billa-Azéma, soprano – Mercédès
M. Dulac, baritone – Moralès
Pierre Ernest Dupré, baritone – Zuniga

Not heard on these sides:
Aline Vallandri, soprano – Micaëla
Henri Albers, baritone – Escamillo
Hippolyte Belhomme, bass – Le Dancaïre
Paul Dumontier, baritone – Le Remendado

Bizet – Carmen – Pathé sides 5-6 – Ruhlmann
Bizet – Carmen – Pathé sides 15-16 – Ruhlmann
Bizet – Carmen – Pathé sides 19-20 – Ruhlmann

Bizet – Carmen – Pathé sides 31-32 – Ruhlmann

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

Pathé catalogue number No.1652 – Carmen 5/6
Pathé catalogue number No.1657 – Carmen 15/16
Pathé catalogue number No.1659 – Carmen 19/20
(80rpm, 11½”, edge start, paper label)
Recorded 1911. Early 1920s pressings
Play at 76.6rpm, 78.1rpm, 76.4rpm

Pathé Carmen 31/32
(90rpm 11½” centre start etched label)
Recorded 1911. Early pressing.
Matrices 96460 RA, 96554 RA
Play at 87.9rpm

Auber – La Muette de Portici – Amour sacré
Orchestra
Henri Albers,
baritone
Albert Vaguet, tenor

Bizet – Carmen – Je suis Escamillo
Orchestra
Henri Albers,
baritone
Gaston de Poumayrac, tenor

Auber – La Muette de Portici – Albers, Vaguet
Bizet – Carmen – Je suis Esacmillo – Albers, de Poumayrac

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

Pathé catalogue number 1577
Recording numbers 561, 976
(90rpm 11½” centre start etched label)
Matrices 53632GR, 49578GR
Recorded 1910 – July 1912

Play at 88.0rpm and 88.6rpm

Bizet – Carmen – Couplets du Toréador
Berlioz – La Damnation de Faust – Voici des roses
Maurice Renaud,
baritone with piano

Bizet – Carmen – Toreador – Renaud
Berlioz – La Damnation de Faust – Voici des roses – Renaud

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

Pathé recording numbers 3381, 3383
(90rpm 11½” centre start etched label)
Matrices 11844Px, 11846Px
Recorded 1902-3

Play at 87.4rpm and 86.7rpm

Bizet – Carmen – L’amour est enfant; Air des cartes
Marie Delna,
mezzo-soprano with piano

Bizet – Carmen – Habanera – Delna
Bizet – Carmen – Air des cartes – Delna

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

Pathé recording numbers 3502, 3514
(90rpm 11½” centre start etched label)
Matrices 7845-B-x, 7866-B-x
Recorded 1903-4

Play at 89.1rpm and 85.2rpm

The opening of the Habanera was not successfully transferred from the Pathé Master Cylinder to this disc, so I’ve reconstructed it from the following bars.

Bizet – Carmen – Habanera
Handel – Célèbre Largo
Orchestra
Alice Raveau,
contralto

Bizet – Carmen – Habanera – Raveau
Handel – Largo – Raveau

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

Pathé No.0484 (11½”, edge start, paper label)
Recording numbers 1129, 1135 c
Recorded 1925 (Sides are dated 7th August 1925, 22nd August 1925)

Play at 78.4rpm (Handel transposed down a semitone into E major)

PREVIOUSLY AVAILABLE (new restorations):
Bizet – Carmen – Chanson du Toréador

Victor Orchestra
Emilio de Gogorza,
baritone

Victrola 88178
Matrix C-3349-4 (P88178)
Recorded Date 11th June 1906
Plays at 76.2rpm

In this recording (which has only one verse), the chorus members disagree over the language. De Gogorza has been happily singing in French, and most of the chorus follow this with “Toréador, en garde,” but some go for the Italian version “Toreador, attento.” Carmen was still frequently given  in Italian in the early 20th century, and at the Met it was not unknown for the soloists to sing in French while the chorus sang in Italian.

Rossini – Il Barbiere di Siviglia – Largo al factotum
Victor Orchestra, Rosario Bourdon
Emilio de Gogorza,
baritone

Victrola 88181
Matrix C-6867-2 (D88181)
Recorded 8th March 1909
Plays at 78.6rpm

In this recording,  at “uno alla volta” de Gogorza and the orchestra disagree over which edition of the score is being used: the singer uses the version which has the pattern F-E-F-E-D#-E, while the orchestra goes for  F-E-D#-E-D#-E.

Bizet – Carmen – Toreador – Gogorza
Rossini – Barbiere – Largo al factotum – Gogorza

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

Bizet – Carmen – Habanera; Seguidilla
Orchestra
Sigrid Onegin,
mezzo-soprano

Bizet – Carmen – Habanera – Onegin
Bizet – Carmen – Seguidilla – Onegin

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

Brunswick 15128
Matrices E21530, E21533
Recorded 17th February 1927

Italian:

Bizet – Carmen – Romanza del fiore
Thomas – Mignon – Addio Mignon
Orchestra
Angelo Bendinelli,
tenor

Bizet – Carmen – Romanza del fiore – Bendinelli
Thomas – Mignon – Addio Mignon – Bendinelli

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

Columbia-Rena Opera Record D 5503
Matrices 11243, 11266
Recorded c1912
sung in Italian

The Carmen aria is sung a semitone below score pitch, playing at 78rpm. The Mignon aria plays at 79.8rpm.

Bizet – Carmen – Habanera
Donizetti – La Favorita – O mio Fernando

Orchestra
Nini Frascani,
mezzo-soprano

Bizet – Carmen – Habanera – Frascani
Donizetti – La Favorita – O mio Fernando – Frascani

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

Columbia D 5505
Matrices 11113, 11115
Recorded c1912
sung in Italian

Play at 81.2rpm

English:

Gounod – Faust – Even Bravest Heart
Bizet – Carmen – Toreador Song

Orchestra
Thomas Chalmers,
baritone

Gounod – Faust – Even bravest heart – Chalmers
Bizet – Carmen – Toreador Song – Chalmers

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

Edison Diamond Disc 82060
Matrices 2826-B-5-4, 2997-A-2-1 (82060-L, -R)
Recorded 18th February 1914, 1st May 1914, New York

Play at 80.5rpm (Gounod), 79.6rpm (Bizet)

Bizet – Carmen – My Mother I Behold (Act I)
Orchestra, Sir Hamilton Harty
Elsa Stralia,
soprano
Frank Mullings, tenor

Bizet – Carmen – My Mother I Behold – Stralia, Mullings, Harty

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

Columbia 7258
Matrix 74106-2
Recorded c 14th May 1920
Available from March 1922 to April 1924

Plays at 83.7rpm
This was reissued on double sided 7332 in April 1924, coupled with Stralia’s 1920 account of Micaela’s aria.
This was available until January 1925 when the Micaela aria was replaced with a 1924 remake – this new issue was available 22nd January 1925 to August 1930.

Bizet – Carmen – The Toreador Song
Wagner – Tannhäuser – O Star of Eve
Orchestra, Clarence Raybould
(Bizet), Robert Ainsworth (Wagner)
Harold Williams,
baritone

Bizet – Carmen – Toreador – Williams
Wagner – Tannhäuser – O Star of Eve – Williams

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

Columbia 9873
Matrices WAX 3226-1, 4552-2 (side numbers 8480, 11189)
Recorded 7th August 1928, 15th January 1929

Play at 76.9rpm and 78.0rpm.

Bizet – “Carmen” – Vocal Gems

Intro.: Act1; Habanera; Micaela – Don Jose Duet; Seguidilla; Toreador’s Song, Act 2
Flower Song, Act 2; March, Act 4; Escamillo-Carmen Duet, Finale

Sadler’s Wells Orchestra, Warwick Braithwaite
Noel Eadie,
soprano
Nancy Evans, contralto
Webster Booth, tenor
Dennis Noble, baritone

Bizet – Carmen – Vocal gems – Eadie, Evans, Booth, Noble, Braithwaite

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

His Master’s Voice C 3143
Matrices 2EA 8190-I, 8191-I
Recorded 21st December 1939

Bizet – Gems from “Carmen”
Orchestra
Zonophone Operatic Party
Carrie Tubb,
soprano
Violet Elliott, mezzo-soprano
Ernest Pike, tenor
Harold Wilde, tenor
Stewart Gardner, baritone
Peter Dawson, bass-baritone

Bizet – Carmen – gems – Zonophone

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

Zonophone The Twin Serial A 50
Matrices z5447f, 5449f (side numbers Z-044509. Z-044510)
Recorded 15th September 1911

Plays at 75.6rpm

Bizet – Carmen – Habanera; Gipsy Song
Orchestra

Edna Thornton,
contralto
(credited on label as Madame Violetta)
Eleanor Jones-Hudson, soprano
Ernest Pike, tenor
Peter Dawson, bass-baritone

Bizet – Carmen – Habanera – Thornton
Bizet – Carmen – Gipsy Song – Thornton

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

Zonophone Celebrity Record G.O.9
Matrices 11589e, 11590e (side numbers 43205, X43207)
Recorded 14th April 1910

Plays at about 78.5rpm.

Thornton enters a beat early for the final verse of the Gipsy Song, but somehow she and the orchestra get themselves back together again after some time.

Bizet – Carmen – Toreador Song
Wagner – Tannhäuser – O Star of Eve

Orchestra
Roy Henderson,
baritone

Bizet – Carmen – Toreador Song – Henderson
Wagner – Tannhäuser – O Star of Eve – Henderson

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

Broadcast Twelve 5100/3231
Matrices L 0241, L 0245 (5100-A/3231-A, 5100-B X/3231-B X)
Recorded January 1929
Sides play at about 77rpm, and 78rpm

Gounod – Faust – Even bravest heart
Rossini – The Barber of Seville – Room for the City’s Factotum

Orchestra
Roy Henderson,
baritone

Gounod – Faust – Even bravest heart – Henderson
Rossini – Barber of Seville – Largo al factotum – Henderson

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

Broadcast Twelve 5089
Matrices L 0242, L 0246 (5089A X, 5089B)
Sides play at about 77rpm, and 78rpm
Recorded January 1929

At these speeds the Bizet and Wagner arias both play in score pitch. The Gounod plays in D flat, putting the introduction at score pitch, and the aria a tone below. The Rossini plays in A, a surprisingly large transposition of a minor third below score pitch.

 

Bizet – Gems from “Carmen”
Soloists, full chorus and orchestra
with Constance Willis, mezzo-soprano

Bizet – Carmen – gems – Willis

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

Broadcast Twelve 5018
Matrices L070X, L071X
Recorded c1929
Plays at about 76.0rpm

Saint-Saëns – Samson and Delilah – Softly awakes my heart
Bizet – Carmen – Habanera
Orchestra

Constance Willis,
mezzo-soprano

Saint-Saëns – Samson and Delilah – Softly awakes my heart – Willis
Bizet – Carmen – Habanera – Willis

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

Broadcast Twelve 5114
Matrices L 0208X, L 0247X
Recorded 1929
Plays at about 77.5rpm

Constance Willis is perhaps best remembered (if at all) for her impressive performance as Katisha in the 1939 film of The Mikado. She was an experienced singer both in concert and in opera by this time, and was known for her Carmen. Surprisingly she appeared only once at the Proms, in 1930, singing “Amour! viens aider ma faiblesse!” from Samson and Delilah, and two Rachmaninov songs. The second of her records listed here prompted the following from Herman Klein in the December 1929 issue of The Gramophone:

Constance Willis’s experience with the B.N.O.C. has made a dramatic singer of this artist and taught her to bring some of her stage instincts with her into the recording studio. In such cases let me assure the Broadcast Twelve operator that there is no need for indiscriminate over-amplifying; the voice and the style are quite big enough without his artful aid. The only other criticism I would make concerns the descending chromatic phrases of the Habanera; and there Miss Willis is too inclined to “slither” down from note to note when a clean scale is absolutely essential.

Earlier recordings for Vocalion were warmly received.

Bizet – Carmen – Flower Song
Gounod – La Reine de Saba – Lend me your aid

Orchestra
Frank Titterton,
tenor
(credited on labels as Francesco Vada)

Bizet – Carmen – Flower Song – Titterton
Gounod – La Reine de Saba – Lend me your aid – Titterton

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

Broadcast Twelve 5062
Matrices L 072, L 094 (5062A X, 5062B)
Recorded c 1929
Plays at about 77.4rpm. This record is very worn and scratched, particularly at the start of each side.

Puccini – La Boheme – Your Tiny Hand is Frozen
Bizet – Carmen – The Flower Song

Orchestra, Leslie Heward
(Puccini), Julian Clifford (Bizet)
Frank Titterton, tenor

Puccini – La Boheme – Your tiny hand is frozen – Titterton
Bizet – Carmen – Flower Song – Titterton

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

Decca K505
Matrices MA 486-2A, MA 746-1A
Recorded 24th September 1929, 6th December 1929
Play at about 78.5rpm and 78.9rpm.

Together, these two records provide a rare chance to hear an artist recording the same aria for two different companies around the same time.

PREVIOUSLY AVAILABLE:
Bizet – Carmen – March Act IV
Gounod – Faust – La Kermesse
Sung in English
Chorus and Symphony Orchestra, Albert Coates

Bizet – Carmen – March Act IV – Coates
Gounod – Faust – La Kermesse – Coates

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

His Master’s Voice D 1047
Matrices Cc 7063-II, 7065-II (single side numbers 4-0749, 4-0750)
Recorded 26th October 1925, Hayes

This was recorded in a session at Hayes which also included the Boris Godunov coronation scene with Chaliapin and the Church Scene from Faust, with Chaliapin and Austral. The baritone who has a brief solo in the Faust chorus is unnamed. There is a possibility that it is Edward Halland, who was in studio with Coates the following day when some Wagner excerpts were recorded.

The sound is somewhat recessed, as these are fairly early examples of electrical recording of pieces for chorus and orchestra. Indeed, on the same day that these recordings were made at Hayes, the pianist Max Darewski was being recorded acoustically in another of the Hayes studios.

German:

Saint-Saëns – Samson et Dalila – Printemps qui commence
Bizet – Carmen – Ja, die Liebe hat bunte flügel (Habanera)

Berlin State Opera Orchestra, Leo Blech
Maria Olszewska,
contralto

Saint-Saëns – Samson et Dalila – Printemps qui commence – Olszewska
Bizet – Carmen – Habanera – Olszewska

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

His Master’s Voice D1386
Matrices CWR 1291-I, 1295-II (side numbers 2-043085, 2-044029)
Recorded 27th and 28th February 1927, Berlin

Saint-Saëns – Samson et Dalila – Mon coeur s’ouvre a ta voix
Handel – Rinaldo – Lascia ch’io pianga

Berlin State Opera Orchestra, Fritz Zweig
Maria Olszewska,
contralto

Saint-Saëns – Samson et Dalila – Mon coeur s’ouvre – Olszewska
Handel – Rinaldo – Lascia ch’io pianga – Olszewska

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

His Master’s Voice D 1465
Matrices CLR 3961-III, CLR 3962-II (side numbers 2-033131, 2-033132)
Recorded 15th March 1928, Berlin

Across these two records Olszewska shows off her command of languages: the Saint-Saëns arias are in French, the Carmen is in German, and the Handel is in Italian.

Russian:

Bizet – Carmen – La fleur que tu m’avais jetée
Meyerbeer – Les Huguenots – Plus blanche que la blanche ermine

Orchestra
Dmitri Smirnov,
tenor

Bizet – Carmen – Flower song – Smirnov
Meyerbeer – Les Huguenots – Plus blanche – Smirnov

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

Historic Masters HMB 7
Matrices 2689c, 2857c (022312, 022338)
Recorded 21st October 1912, 15th October 1913, St. Petersburg

The sides play at about 78.6rpm and 75.2rpm respectively. This repressing from original matrices was among the earliest issues by Historic Masters.

Shakespeare recordings by pupils of the Guildhall School of Music, Basil Maine and John Gielgud; Albert Coates conducts Siegfried’s Funeral March

Today marks the anniversary of Shakespeare’s birth and death, and is also St. George’s Day. To mark the first of these, there are two quite different Shakespeare recordings from 78s, which are linked by a review in Gramophone magazine. Then there’s a set of Linguaphone recordings of John Gielgud performing Shakespeare. This is different to the set that has appeared here previously (though he does perform some of the same excerpts.)

Today is also the anniversary of the birth of the conductor Albert Coates, so I present here his 1926 recording of Siegfried’s Funeral March from Götterdämmerung.

Shakespeare – As You Like It: Rosalind’s Speech, Act III, Scene V
Miss Margaret Littlefair,
actor
Shakespeare – Twelfth Night: Garden Scene Duologue, Olivia and Viola, Act III, Scene 1
Miss Winifred Cain,
actor
Miss Bronwen Rees, actor

Shakespeare – As You Like It: Rosalind’s Speech – Littlefair

Shakespeare – Twelfth Night: Garden Scene – Cain, Rees

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

Columbia 4396
Matrices WA 3717-3, 3715-2 (23549, 23547)
Recorded 1927
Available from June 1927

Paul Berton, BA, BCI, FGSM, Professor of Dramatic Art and Declamation at the Guildhall School of Music, with the aid of some of his students, made the following 8 recordings demonstrating his principle of “Logical-Rhetorical Dissection of Speech”

This is the third of four records. This set was roundly demolished in a review in Gramophone in August 1927:

You all know the lines about little victims heedless of their doom, and here have I been sitting hard at work to-day quite unaware of the doom in store for me in a little heap of unplayed records. This afternoon the blow fell. I have played them all through, and if I say that they are more depressing than any recent weather forecast I shall actually be understating their effect. These records, four in number from Columbia, are announced as follows :–” TRAINING FOR SPEAKING. A Series of Columbia Records of Declamatory Art Demonstrating the Logical-Rhetorical Dissection of Speech by the Students of Paul Berton, B.A., etc., Professor of the Guildhall School of Music.”

…I find in these four records every fault of the professional elocutionist. It is all very well to dissect Shakespeare, but there is surely no reason why he should be murdered first, for murdered he is by these pupils of Mons. Paul Berton. Miss Winifred Cain has a really good voice; if she were properly taught she might make a good Shakespearian actress, and I am not sure that something might not be made of Miss Bronwen Rees. But no amount of logical-rhetorical dissection can compensate for the monotonous two notes, which is all that Mons. Berton seems to allow his pupils. I am aware that most Rosalinds rebuke their Phoebes in the style of a coy governess, but this particular version of the speech by Miss Margaret Littlefair outdoes all previous Rosalinds.

…It is dreadful to think what may be going on under our ears all the time without our being aware of it. I don’t know how long Mons. Berton has been a professor of declamation and dramatic art at the Guildhall School of Music, but he has evidently been there long enough to write a book about it, and a fine nonsensical piece of work it seems to be, to judge by the extracts. I had never thought of the Guildhall School of Music as a dangerous institution until I played through these records to-day.

….these elocutionary records are not a success, and I shall not send any of my young friends to the Guildhall School of Music. Does Shakespeare pay ? No, and he never will pay until we can get somebody to act him. Mr. Basil Maine the other night read three or four lines from Shakespeare so well that I wish he would record John of Gaunt’s glorious speech. Then there is the chief announcer of the B.B.C. He knows how to read. It is all very fine to have a Society for the Protection of Ancient Buildings, but we shall soon have to start a Society for the Protection of Ancient Poetry, with appeals to The Times signed by Mr. J. C. Squire, etc., calling on the public to help in preserving Hamlet’s soliloquies from logical rhetorical dissection. Columbia ! Columbia ! Why did you publish these records ?

The Gramophone reviewer’s request was soon answered, as Basil Maine made a number of recordings, both for HMV in 1929, and for Parlophone a little later, including John o’Gaunt’s speech from Richard II.

Shakespeare – Richard II – John o’Gaunt’s Speech
Shakespeare – Macbeth – The Dagger Speech
Basil Maine,
actor

Shakespeare – Richard II – John o’Gaunt –  Maine

Shakespeare – Macbeth – Dagger – Maine

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

Parlophone E5987
Matrices W1549, W1550
Recorded c1930

Around 1930, John Gielgud recorded a number of Shakespearian excerpts for Linguaphone. These were issued on five 78s, and have been available on this site before, but they are available to download again below. Some years later, Gielgud recorded again for Linguaphone, another set of five 78s. He is named as Sir John Gielgud on the labels, which places the records no earlier than 1953. There are a few overlaps with the earlier set, but most selections are new. In both sets, the records are numbered only by matrix – there are no disc numbers.

Shakespeare – excerpts from plays and Sonnets – Sir John Gielgud

Mediafire link for Shakespeare – excerpts – Gielgud (c1953)

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

Linguaphone – Shakespeare Series A
Matrices given below
Recorded c1953

ENG 242-2 – Much Ado About Nothing (Act 2, Scene 3)
ENG 243-2 – King Richard the Second (Act 3, Scene 2); Sonnet XXX
ENG 244 – King Richard the Second (Act 3, Scene 3); King Henry the Fifth (Act 1, Scene 1)
ENG 245 – Romeo and Juliet (Act 1, Scene 4)
ENG 246-2 – Romeo and Juliet (Act 5, Scene 3); Cymbeline (Act 4, Scene 2)
ENG 247 – Hamlet (Act 2, Scene 2)
ENG 248 – Hamlet (Act 4, Scene 4); Measure for Measure (Act 2, Scene 2)
ENG 249-2 – Richard II (Act 3, Scene 3)
ENG 250-2 – Henry V (Act 4, Scene 1)
ENG 251-2 – Macbeth (Act 1, Scene 7); Macbeth (Act 5, Scene 5); The Tempest (Act 4, Scene 1)

Shakespeare – excerpts from plays and Sonnets – John Gielgud

Mediafire link for Shakespeare – excerpts – Gielgud (c1930)

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

Linguaphone – Shakespearian Records by John Gielgud
Matrices given below
Recorded c1930

EEG.28E – The Merchant of Venice – Gratiano’s Speech (Act 1, Scene 1); As You Like It – Jaques’ Speech (Act 2, Scene 7)
EEG.29E – King Richard the Second – John of Gaunt’s Speech (Act 2, Scene 1); Sonnet CXVI
EEG.30E – As You Like It – Jaques’ Speech (Act 2, Scene 7); The Tempest – Prospero’s Speech (Act 4, Scene 1)
EEG.32E – King Henry the Fifth – King Henry’s Speech (Act 2, Scene 1); King Henry the Fourth – Hotspur’s Speech (Act 1, Scene 3)
EEG.33E – Othello – Othello’s Speech (Act 1, Scene 3)
EEG.34E – Hamlet – Hamlet’s Speech (Act 2, Scene 2)
EEG.35E – Hamlet – Hamlet’s Speech (Act 4, Scene 4); Sonnet XVIII
EEG.36E – Richard II – King Richard’s Speech (Act 3, Scene 3)
EEG.37E – Henry V – King Henry’s Speech (Act 4, Scene 3)
EEG.38E – Midsummer Night’s Dream – Oberon’s Speech (Act 3, Scene 1); Oberon’s Speech (Act 3, Scene 2); Puck’s Speech (Act 3, Scene 2)

Albert Coates is without doubt one of my favourite conductors, though I haven’t featured him here very much at all. To celebrate his birthday, I’ve remastered his 1926 recording of Siegfried’s Funeral March from Wagner’s Götterdämmerung.

Wagner – The Twilight of the Gods – Siegfried’s Funeral March
Symphony Orchestra, Albert Coates

Wagner – The Twilight of the Gods – Funeral March – Coates

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

His Master’s Voice D1092
Matrices CR 217-II, 141-III (4-0837/8)
Recorded 26th March, 25th January 1926, Queen’s Hall, London

Albert Coates conducts Wagner, Kletzki’s Beethoven and André Gertler in the Berg Violin Concerto

I couldn’t let Albert Coates’s birthday pass without a transfer of at least one of his recordings, and rather than go for his more common early electrical recordings, I’ve chosen his acoustic recording of the Meistersinger Overture. The other items for this update feature the conductor Paul Kletzki: his recording of Beethoven’s Leonore Overture No.3, and his accompaniment to André Gertler’s performance of the Berg violin concerto – the first LP era recording of this work, and one “long awaited in this country” according to the original Gramophone review.

Wagner – Die Meistersinger von Nürnberg – Overture

Download – Wagner – Die Meistersinger Overture (1921) – Albert Coates

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

His Master’s Voice D 590
Matrices Cc 606-II, 607-II (single side numbers 3-0680, 3-0679)
Recorded 28th October 1921, Hayes, Room 1
Symphony Orchestra, Albert Coates

 

Beethoven – Leonore Overture No.3 Op.72a

Download – Beethoven – Leonore Overture No.3 – Paul Kletzki

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

Columbia LX 1069-70
Matrices CAX 10101-1, 10102-1, 10103-2, 10104-2
Recorded 13th October 1947, Abbey Road Studio No.1, London
Philharmonia Orchestra, Paul Kletzki

 

Berg – Violin Concerto

Mediafire link for Berg – Violin Concerto – Gertler & Kletzki

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

Columbia 33C 1030 (10” LP)
Matrices XA 361-1N, 362-2N
Recorded 17th – 19th August 1953, Kingsway Hall, London

I. Andante – Allegretto
II. Allegro – Cadenza – Tempo I – Adagio – Coda

Philharmonia Orchestra, Paul Kletzki
André Gertler, violin