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

Historic recordings remastered. Not a sales list!

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
(No longer available due to bogus copyright claim)

(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

(No longer available due to bogus copyright claim)

(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

(No longer available due to bogus copyright claim)

(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

(No longer available due to bogus copyright claim)

(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.

Albert Whelan – Dickens; Bransby Williams – Dickens and others; Wilhelm Backhaus – Chopin, Schubert, Beethoven, Brahms, Bach; Vladimir de Pachmann – Chopin; Mark Hambourg – Chopin, Schubert; Irene Scharrer – Chopin; Moritz Rosenthal – Chopin 1st Piano Concerto

This Christmas update brings a batch of Dickensian spoken word recordings and related items. A few of these have appeared here before, but are presented here in new transfers.

There are more items for the Chopin anniversary from various pianists, and some recordings by the same pianists of other composers, including a little festive Bach.

Albert Whelan (1875-1961) is remembered as a music hall entertainer, emigrating to England from his native Australia fairly early in his career. Given the nature of his career, it becomes hard to be sure whether these Dickens performances are intended sincerely or not. Certainly, The Death of Little Nell is worked for every ounce of sentimentality, and the orchestral backing carries it literally into the realms of melodrama as originally understood. This kind of performance makes one appreciate the reasons for Oscar Wilde’s withering put down of the scene, and is not easy to listen to after hearing more modern acting styles.

Dickens – The Old Curiosity Shop: The Death of Little Nell
Dickens – David Copperfield: Little Emily

Albert Whelan, actor
with Orchestra

Mediafire link for Dickens Monologues – Albert Whelan

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

Zonophone The Twin Serial 268
Matrices 2211e, 7263e
Recorded 4th July 1905, 1907

Based on pitch of orchestral accompaniments, these have been transferred at 77.0rpm and 75.7rpm respectively.

Bransby Williams (1870-1961) is another music hall entertainer, born and bred in London. He was known very much for his impersonations (including a fine imitation of Henry Irving, the great Shakespearean), but also performed many characters from Dickens. He was particularly known for his Scrooge, and he recorded his Scrooge monologues for various companies. In  1928 he played the role in a short sound film, and also in a 1950 BBC TV production. He appeared in a number of silent films of works by Dickens. His recorded repertoire included many Dickens roles, and a number of other dramatic monologues and recitations, several of which are given here.

Mediafire link for Dickens and other recitations – Bransby Williams

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

Dickens – A Christmas Carol – Scrooge No.3 The Awakening
Dickens – A Tale of Two Cities – Sydney Carton’s Farewell

Bransby Williams, actor
His Master’s Voice C 500
Matrices 3704f, 2636f (01031, 01014)
Recorded 7th October 1909, 9th October 1908

Recorded at about 81rpm and 80rpm respectively

Dickens – David Copperfield: Micawber and Uriah Heep
Cuthbert Clarke & Charles H Taylor – Devil May Care

Bransby Williams, actor
His Master’s Voice C 501 (first side also on Gramophone Monarch 01011)
Matrices 2631f, 2634f (01011, 01021)
Recorded 9th October 1908

Both sides recorded at about 80rpm

Dickens – A Christmas Carol – Scrooge: Before the Dream; After the Dream
Bransby Williams, actor
The Winner 2533
Matrices 1033D, 1034K
Recorded 1913
Available from January 1914

Milton Hayes – The Green Eye of the Yellow God
Chas J Winter – The Caretaker

Bransby Williams, actor
Columbia 388 (80rpm)
Matrices 6352-3, 6353-3 (1054/5)
Recorded 2nd May 1924
Available from June 1924 to May 1926

These sides were recorded 3 times. First in 1913 (6352-1, 6353-2), available from July 1913 to June 1924. They were then replaced with versions recorded on 2nd May 1924 (6352-3, 6355-3). These were in the catalogues until May 1926, when the electrically recorded remakes of 1st April 1926 replaced them (WAX 1400-1, 1401-1). These were deleted from the catalogue in February 1943

Dickens – The Pickwick Papers – Tony Weller
Dickens – Oliver Twist – Bill Sykes

Bransby Williams, actor
Columbia-Rena 400
Matrices 6354-1 or -2, 6355-2
Recorded 1913
Available from September 1913 to June 1924

Columbia 400
Matrices 6354-4, 6355-4 (1056/7)
Recorded 23rd and 21st May 1924
Available from June 1924 to July 1929

These two versions of the same “Dramatic Recitals” show how Williams’s performances varied. The broad outline of each version is the same, but there are differences in the details. Another, slightly cut, version of the Tony Weller scene was filmed for British Pathé

Dickens – A Christmas Carol – Scrooge: Before the Dream; The Dream; After the Dream
Dickens – David Copperfield: Micawber’s Advice to Copperfield

Bransby Williams, actor
Columbia 347 (81.8rpm)
Matrices WAX 1397-2, 1396-2 (6043, 6042)
Recorded 31st March 1926
Available from May 1926 to February 1944

Columbia 348 (80rpm)
Matrices 6277-1, 6278-1
Recorded 1912
Available from December 1923 to May 1924

This set was recorded 3 times. First in 1912 (6275-2, 6276-2, 6277-1, 6278-1), available from December 1912 to May 1924. It was then replaced with versions recorded on 14th and 4th April 1924 (6275-3, 6276-3, 6277-4, 6278-3). These were in the catalogues until May (347) and June (348) 1926, when the electrically recorded remakes of 31st March 1926 replaced them (WAX 1397-2, 1396-2, 1398-1, 1399-1). These were deleted from the catalogue in February 1944

Dickens, Lee, Weston – A Charles Dickens Christmas
Bransby Williams, actor
with various other performers
Columbia DX 554
Matrices CAX 6971-1, 6972-1
Recorded October 1933, London

The pianist Mark Hambourg has already featured on this site. The latest item is one of his earlier acoustic recordings, of Chopin and Schubert.

Download – Chopin – Polonaise in A – Mark Hambourg

Download – Schubert-Tausig – Marche Militaire – Mark Hambourg

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

Chopin – Polonaise in A major Op.40 No.1 (“Military”)
Schubert-Tausig – Marche Militaire

Mark Hambourg, piano
His Master’s Voice D 486
Matrices HO 4160af, 4162af (05646, 05647)
Recorded 15th December 1919, London

Wilhelm Backhaus (1884-1969) is without doubt one of the most famous of recorded pianists, with a studio career stretching from acoustic recordings in the first decade of the twentieth century through to stereo recordings in the 1960s. The recordings below show him in core repertoire from 1913 to 1934.

Mediafire link for Chopin, Schubert, Beethoven and Brahms – Wilhelm Backhaus

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

Chopin – Etude in E major Op,10 No.7; Waltz in D flat major Op.64 No.1 (“Minute”)
Schubert – Moment Musical Op.94 No.3; Hark, hark the lark
Wilhelm Backhaus, piano

His Master’s Voice D 170 (81rpm)
Matrices z7358f, z7360f (05553, 05550)
Recorded 20th May 1913, London

Brahms – Variations on a Theme by Paganini Op.35 Book 1 (Theme and Variations 1-8; Variations 9 -13)
Wilhelm Backhaus, piano
His Master’s Voice D 1019
Matrices Cc 5437-II, 5438-III (05855, 05856)
Recorded 5th December 1924, London

Chopin – Fantaisie Impromptu in C sharp minor Op.66
Chopin – Prelude in C major Op.28 No.1; Etude in C major Op.10 No.1
Wilhelm Backhaus, piano
His Master’s Voice DB 2059
Matrices 2B 5391-II, 5392-IV (32-4189, 32-4190)
Recorded 7th and 10th October 1933, London

Beethoven – Piano Sonata in C sharp minor Op.27 No.2 (“Moonlight”)

I. Adagio sostenuto (1 side)
II. Allegretto
(½ side)
III. Presto agitato
(1½ sides)

Bach arr Lucas – Pastorale from “Christmas Oratorio”
Wilhelm Backhaus, piano
His Master’s Voice DB 2405-6
Matrices 2EA 518-II, 519-III, 520-III, 516-II
Recorded 6th (sides 1 and 4) and 8th (sides 2 and 3) November 1934, Abbey Road Studio No.3, London

Vladimir de Pachmann (1848-1933) was highly regarded for his wonderful Chopin playing. The odder aspects of his platform behaviour carried into the recording studio, and his comments can be heard on several of the recordings here.

Mediafire link for Chopin – Vladimir de Pachmann

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

Chopin – Prelude in B minor Op.28 No.6; Etude in G flat major Op.67 No.1
Chopin – Etude in G flat major Op.10 No.5
Vladimir de Pachmann, piano
His Master’s Voice DA 1302
Matrices Bb 6258-I, 11763-I (30-10220, 30-10221)
Recorded 26th June 1925, Hayes, Studio B and 3rd November 1927, C Studio, Small Queen’s Hall, London

Chopin – Nocturne in B major Op.32 No.1
Chopin – Impromptu in F sharp major Op.36 No.2
Vladimir de Pachmann, piano
His Master’s Voice DB 859
Matrices Cc 6259-II, 6261-I (05854, 05853)
Recorded 26th June 1925, Hayes, Studio B

Chopin – Nocturne in D flat major Op.27 No.2
Chopin – Etude in F major Op.25 No.3; Valse in C sharp minor Op.64 No.2
Vladimir de Pachmann, piano
His Master’s Voice DB 860
Matrices Cc 6253-I, 6260-I (05859, 05860)
Recorded 26th June 1925, Hayes, Studio B

Moritz Rosenthal (1862-1946) was a pupil of Liszt, and recorded extensively.

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

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)

I. Allegro maestoso
II. Romanza
III. Rondo vivace

Moritz Rosenthal, piano
Berlin State Opera Orchestra, Frieder Weissmann

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 1839m 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

Irene Scharrer (1888-1971) was one of the UK’s best known pianists. While perhaps best remembered for her recording with Henry Wood of the Litolff Scherzo, she was in fact a regular in the recording studios from around 1909 onwards. She made concerto recordings with Landon Ronald, and even attempted the Litolff Scherzo with him in 1915, though it was never issued.

Chopin – Scherzo No.2 in B minor Op.31
Irene Scharrer, piano

Download – Chopin – Scherzo No.2 – Irene Scharrer

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

Columbia DX 433
Matrices CAX 6604-3, 6605-2
Recorded 5th December 1932, London

Aida excerpts and other items with Sydney Rayner, Eva Turner, Giovanni Inghilleri, Tina Poli-Randaccio, Agustarello Affre, Jane Marignan, Frank Mullings, Elsa Stralia, Andreina Beinat, Vincenzo Bettoni, Valentina Bartolomasi, Guido Fernandez, Rosita Pagani, Enrico Trentini, conducted by Beecham, Haarth, Albergoni, Barbirolli, Sabajno, Harty; Mackenzie-Rogan, Coldstream Guards Band – Orth, Tchaikovsky; Stanley Chapple – excerpts from Stravinsky’s Firebird; Franz André – Liszt, Richard Strauss

When you have a lot of free time, it sometimes turns out that the things you planned to use it for just don’t happen. Such was the case with my summer holidays. This is why it’s been two and a half months since the last update. I hope the new selection proves interesting. I’ve been exploring recordings of Aida, and this has included branching out into one or two other recordings by some of the same artists, and occasionally other recordings on the same labels. This diversification brings us several excerpts from Tosca and Cavalleria Rusticana. The recordings are presented roughly in score order for the selections from Aida (and are annotated with the pages of the vocal score.) And just to round things off, there’s some Stravinsky from Stanley Chapple, and some Richard Strauss and Liszt from Franz André.

Verdi – Otello – (Tu! Indietro! Fuggi!…) Ora e per sempre
Verdi – Aida – (Se quel guerriero io fossi…) Celeste Aida

(VS pp6-11)

Orchestra
Sydney Rayner
, Premier Tenor of the Opera Comique, Paris

Mediafire link for Otello and Aida arias – Sydney Rayner

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

Decca T.204
Matrices GA 5380-1D, GA 5382-11D
Issued April 1933
Recorded 20th December 1932

Verdi – Aida – Ritorna vincitor
Aida – Ritorna vincitor. Part 1 (VS pp52-56)
Aida – Ritorna vincitor. Part 2 (VS pp56-59)
(3½ bar overlap between sides)
Orchestra, Sir Thomas Beecham
Eva Turner,
soprano
Columbia L 2150
Matrices WAX 3931-3, 3932-2 (9956, 9958)
Recorded 19th July 1928
Available from mid October 1928 to August 1949

Puccini – Tosca – Vissi d’arte
Mascagni – Cavalleria Rusticana – Voi lo sapete

Orchestra, Sir Thomas Beecham
Eva Turner,
soprano
Columbia L 2118
Matrices WAX 3929-3, 3930-2 (9952, 9951)
Recorded 18th July 1928
Available from November 1928 to April 1950

Mediafire link for Verdi, Puccini, Mascagni arias – Eva Turner, Thomas Beecham

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

Verdi – Aida – Ballet music
Side 1: a) Tanz der Priesterinnen (VS pp65-67) b) Tanz der Mohrensklaven (VS pp85-87)
Side 2: Ballettmusik a. d. 2. Akt (VS pp122-131)
Berlin State Orchestra, Herbert Haarth
Siemens Polydor 57270
Matrices 2281½ GS9, 2280½ GS9
Recorded 1943 (Depositato 10.8.43 (on both sides))

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

Plays at 75.1rpm

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)

 

Verdi – Aida – Act 3 Duet


Side 1: Ciel! mio padre (VS pp215-223)
Side 2: Su, dunque, sorgete egizie coorti (VS pp223-233)
Grand Symphony Orchestra, Angelo Albergoni
Giovanni Inghilleri,
baritone – Amonasro
Tina Poli-Randaccio,
soprano – Aida
Parlophone Odeon Series R 20141
Matrices XXPh 6405/6
Recorded 20th October 1928

Puccini – Tosca:
Tre sbirri, una carrozza


La povera mi cena fu interrotta (… Gia mi dicon venal)


Orchestra , John Barbirolli
Giovanni Inghilleri,
baritone
Octave Dua, tenor
His Master’s Voice D 1701
Matrices CR 2422-I, CR 2423-I (2-052426/7)
Recorded 19th June 1929

Verdi – Un Ballo in Maschera – Eri tu che macchiavi quell’ anima


Orchestra, John Barbirolli
Verdi – Rigoletto – Pari siamo!


Orchestra of La Scala, Milan, Carlo Sabajno
Giovanni Inghilleri,
baritone
His Master’s Voice D 1823
Matrices CR 2424-II (2-052424), CF 2359-IV (2-052394)
Recorded 19th June 1929, 10th December 1928

This record has a small chunk chipped from the rim, affecting the start of the groove on both sides.

(These are mp3 files – left click the link and download the file, or press play)

Verdi – Aida – Je te revois enfin – Duo
(Pur ti riveggo) – (VS pp233-235, 245-247, 248-249)
Verdi – Aida – Mourir ô toi si belle – Duo final
(Morir, si pura e bella) – (VS pp298-300, 303-304, 308-309)
Orchestra
Agustarello Affre,
tenor – Radames
Jane Marignan, soprano – Aida

Mediafire link for Aida duets – Agustarello Affre, Jane Marignan

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

Pathé AGPA P1503 (25) [88.6rpm, 28cm diameter, centre start]
Matrices 54579 GR, 60516 GR
Recorded c1906-11

Verdi – Aida – Nile Duet. From Finale, Act III
Aida – Nile Duet. From Finale, Act III. Part I (VS pp239-244)
Aida – Nile Duet. From Finale, Act III. Part II (VS pp244-249)
Orchestra, Hamilton Harty
Frank Mullings,
tenor – Radames
Elsa Stralia, soprano – Aida

Mediafire link for Aida – Nile Duet – Frank Mullings, Elsa Stralia – Hamilton Harty

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

Columbia 7248/9
Matrices 74063-2, 74064-2
Recorded about 3rd May 1920, 80rpm
Available from January 1921 to April 1924

This duet was reissued on double sided Columbia 7334 in April 1924, and was available in this form until August 1930

Verdi – Aida – Judgment Scene (Act IV)
Aida – Judgment Scene (Act IV) Pt.1. – Spirto del Numo
(Heavenly Spirit) (VS pp279-281(last line), 284-285)
Aida – Judgment Scene (Act IV) Pt.2. – Radames e deciso il tuo fato (We thy fate have decided) (pp285-295 (final bars omitted))
Orchestra
Andreina Beinat,
mezzo-soprano – Amneris
Vincenzo Bettoni, bass – Ramfis

Mediafire link for Aida – Judgment Scene – Vincenzo Bettoni, Andreina Beinat

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

Columbia-Rena Opera Record D 5540 (10”)
Matrices 41851, 41852
Recorded c1912

These sides form part of the abridged Columbia Aida, issued on 17 double sided records, though this particular issue is not from the main run of either the Italian or English issues.

Verdi – Aida – Sacerdoti, compiste un delitto (Scena del Giudizio, Act IVo) (VS pp288 – 295)
Verdi – Aida – La fatal pietra (VS pp296 – 298)
Grande Orchestra, Carlo Sabajno
Valentina Bartolomasi,
soprano – Aida
Guido Fernandez, bass – Ramfis
Rosita Pagani, mezzo-soprano – Amneris
Enrico Trentini, tenor – Radames
Gramophone Concert Record S 5178
Matrices 1013Aj (2-20254147), 971Aj (2-0254148)
Recorded 3rd November 1919, 27th October 1919
Issued 1920
These are sides 37-38 of a 40 side complete recording of Aida

Mascagni – Cavalleria Rusticana – Scena Ia
Parte Ia – “Gli aranci olezzano” (VS p11 – 20.2.2)
Parte IIa – “Cessin le rustiche opre” (VS p20.2.3 – 26)
La Scala Chorus
Grande Orchestra, Carlo Sabajno
Gramophone Concert Record S 5094
Matrices 3017c, 3018c (2-0524500, 2-0254501)
Recorded 6th April 1915
80.8rpm
These are sides 3-4 of a 20 side complete recording of Cavalleria Rusticana

Bizet – Carmen – Preludio atto IV
Orchestra of La Scala, Milan, Carlo Sabajno
Gramophone Concert Record G.C.-50547 (10”)
Matrix 10383b (50547 IV)
Recorded April 1907

Donizetti – Don Pasquale – Coro dei servitori (complete)
Gounod – Faust – Kermesse
(VS pp29-41, 44-46)
CORI DELLA SCALA
Aristide Venturi,
chorus master
Orchestra, Carlo Sabajno
Gramophone Monarch Record 054502/054503
Matrices 570c (054502 III), 629c (054503L)
Recorded October-December 1905 (approved 19/3/06), May 1906 (approved 17/9/06)

Mediafire link for Aida, Cavalleria, Carmen, Don Pasquale, Faust – Carlo Sabajno

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


Orth – In a Clockmakers Shop
Band of H.M. Coldstream Guards, John Mackenzie-Rogan
Gramophone Concert Record G.C.-2-178 (10”)
Matrix 3393e (2-178 II)
Recorded 19th January 1906
Issued 1906

Tchaikovsky – Finale 4th Symphony
Band of H.M. Coldstream Guards, John Mackenzie-Rogan
Gramophone Monarch Record 0185 (12”)
Matrix 2758f (0185-1*)
Recorded 17th December 1908
Issued 1909

Mackenzie-Rogan is not named on the record label.
This recording is likely to be transposed a tone down from Tchaikovksy’s original, like the Safranek arrangement for band. The recording plays in E flat at 78rpm. However, at this time, British military pitch was around A-452, so the record should probably be played at 80rpm, to be in E flat for the appropriate pitch standard.

Mediafire link for Orth, Tchaikovksy – Mackenzie-Rogan & Coldstream

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

 

Stravinsky – L’oiseau de feu:
Danse Infernale du roi Kastchei
Opening Key A minor, Full score p118-155
Finale
Opening Key B, Full score p166-172
Aeolian Orchestra, Stanley Chapple

Mediafire link for Stravinsky – Firebird excerpts – Stanley Chapple

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

Vocalion K-05288
Matrices M.0169, M.0168
Released April 1927
R. Strauss – Der Rosenkavalier – Waltzes
Liszt – Les Preludes

L’ Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André

Mediafire link for Richard Strauss, Liszt – Franz André

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

Capitol Telefunken L 8173
Matrices L-8173-Y1, L-8173-Z1 (8-52)
Recorded 12th April 1952, 9th April 1952, Palais des Beaux Arts, Brussels

Gordon Jacob’s William Byrd Suite – Coldstream Guards Band (1925); Stanley Chapple – Brahms Hungarian Dances, Elgar Pomp and Circumstance No.1; Franz André – Eric Coates, Elgar, Gershwin; Frieder Weissmann – Strauss’s Tod und Verklärung; Arthur Meale – Thalberg’s “Home Sweet Home”, Ascher’s “Alice, Where Art Thou?”; Capiton Zaporojetz – The Song of the Flea, Drinking (In cellar cool); Early recordings by Julie Andrews

It’s been more than a month since my last update, so there are quite a number of items to add this time. The recordings range from acoustic 78s through to mono LP, and include military band, orchestra, piano and vocal recordings.

Gordon Jacob – Suite by William Byrd

Mediafire link for Jacob – William Byrd Suite – Coldstream 1925

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

No.1 – The Earle of Oxford’s Marche (¾ side)
No.5 – Wolsey’s Wilde (¼ side)
No.6 – The Bells (1 side)

His Master’s Voice C 1215
Matrices Cc 5982-II, 5983-I (single-side numbers 2-0419/20)
Recorded 2nd April 1925
Band of H.M. Coldstream Guards, Lieut. R.G. Evans

Gordon Jacob’s arrangement of a number of keyboard pieces by William Byrd was made for Military Band in 1923 and orchestra in 1924. It is likely that this late acoustic recording was the earliest recording of these three movements.

Between 1909 and 1927, A=452Hz was the standard pitch for British military bands. A change to the Kings Regulations in 1927 adopted modern pitch of A=439Hz. At 78rpm the record plays at about the expected A=452Hz, slightly more than a semitone sharper than modern pitch.

Brahms – Hungarian Dances Nos. 1 and 2
Elgar – Pomp and Circumstance March No.1

Download – Brahms – Hungarian Dances Nos. 1 and 2 – Stanley Chapple

Download – Elgar – Pomp and Circumstance March No.1 – Stanley Chapple

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

Broadcast Twelve 5033
Matrices Lo.104x, LO.103
Recorded c1929
Metropolitan Symphony Orchestra, Stanley Chapple

Chapple (1900-1987) was music director for the Aeolian Company, and conducted frequently for them, though the recordings are hard to find now. These  Broadcast Twleve sides are badly affected by the persistent whistle which seems so common a feature of records on this label. I have done my best to alleviate this problem, so when you notice the remnants of it, bear in mind that it was originally much worse than it sounds now. As the whistle oscillates in pitch, whilst also gradually decreasing pitch and increasing amplitude until the end of the record, correcting it proved to be a major task!

 

Coates – London Suite

I. Covent Garden (Tarantelle)
II. Westminster (Meditation)
III. Knightsbridge (March)

Coates – London Bridge
Elgar – Pomp and Circumstance March No.1 in D major Op.39
Gershwin – An American in Paris

Mediafire link for Coates, Elgar, Gershwin – Franz André

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

Telestar 10049
Matrices LP-071621-I, LP-038079-III
Recorded 2nd to 7th April 1958 (Coates), 20th April 1957 (Elgar), 19th April 1957 (Gershwin)
L’ Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André

 

R. Strauss – Tod und Verklärung – Symphonic Poem Op.24

Download – 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
Philharmonic Orchestra, Frieder Weissmann

I originally transferred this recording about four years ago, before this website was born. The present file is a completely new transfer, in much improved sound.

 

R. Thalberg – Home, Sweet Home
Ascher – Alice, Where Art Thou?

Download – Thalberg – Home, Sweet Home – Arthur Meale

Download – Ascher – Alice, Where Art Thou? – Arthur Meale

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

His Master’s Voice B 3166
Matrices Bb 17255-III, 17256-III (single-side numbers 30-833/4)
Recorded 19th August 1929, London, Small Queen’s Hall, Studio C
Arthur Meale, piano

Arthur Meale was the regular organist of the Queen’s Hall. He made many organ recordings in a light and popular classical vein. This record gives us the rare opportunity to hear him as a pianist, in two nineteenth century virtuoso salon pieces. For UK comedy fans, Ascher’s melody is the one that was used as the title music for the Ronnie Barker and David Jason sitcom “Open All Hours”.

This record is in very poor condition, with a serious fracture, and a noisy surface with significant distortion – it’s still a fun listen, though.

Mussorgsky – Song of the Flea
Traditional – Drinking (In cellar cool)

Download – Mussorgsky – Song of the Flea – Capiton Zaporojetz

Download – Trad – Drinking (In cellar cool) – Capiton Zaporojetz

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

Columbia L 1991
Matrices WAX 2739-1, 2740-1 (7664/5)
Recorded 12th May 1927
Available from October 1927 to April 1941
Capiton Zaporojetz, bass with piano

I was prompted to transfer this after seeing Zaporojetz’s name mentioned in a couple of places recently. Firstly, in the booklet notes for “Firebirds of Paris”, a Ward Marston CD of French recordings of Russian repertoire from around 1930. Zaporojetz is noted as singing Prince Yuri in Rimsky-Korsakov’s Kitezh in 1926 in Paris, then in 1929 in the premiere of Stravinsky’s Oedipus Rex. He also sang the same role in Kitezh in 1935.

A few weeks after reading this, I was reading the June 2010 issue of “The Record Collector”, and the article on Marguerite D’Alvarez mentioned a concert on 2 October 1927 in London, where Thomas Beecham conducted “An Afternoon of Grand Opera” at the Royal Albert Hall. with Austral, Burke, D’Alvarez and Zaporojets.

 

Gounod – Romeo  & Juliet – Je veux vivre
Easthope Martin – Come to the fair (from “Songs of the Fair”)

Columbia DB 2470
Matrices CA 20923-2, 20924-1
Recorded c1948
Julie Andrews, soprano
Ted Andrews, baritone (Come to the fair)
Barbara Andrews, piano

Mozart-Adam – Ah! vous dirai-je mama
Benedict – The Wren

Columbia DB 2553
Matrices CA 21114-1, 21115-1
Recorded c1948
Julie Andrews, soprano
Orchestra, Ted Andrews

Mediafire link for Julie Andrews – early recordings

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

The first of these records has appeared here previously. It has been retransferred to be presented here with another of Julie Andrews early 78s.