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

Historic recordings remastered. Not a sales list!

Landon Ronald’s Midsummer Night’s Dream

For Shakespeare’s birthday back in April, I made available the Scherzo from Mendelssohn’s Midsummer Night’s Dream music, in a 1911 recording conducted by Landon Ronald. To complement this, I’ve now transferred the Ronald’s early recordings of the Overture, Nocturne and Wedding March, together with his later electrically recorded version of the Nocturne. I’ve included the Scherzo in this post so the whole set can play continuously. As a  bonus, at the end I’ve included the Ronald’s recording of the overture to Nicolai’s Merry Wives of Windsor, which was coupled with the Midsummer Night’s Dream overture.

Ronald recorded the Mendelssohn works several times.

New Symphony Orchestra:

7th October 1911 – A Midsummer Night‘s Dream: Scherzo (Mendelssohn)
ac5549f (unissued)
ac5550f  0681 (020617, 030617, 060562, D152)

10th February 1912 – A Midsummer Night‘s Dream: Wedding march (Mendelssohn)
ac6007f (unissued)
ac6008f   0755   (030627, 040737, 2-050521, 2-0250599, D166, S4190, W74, ES123)

17th February 1912 – A Midsummer Night‘s Dream: Nocturne (Mendelssohn)
ac6035f (unissued)
ac6036f   0756   (030628, 040738, D152, ES123)

3rd February 1913 – A Midsummer Night‘s Dream: Overture (Mendelssohn)
HO450ai   0853   (020747, 060601, D153, AB102)

Royal Albert Hall Orchestra:

13th March 1923 – A Midsummer Night’s Dream: Wedding March (Mendelssohn)
Cc 2695-1 (unissued)
Cc 2695-2   0755X   (D166, 2-050521X, 2-0250599X, S4190)

23rd June 1923 – A Midsummer Night’s Dream Op 61: Scherzo (Mendelssohn)
Cc 3145-1 (unissued)
Cc 3145-2   0681X   (D152)

27th July 1925 – A Midsummer Night’s Dream: Nocturne (Mendelssohn), pt 1
Cc 6411-1 (unissued)
Cc 6411-2 (unissued)
27th July 1925 – A Midsummer Night’s Dream: Nocturne (Mendelssohn), pt 2
Cc 6412-1 (unissued)
Cc 6412-2   4-0733   (D1034, AB169)
27th July 1925 – A Midsummer Night’s Dream: Scherzo (Mendelssohn)
Cc 6413-1   4-0836   (D1097, W918, AB198, ES26)

9th September 1925 – A Midsummer Night’s Dream: Nocturne (Mendelssohn), pt 1
Cc 6411-3,-4 (unissued)
Cc 6411-5   4-0732 (D1034, AB169)

18th November 1925 – A Midsummer Night’s Dream (Mendelssohn), pt 1
Cc 7310-1 (unissued)
Cc 7310-2 (assigned 4-0858, but unissued)
18th November 1925 – A Midsummer Night’s Dream (Mendelssohn), pt 2
Cc 7311-1 (unissued)
Cc 7311-2 (assigned 4-0852, but unissued)

Mendelssohn – A Midsummer Night’s Dream – Overture – New Symphony Orchestra, Landon Ronald

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

His Master’s Voice D153 (side 0853)
Matrix HO 450ai
Recorded 3rd February 1913, Hayes
The following cuts are made: bb 142 – 157, 196(4) – 517(3), 566 – 585, 620 – end. (inclusive)

Mendelssohn – A Midsummer Night’s Dream – Scherzo – New Symphony Orchestra, Landon Ronald

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

His Master’s Voice 0681
Matrix ac5550f
Recorded 7th October 1911, London

Mendelssohn – A Midsummer Night’s Dream – Nocturne – New Symphony Orchestra, Landon Ronald

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

His Master’s Voice 0756
Matrix ac6036f
Recorded 17th February 1912, London
The following cuts are made: bb16-33, 38-41, 73-80, 109-112

Mendelssohn – A Midsummer Night’s Dream – Wedding March – New Symphony Orchestra, Landon Ronald

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

His Master’s Voice 0755
Matrix ac6008f
Recorded 10th February 1912, London

Mendelssohn – A Midsummer Night’s Dream – Nocturne – Royal Albert Hall Orchestra, Landon Ronald

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

Aubrey Brain, horn
His Master’s Voice D 1034 (sides 4-0732/3)
Matrices Cc 6411-5, Cc 6412-2
Recorded 9th September 1925 and 27th July 1925, Hayes

Nicolai – The Merry Wives of Windsor – Overture – New Symphony Orchestra, Landon Ronald

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

His Master’s Voice D153 (side 0735)
Matrix al5934f
Recorded 20th January 1912, Hayes
The recording begins at the Allegro, and several cuts are made.

400 years

Although I have had not had a great deal of time to work on recordings for this site recently, I could not let the 400th anniversary of Shakespeare’s death pass unmarked. There are several spoken word Shakespeare recordings to be found on site and music based on his works (just enter Shakespeare in the search box). But as a new addition, I have transferred Landon Ronald’s 1911 recording of the Scherzo from Mendelssohn’s Midsummer Night’s Dream Music.

Mendelssohn – A Midsummer Night’s Dream – Scherzo – New Symphony Orchestra, Landon Ronald

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

His Master’s Voice 0681
Matrix ac5550f
Recorded 7th October 1911, London

Another great writer, Miguel de Cervantes died on the same day as Shakespeare. He is best remembered for Don Quixote, and to celebrate this anniversary, I’ve transferred Chaliapin’s 1927 recording of the death of Don Quixote, from Massenet’s opera.

Massenet – Don Quixote – The Death of Don Quixote (Act 5) – Fyodor Chaliapin

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

Fyodor Chaliapin (bass) as Don Quixote and Sancho Panza
Olive Kline (soprano) as the voice of Dulcinea
Orchestra, Rosario Bourdon
His Master’s Voice DB 1096
Matrices CVE-38334-I, 38335-I (sides 2-032114/5)
Recorded 7th April 1927, Liederkranz Hall, New York for Victor.

A festive feast of Wagner and Verdi

To round off the Wagner and Verdi bicentenary year, I’ve gathered a varied selection of music by these two operatic greats, in various guises.

Dajos Béla recorded extensively in many genres. The following abridged version of the Tannhäuser Overture is one of his more straightforwardly classical recordings, though the scoring is adapted for his band of the time – a piano can definitely be heard contributing.

Wagner – Tannhäuser – Overture (abridged)
Künstler-Kapella Dajos Béla

Wagner – Tannhäuser – Overture – Dajos Béla

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

Odeon AA79816-7
Matrices xxBo 7551, 7552-II
Recorded 24th April 1923
Plays in A440 at 80rpm
Dan Godfrey has appeared here on many occasions, but this is the first time I’ve transferred anything by his eldest son, Dan Godfrey Jr. He very much followed in his father’s footsteps. He was appointed by the nascent BBC to conduct the 2LO Military Band with whom he recorded some 50 sides for the Edison Bell company, mostly arrangements of serious classical fare.

Wagner – The Rhinegold – Entry of the Gods into Valhalla
2LO Military Band, Dan Godfrey Jr

Wagner – Rhinegold – Entry of the Gods – 2LO Military Band, Godfrey Jr

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

Winner 4112
Matrices 8921B-1, 8922B-1
Recorded and issued 1924
Plays in A452 at 80.3rpm

 

The Dresden-born Emil Enderlein (b 1887) started as a lyric tenor, before developing into a Heldentenor. He sang Walther in Die Meistersinger at Bayreuth in 1925, and Parsifal and the Götterdämmerung Siegfried at the Zoppot Forest Opera in 1927-28. After his Bayreuth performances he changed his stage name to Erik Enderlein, and continued to perform well into the 1930s. After retirement he worked as a singing teacher in Berlin. He recorded for Pathé, Parlophone, Polyphon and Polydor as Emil Enderlein, but this curious
piano accompanied account of two excerpts from the Ring cycle appeared on the Piccadilly label, an offshoot of the Metropole label. The recordings are likely to have been made in 1929 when he sang at Covent Garden.

Wagner – The Valkyrie – Spring Song
Wagner – Siegfried – Forging Song
Eric Enderlein, tenor with piano

Wagner – Valkyrie – Spring Song – Enderlein

Wagner – Siegfried – Forging Song – Enderlein

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

Piccadilly No.5020
Matrices 1914, 1915
Recorded 1929
78.3rpm

 

The Carl Rosa Opera Company was a mainstay of opera in English from 1873 to 1960 (before being revived in 1997) performing in London and all round Britain. The selection from Lohengrin is conducted by Arthur Hammond (1904-1991) who joined the company in 1928, but by 1936 was working at Covent Garden. Imperial records were produced by the Crystalate company from 1920 to 1934, probably placing this record in the early 1930s. None of the soloists are named, but are likely to be Carl Rosa regulars of the period (but probably not among the top rank singers who were contracted to other recording companies.)

Wagner – Lohengrin – Vocal Selection
Arthur Hammond, Carl Rosa Orchestra, Carl Rosa Opera Company

Wagner – Lohengrin – vocal selection – Carl Rosa Co, Hammond

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

Imperial Z 115
Matrices T.I. 146.A, 148.A
Recorded c1931-32
79.1rpm

 

The French tenor Paul Franz (1876-1950) was born François Gauthier in Paris. He did not train as a singer until he was almost 30, but soon was in demand across a wide repertoire.

Wagner – Tristan & Isolde – Ou Tristan va se rendre
Wagner – Le Crépuscule des Dieux – Mort de Siegfried
Paul Franz, tenor with Orchestra

Wagner – Tristan und Isolde – Ou Tristan va se rendre – Paul Franz

Wagner – Götterdämmerung – Siegfried’s Death – Paul Franz

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

Pathé No.0286 (29cm, paper label, edge start)
Recording numbers 2376, 2494 R
Recorded c1919-20
Disc transfers 8th Jan 1924, 4th September 1924
73.1rpm, 76.5rpm

 

Borghild Bryhn-Langaard (1883-1939) was a Norwegian soprano, taught partly by Grieg’s wife Nina Hagerup. She sang the Rhinegold Fricka and Valkyrie Brünnhilde in Richter’s English Ring cycle at Covent Garden in 1908.

Wagner – Tannhäuser – Elizabeth’s Greeting
Wagner – Die fligende Holländer – Senta’s Ballad
Borghild Bryn (Borghild Lindvig Bryhn-Langaard), soprano with Orchestra

Wagner – Tannhäuser – Dich teurer Halle – Bryn

Wagner – Die fliegende Holländer – Senta’s Ballad – Bryn

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

Pathé 729
Recording numbers 77198, 77201
Matrices 24198 G, 47320 GR
Recorded 1917-18, Berlin
Play in score pitch at 94.4rpm, 91.5rpm

 

The cellist W.H. Squire recorded extensively for the Gramophone Company and Columbia, with large works interspersed with lighter pieces or arrangements of standards.

Wagner – Tannhäuser – O Star of Eve
W.H. Squire, cello with piano

Wagner – Tannhäuser – O Star of Eve – WH Squire


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

His Master’s Voice 7886
Matrix ak 14731e
Recorded 5th January 1912, London
78.4rpm

 

Landon Ronald needs little introduction for those who know this site well. A Wagner celebration could not go by without including something from him.

Wagner – Götterdämmerung – Siegfried’s Funeral March
Royal Albert Hall Orchestra, Landon Ronald

Wagner – Götterdämmerung – Siegfried’s Funeral March – RAHO, Ronald


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

His Master’s Voice D 502
Matrices HO 4434af, 4433-IIaf (3-0529, 3-0530)
Recorded 11th June 1920, Hayes
79.6rpm
John Barbirolli is also a name that requires little introduction, and his later recordings are well known. But early efforts like this operatic selection have received less attention.

Wagner – Tannhäuser – Selection (arr Alfonso Gibilaro)
London Symphony Orchestra, John Barbirolli

Wagner – Tannhäuser – selection – LSO, Barbirolli


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

His Master’s Voice C 2293
Matrices 2B 1102-1, 1103-1 (32-2441, 32-2442)
Recorded 25th September 1931, Queen’s Hall, London
77.6rpm

 

The Zoppot Forest Opera ran from 1921 to 1944 in Sopot (now in Poland) and was known as the Bayreuth of the North. Many prominent singer and conductors performed there, though by 1942 when Siegfried and Die Meistersinger were performed, the singers were perhaps not such big names, but still acquit themselves well.

Wagner – Siegfried:
Siegfried und die Stimme des Waldvogels a.d. 2 Akt – Freundliches Vöglein, dich frage ich nun
Zwischenspiel a.d. 3 Akt
Berlin State Orchestra, Robert Heger
Heinz Kraayvanger, tenor.
Cova Wackers, soprano

Wagner – Siegfried – Woodbird scene – Kraayvanger, Wackers, Heger

Wagner – Siegfried – Interlude to Act 3 Scene 3 – Heger


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

Polydor 67922
Matrices 1880½-GS9, 1891½-GS9
Recorded 18th June 1942 “Aufnahmen mit Künstlern der Zoppoter Waldoper 1942”
77.1rpm

 

Giuseppe Lenghi-Cellini, born in Italy in 1881 had a substantial career in Britain, performing in concerts and opera. He recorded extensively for Parlophone, but can also be heard on Regal and Piccadilly.

This particular record has a bad fracture affecting the first minute or so of each side.

Verdi – Il Trovatore – Ah si ben mio; Di quella pira
Giuseppe Lenghi Cellini, tenor with Orchestra

Verdi – Il Trovatore – Ah si ben mio – Lenghi-Cellini

Verdi – Il Trovatore – Di quella pira – Lenghi-Cellini


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

Piccadilly No.5032
Matrices 3556-2, 3559
Recorded c1930
79.3rpm (Di quella pira transposed down a semitone)
Alick Maclean is a favourite conductor of mine, though few of his recordings have appeared here so far. He recorded extensively with the NQHLO, and also regularly conducted the Scarborough Spa Orchestra.

Verdi – Aida – Selection
The New Queen’s Hall Light Orchestra, Alick Maclean

Verdi – Aida – selection – NQHLO, Maclean


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

Columbia L 1439
Matrices 75089-2, 75090-2
Recorded 11th May 1922, London
Available from 10/1922 to 2/1928
(Intended replacement on AX491-2; 492-2; recorded 2nd July 1924 conducted by Eugene Goossens II; test pressings made; but not issued)
80.3rpm

 

The shortlived British violinist Mary Law has appeared here before. These operatic fantasias were standard fare for her in the recording studios.

Verdi – Il Trovatore: Fantasia; La Traviata: Fantasia
Mary Law, violin with piano

Verdi – Trovatore fantasia – Mary Law

Verdi – Traviata fantasia – Mary Law


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

Zonophone Record The Twin Serial A 177
Matrices AL 8350f, AL 8354f (Z-047919, Z-047920)
Recorded 8th June 1915, London
77.9rpm

 

Stanley Chapple was the house conductor for the Aeolian Vocalion company, conducting orchestral works, as well as substantial operatic excerpts like the following. As usual, the soloists are unnamed, though I suspect that Frank Titterton can be heard on the Rigoletto selections.

Verdi – Vocal Excerpts from “Il Trovatore”
Grand Opera Company, Soloists, Full Orchestra, Stanley Chapple

Verdi – Il Trovatore – vocal excerpts – Chapple


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

Broadcast Twelve 5187-8
Matrices LO 733, 734, 735x, 736
Recorded 1930
79.0rpm

Verdi – Vocal Gems from “Rigoletto”
Grand Opera Company, Soloists, Full Orchestra, Stanley Chapple

Verdi – Rigoletto – vocal gems – Chapple


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

Broadcast Twelve 3094
Matrices LO 1108x, 1109x
Recorded 1931-2
78.5rpm

 

This HMV issue of US Victor masters of vocal gems from Aida in English disguises under the heading of “Grand Opera Company” an ensemble that includes the young Richard Crooks as Radames.

Verdi – Aïda – Vocal Gems
Grand Opera Company
Della Baker, soprano
Elsie Baker, contralto
Stanley Baughman, baritone
Rose Bryant, contralto
Helen Clark, soprano
Richard Crooks, tenor
Frank Croxton, bass
Royal Dadmun, baritone
Charles H Hart, tenor
Vivian Holt, soprano
Judson House, tenor
Olive Kline, soprano
Lucy Isabelle Marsh, soprano
Lambert Murphy, tenor
Ruth Rodgers, soprano
Orchestra, Rosario Bourdon

Verdi – Aida – vocal gems – Bourdon


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

His Master’s Voice C 1605
Matrices CVE-13995-20, 13996-23
Recorded 13th July 1928, Liederkranz Hall, New York
76.3rpm

 

In 1902-3 the Anglo-Italian Commerce Company made a number of recordings in Milan for Pathé. The two excerpts here are from a Verdi rarity, I due Foscari, and are sung by an unnamed baritone.

Verdi – I due Foscari – O vecchio cor che batti; Questa dunque è
unnamed baritone with piano
Verdi – I due Foscari – O vecchio cor che batti – unnamed baritone

Verdi – I due Foscari – Questa dunque è – unnamed baritone


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

Pathé 80098, 80874
Matrices 59089, 7555
Recorded c 1902-3, Milan
90.6rpm, 88.4rpm

 

France’s Garde Républicaine recorded extensively for many years for several companies. In Britain, the most comparable equivalent is the Coldstream Guards Band. These early operatic fantaisies have spoken introductions.

Verdi – Le Trouvère – Fantaisie
Garde Républicaine    

Verdi – Le Trouvère – Fantaisie – Garde Républicaine


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

Odeon 33318/33319
Matrices 33318-2 x, 33319-3 x
Recorded c December 1904
76.1rpm

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.

Landon Ronald conducts Berlioz’s Hungarian March; Joszka Szigeti plays Sibelius’s Valse Triste

The latest addition to my collection of 78s is one of those peculiar couplings that one sometimes finds on early double-sided records. This Indian pressed His Master’s Voice disc contains two 1912 recordings. On one side is the Hungarian March from Berlioz’s Damnation of Faust, performed by he New Symphony Orchestra conducted by Landon Ronald. This is in fact the only issued example of Ronald condcuting Berlioz – he made another two attempts at the same work in 1923, but these were unissued. The other side of the disc, is Sibelius’s Valse Triste, played by the young violinist Joszka (later Joseph) Szigeti, with an unnamed piano accompanist. Szigeti was just 19 at the time of this recording.

Berlioz – Marche Hongroise (from La Damnation de Faust)
New Symphony Orchestra, Landon Ronald
Sibelius – Valse Triste
Joszka Szigeti, violin with piano

Download – Berlioz – Marche Hongroise – Landon Ronald

Download – Sibelius – Valse Triste – Joszka Szigeti

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

His Master’s Voice M 203 (Indian pressing from Calcutta plant)
Matrices Ai 5867f, Ai 6217f (single side numbers 0746, 07971)
Recorded 6th January 1912, 3rd April 1912, London

Landon Ronald – New World Symphony (acoustic recording,1919-22); Ketelbey – Irish Jigs; David McCallum – traditional Scottish fiddle pieces; Peter Miles, actor, sings two pop songs

This latest update brings a rather mixed bag of recordings, and some departures from my usual fare.

The series of Landon Ronald recordings continues with his acoustic account of Dvorak’s New World Symphony. The recording amounts to just 8 sides, two for each movement. All except for the Scherzo are cut slightly:

First Movement: Bars 76-83, 106-113, 285-288, 301-308, 335-342
Second Movement: Bars 5-6, 27-35, 53-63, there is also a slight omission at the very end. (Only about twenty bars in all.)
Fourth Movement: Bars 1-9, 49-59, 100-114, 128-167.

Percy Scholes gives a detailed study of this work and recording in his Second Book of the Gramophone Record.

It is worth noting that two different takes of the first part of the Slow movement were issued – my set contains the later version. Scholes notes that in the earlier version the A flat on the Cor Anglais hoots noticeably (possibly due to recording horn resonance, though Scholes blames the instrument!). This defect is not apparent in the later take. There is, however, a fluff in the triplet flute passage in the second side of the movement which was not re-recorded. On the whole the cuts do not have a major impact, except in the final movement where the loss of the first 9 bars makes for a startling opening after the Scherzo.

Dvorak – Symphony No.5 (No.9) in E minor Op.95 “From the New World”

Mediafire link for Dvorak – New World – Landon Ronald (1919-22)

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

First Movement – Adagio – Allegro molto (2 sides)
Second Movement – Largo (2 sides)
Third Movement – Scherzo – Molto vivace (2 sides)
Fourth Movement – Allegro con fuoco (2 sides)

His Master’s Voice D 536, 537, 587, 613
Matrices HO 4065af, HO 4068af, Cc 2248-II, HO 4064af, Cc 454-III, Cc 455-IV, Cc 723-I, Cc 724-I (single side numbers 3-0589/92, 3-0669/70, 3-0712/3)
Recorded 1st November 1919 (sides 1, 2, 4), 7th October 1921 (sides 5, 6), 29th November 1921 (side 7, 8), 6th December 1922 (side 3), Hayes

Royal Albert Hall Orchestra, Landon Ronald

The originally issued take of the first part of the first movement was HO 4063af, recorded at the same session as the rest of the first two movements.

The first side of the first movement ends with emphatic cadential chords to round out the side. This ending is included as an extra in the folder containing these files.

Albert Ketelbey was to the Columbia Graphophone Company what Landon Ronald was for the Gramophone Company. However, as a composer of light music, his recorded repertoire is very different to that of Ronald. As well as recordings of his own music, he conducted numerous brass band arrangements – in this case of a selection of Irish jigs. It may be that Ketelbey arranged these himself.

Traditional – Irish Jigs
Part 1 (Introducing: Hunting the Hare; Rory O’More; Sprig of Shillelagh; Paddy’s Brallagann; Irish Washerwoman)
Part 2 (Introducing: Haste to the Wedding; Rakes of Mallow; Paddy O’Rafferty; Dublin Lasses; Drops of Brandy; St. Patrick’s Day)

Download – Irish Jigs – Ketelbey

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

Regal G 7585 (10” 78rpm)
Matrices 35807, 35808 (9798, 9799)
Recorded 1920
Available from December 1920 to January 1943
Silver Stars Band, Albert W Ketelbey

Mention of the name David McCallum is more likely for most people to conjure up images of the actor, star of The Men from U.N.C.L.E., Sapphire and Steel and other cult TV shows. While he has made recordings, as singer, conductor and arranger, he inherits his musical interest and ability from his violinist father. David McCallum senior was the leader of the Scottish Orchestra in the 1930s before Beecham approached him to replace Paul Beard at the LPO from 1936. During the war McCallum lead the National Symphony Orchestra, and after it Beecham approached him to lead his new RPO. The present record, however, is from the early years of McCallum’s career – a disc of Scottish fiddle pieces and Auld Robin Gray, recorded for Vocalion in the late 1920s and issued on their Broadcast label.

(a) Inverness gathering (b) Deil among the Tailors (c) East Neuk o’ Fife
Auld Robin Gray

Download – Scottish fiddle pieces – David McCallum

Download – Auld Robin Gray – David McCallum

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

Broadcast S.6 (8” 78rpm, “long-playing”)
Matrices Z309, Z310
Recorded late 1920s
David McCallum, violin
George Short, piano

A complete change of pace comes with a “pop” record. Peter Miles, not to be confused with the British actor of the same name (as I previously did), was, in fact, Henry Miles, who won ITV’s “Find the Singer” contest in 1958, aged 24. The prize was £100 and a recording contract with Columbia. Miles wrote “My Little Girl”, and sang it throughout the contest. Miles sings these songs charmingly in a lovely falsetto.

 

Peter Miles – My Little Girl
Roberts – Goodnight, God bless, sleep tight

Download – Peter Miles – My Little Girl

Download – Peter Miles – Goodnight, God bless, sleep tight

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

Columbia DB 4117 (10” 78rpm)
Matrices CA 24380-1, 24381-1
Recorded 1958
Peter Miles, singer
Tony Osborne and his Orchestra
with the Rita Williams Singers

Landon Ronald – Beethoven’s 5th Symphony (1922 acoustic recording); Thomas Beecham – Berlioz, Johann Strauss II (acoustic recordings); Carlo Sabajno – Elgar (1906 recording)

A varied selection of acoustic orchestral recordings to start the autumn now. Landon Ronald’s 1926 recording of Beethoven’s 5th Symphony has already appeared at this site, so it’s interesting to hear his 1922 acoustic recording of the same work. There’s very little difference in the performance, though the French style bassoons are more obvious in this early recording.

Thomas Beecham has not appeared here before, though his recorded legacy is well known. His acoustic recordings, however, have had little attention on CD. A Symposium double CD issue from 1991 contained a selection of them, including the Fledermaus overture given here, and focusing on material that Beecham did not re-record. The Berlioz sides, superseded in the 1930s, have therefore had limited circulation.

The coupling for HMV’s double sided issue of Beecham conducting the overture to Die Fledermaus is of particular interest. It provides a rare chance to hear an Italian conducting Elgar in 1906. Carlo Sabajno was the Gramophone Company’s house conductor in Italy. Salut d’amour was not the only Elgar work that Sabajno recorded. In 1909 he recorded a single sided version of “In the South”, the first recording of the work (or at least of its final section). In Salut d’amour the extensive use of portamento may be startling to modern listeners!

Beethoven – Symphony No.5 in C minor Op.67

Mediafire link for Beethoven – Symphony No.5 – Landon Ronald

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

First Movement – Allegro con brio (2 sides)
Second Movement – Andante con moto (2 sides)
Third Movement – Allegro (Scherzo) (1½ sides)
Fourth Movement – Allegro (Finale) (2½ sides)

His Master’s Voice D 665/8
Matrices Cc 1812-IV, 1813-III, 1814-IV, 1815-I, 1948-II, 1949-I, 1950-II, 2017-I (single side numbers 3-0798/0804)
Recorded 24th October 1922 (sides 1, 2, 8), 10th October 1922 (sides 3, 5, 6, 7), 12th September 1922 (side 4), Hayes

Royal Albert Hall Orchestra, Landon Ronald

Berlioz – A Roman Carnival – Overture (abridged)
Berlioz – Damnation of Faust – March

Download – Berlioz – A Roman Carnival – Beecham

Download – Berlioz – Damnation of Faust – March – Beecham

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

Columbia L1105
Matrices 6907-1, 6924-1
Recorded 1916
Available from December 1916 to May 1928
The Beecham Symphony Orchestra, Thomas Beecham

The overture is substantially abridged, shorn of its first part. The recording contains bars 78-157 and 255-440 (the end of the work), and is very dimly recorded at the beginning. Details of matrix 6906 in Beecham’s 1916 sessions are not available, leading the suggestion that it may have contained the first part of the overture, which remained unissued. The March from Faust is given complete.

The two sides play at 82.5 and 81rpm respectively.

Strauss II – Die Fledermaus – Overture (abridged)
Beecham’s Symphony Orchestra, Thomas Beecham
Elgar – Salut d’amour
La Scala Symphony Orchestra, Carlo Sabajno

Download – Strauss II – Die Fledermaus Overture – Beecham

Download – Elgar – Salut d’amour – Carlo Sabajno

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

Mediafire link for previously available recordings by Carlo Sabajno

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

His Master’s Voice C431
Matrices 381ac (4360f-II, 0627), 921c (0546)
Recorded London 28th July 1910 (Beecham), Milan 1906 (Sabajno)
Available from September 1915

The overture is heavily cut. The recording contains bars 1-11, with bar 12 changed to unison B rather than E, to lead to b200-208, then b225-420 (the end of the overture). In the run out area of the record, an attempt has been made to scratch out the matrix number 4360f II. This is because 4360f was also assigned to an unpublished Evan Williams recording, This Beecham recording, when the duplication was realised, was renumbered 4360f-II, and later (May 1911) as 381ac.

The Beecham plays at 80rpm and the Sabajno at 74rpm.

Landon Ronald – Glazunov Chopiniana, Mendelssohn Songs without words,Grieg Lyric Suite (1925 & 1933); Arthur De Greef, Landon Ronald – Liszt Concerto No.1, Saint-Saens Concerto No.2; Daisy Kennedy, Hamilton Harty – Beethoven Romance in G

The flurry of Landon Ronald recordings continues, again with accompaniments for Belgian pianist Arthur de Greef (1862 – 1940). De Greef’s recording of Liszt’s 1st Piano Concerto was not the first ever (that honour fell to Anderson Tyrer on Edison Bell Velvet Face, with Adrian Boult conducting), but is important as a recording of a significant work by a pupil of Liszt, despite the acoustic recording. After Liszt’s death, de Greef worked with Saint-Saens in Paris, so it is also significant that he recorded the 2nd Piano Concerto. The present transfer is of de Greef’s 1928 electrical recording. De Greef in fact made the first recording of this work, with Landon Ronald, on just four sides. A few years before, Ronald had conducted the 2nd movement on record for Irene Scharrer.

As well as these concerto recordings, there are several purely orchestral recordings here by Landon Ronald. He recorded Grieg’s Lyric Suite 3 times – the first was an acoustic recording in 1912, and he then recorded it twice electrically. These electrical recordings are from 1925 and 1933, both to be heard here. Also presented below is a 1933 recording of movements from Glazunov’s Chopiniana – orchestral arrangements of well-known works of Chopin, which became the basis for the ballet Les Sylphides. These are coupled with recordings of two of Mendelssohn’s Songs without words, also in orchestral guise. The Spring Song and Spinning Song were a popular combination – Ronald also recorded these same pieces acoustically in 1912 and 1923. The latter of these will appear here in due course.

Glazunov – Chopiniana Op.46

No.1 Polonaise Op.40 No.1
No.2 Nocturne Op.15 No.1
No.3 Tarantelle Op.43

Mendelssohn – Spring Song Op.62 No.2; Spinning Song (Bees’ Wedding) Op.67

Mediafire link for Glazunov – Chopiniana, and Mendelssohn – Landon Ronald

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

His Master’s Voice C 2638/9
Matrices 2B 4639-IIIA, 4641-II, 4642-II, 4643-I (single side numbers 32-3919/22)
Recorded 1933

London Philharmonic Orchestra, Sir Landon Ronald

Grieg – Lyric Suite Op.54

Mediafire link for Grieg – Lyric Suite – Landon Ronald 1933

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

No.1. Shepherd Boy
No.2. Norwegian Rustic March
No.3. Nocturne
No.4. March of the Dwarfs

His Master’s Voice C 2642/3
Matrices 2B 4638-I, 4636-II, 4640-I, 4637-II (single side numbers 32-3917, 3915, 3918, 3916)
Recorded 1933

London Philharmonic Orchestra, Sir Landon Ronald

Grieg – Lyric Suite Op.54

Mediafire link for Grieg – Lyric Suite – Landon Ronald 1925

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

No.1. Shepherd Boy
No.2. Norwegian Rustic March
No.3. Nocturne
No.4. March of the Dwarfs

His Master’s Voice D 1081/2
Matrices Cc 7229-II, 7230-II, 7254-II, 7255-I (single side numbers 4-0813/6)
Recorded 10th November 1925 (Nos. 1 & 2) and 13th November 1925 (Nos. 3 & 4), Hayes

Royal Albert Hall Orchestra, Sir Landon Ronald

Saint-Saens – Piano Concerto No.2 in G minor Op.22

Mediafire link for Saint-Saens Concerto – De Greef, Ronald

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

1st movement – Andante sostenuto (2½ sides)
2nd movement – Allegro scherzando (1½ sides)
3rd movement – Presto (2 sides)

His Master’s Voice D 7458/60 (issued on standard coupling as D 1590/2)
Matrices CR 2110-I, 2111-IA, 2112-IIIA, 2114-I, 2113-IA, 2115-IIA (single side numbers 2-05644, 05645, 05646, 05648, 05647, 05649)
Recorded 26th June 1928, Queen’s Hall, London

Arthur de Greef, piano
New Symphony Orchestra, Sir Landon Ronald

Liszt – Piano Concerto No.1 in E flat major

Mediafire link for Liszt Concerto No.1 – De Greef, Ronald

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

1st movement – Allegro maestoso (1¾ sides)
2nd movement – Quasi adagio (1¼ sides)
3rd movement – Allegretto vivace – Allegro animato (1½ sides)
4th movement – Allegro marziale animato (1½ sides)

His Master’s Voice D 890/2
Matrices Cc 1804-III, 1805-III, 1806-III, 1810-IV, 1822-V, 1823-V (single side numbers 05803/8)
Recorded 7th November 1922 (sides 1, 3), 11th September 1922 (side 2), 21st November 1922 (sides 4, 6), 21st September 1923 (side 5), Hayes

Arthur de Greef, piano
New Symphony Orchestra, Sir Landon Ronald

Another recording of the Australian violinist Daisy Kennedy, again with orchestra. This was the first recording, and the only acoustic one, of Beethoven’s Romance No.1 in G major for violin and orchestra. The recording is conducted by Hamilton Harty. Many thanks to Cheniston Roland of Violinland for providing the source for this recording.

Beethoven – Romance No.1 in G major Op.40

Download – Beethoven Romance No.1 – Daisy Kennedy, Hamilton Harty

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

Columbia L1340
Matrices 76560-2, 76561-2
Recorded 1919
Available from August 1920 to July 1924
Daisy Kennedy, violin
Orchestra, Hamilton Harty

Landon Ronald – Tchaikovsky 5; Franz André – French overtures, Bolero, Sorcerer’s Apprentice, Rhapsodie Dahoméenne, Coppélia, Sylvia; Theo Olof – Mozart Violin Concerto No.5, Walter Goehr; Carl Bamberger – Mozart Symphony No.32; Frank Titterton – Schubert Lieder in English

Thanks to a recent email containing a substantial, though unfinished Franz André discography, I now know that a number of his stereo recordings are out of copyright, so it seemed apt to post a selection of mainly French music. Also, there’s more Tchaikovsky from Landon Ronald, a Mozart Violin Concerto with Theo Olof, and two Schubert songs by Frank Titterton, accompanied by Lev Pouishnoff

Hérold – Zampa – Overture
Adam – Si j’étais Roi – Overture
Auber – La Muette de Portici (Masaniello) – Overture
Berlioz – Le Carnaval Romain – Overture
Thomas – Mignon – Overture
Auber – Fra Diavolo – Overture

Mediafire link for French overtures – Franz André
(No longer available)

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

Telefunken SMA 13 (12” stereo LP)
Matrices STE-010355-2D, 010356-2D
Recorded October 1955 (Zampa, Muette de Portici), 15th July 1956 (Carnaval Romain, Fra Diavolo), 16th July 1956 (Si j’étais Roi), 17th April 1957 (Mignon), Palais des Beaux Arts, Brussels
L’Orchestre Symphonique de la Radiodiffusion National Belge, Franz André

Ravel – Bolero
Dukas – L’apprenti sorcier
De Boeck – Rhapsodie Dahoméenne

Mediafire link for Ravel, Dukas de Boeck – Franz André
(No longer available)

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

Telefunken SLB 12001 (12” stereo LP)
Matrices XLP – Ste – 10168-IV, 10217-VI
Recorded 2-7 April 1958, Palais des Beaux Arts, Brussels
L’Orchestre Symphonique de la Radiodiffusion National Belge, Franz André

Delibes – Coppélia Suite

Prelude and Mazurka
Entr’acte and Valse
Valse de la Poupée
Czardas

Delibes – Sylvia Suite

Prelude – Les Chasseresses
Intermezzo and Valse Lente
Pizzicato – Polka
Cortège de Bacchus

Mediafire link for Delibes ballet suites – Franz André

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

Telefunken TCS 18006 (12” stereo LP)
Matrices STE-010393-1, 010392
Recorded 16th (Sylvia) and 17th (Coppélia) April 1957, Palais des Beaux Arts, Brussels
L’Orchestre Symphonique de la Radiodiffusion National Belge, Franz André

Tchaikovsky – Symphony No.5 in E minor Op.64

Mediafire link for Tchaikovsky – Symphony No.5 – Landon Ronald

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

His Master’s Voice D 1511-16 (Album 73)
Matrices CR 1773-IA, 1774-I, 1775-III, 1776-IA, 1777-I, 1778-I, 1779-III, 1780-I, 1770-IA, 1781-II, 2006-IIA, 2007-I (single side numbers 5-0848/9, 5-0879, 5-0850/1, 5-0986, 5-0881, 5-0852, 5-0853, 5-0880, 5-0981/2)
Recorded 18th April 1928 (sides 1, 2 and 4), 19th April 1928 (sides 5, 6, 8 and 9), 2nd May 1928 (sides 3, 7, 10, 11 and 12) Queen’s Hall, London

I. Andante – Allegro con anima (4 sides)
II. Andante cantabile con alcuna licenza (3 sides)
III. Valse: Allegro moderato (2 sides)
IV. Finale: Andante maestoso – Allegro vivace – Andante maestoso – Moderato assai e molto maestoso (3 sides)

New Symphony Orchestra, Sir Landon Ronald

There was some slight variation in recording speed (particularly on the 2nd day).

Mozart – Violin Concerto No.5 in A major K219

I. Allegro aperto
II. Adagio
III. Tempo di menuetto

Theo Olof, violin
Classics Club Symphony Orchestra, Walter Goehr

Mozart – Symphony No.32 in G major K318
Frankfurt Opera Orchestra, Carl Bamberger

Mediafire link for Mozart – Violin Concerto – Theo Olof, Symphony No.32 – Bamberger

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

The Classics Club: Collector 67
Matrices CCHN 67 A-1P, B-1P
Recorded early 1950s

Schubert – On the water (Auf dem Wasser)
Schubert – The Erl King (Erlkönig)

Mediafire link for Schubert songs – Titterton

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

Columbia 9431
Matrices WAX 3250-4, 3251-1 (8512/3)
Recorded 4th April, 13th February 1928, London
Available from mid-August 1928 to August 1934
Frank Titterton, tenor
Lev Pouishnoff, piano

Landon Ronald – Tchaikovsky, Schumann, Wagner, Svendsen Bizet; Eugene Goossens – Tchaikovsky; Mary Law; Il Trovatore – Carrie Lanceley & Gwilym Richards; Daisy Kennedy interviewed

People are probably starting to wonder just how many Landon Ronald recordings I have. There are still plenty more to come, and a few early transfers which I’m keen to revisit. So, for the summer, a selection of Tchaikovsky, Svendsen, Wagner and Bizet, including a bonus side by Eugene Goossens.

Schumann – Carnaval

Mediafire link for Schumann – Carnaval – Landon Ronald

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

His Master’s Voice D 1840/2
Matrices Cc 18734-III, 18735-I, 18736-III, 18745-III, 18746-II, 18747-II (single side numbers 32-1373/8)
Recorded 8th (sides 1 and 2) and 11th (sides 3 to 6) April 1930, Kingsway Hall, London

London Symphony Orchestra, Sir Landon Ronald

Side 1: (1) Preambule (2) Pierrot (3) Arlequin
Side 2: (4) Valse Noble (5) Eusebius (6) Florestan
Side 3: (7) Coquette (8) Papillons (9) Lettres dansante (10) Chiarina
Side 4: (11) Chopin (12) Estrella (13) Reconnaissance
Side 5: (14) Pantalon et Colombine (15) Valse Allemande (16) Paganini (17) Aveu
Side 6: (18) Promenade (19) Pause (20) Marche des Davidsbundler contre les Philistins

Schumann’s piano suite is orchestrated variously here by Glazunov, Rimsky-Korsakov, Liadov, Tcherepnin and Arensky. After Coquette, Replique is omitted, and Paganini includes the reprise of the Valse Allemande

Tchaikovsky – Theme and Variations from Suite No.3 in G
Tchaikovksy – Chanson sans paroles (Song without words)

Mediafire link for Tchaikovsky – Theme and Variations, Chanson sans paroles – Landon Ronald

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

His Master’s Voice D 1798/1800
Matrices Cc 17901-II, 17902-I, 17904-III, 17903-II, 17905-IA, 17906-IIA (single side numbers 32-1028/33)
Recorded 3rd December 1929, Kingsway Hall, London

London Symphony Orchestra, Sir Landon Ronald

Side 1: Theme (Andante con moto) & Variations 1, 2, & 3
Side 2: Variations 4, 5, 6 & 7
Side 3: Variations 8, 9, & 10
Side 4: Variations 11 & 12 (First Record)
Side 5: Variation 12 (Second Record)
Side 6: Chanson sans paroles

The Chanson sans paroles may well be Ronald’s own orchestration.

Svendsen – Carnival in Paris
Tchaikovksy – Eugene Onegin – Polonaise (Act 3)

Mediafire link for Svendsen – Carnival in Paris, Tchaikovsky – Polonaise – Landon Ronald, Eugene Goossens

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

His Master’s Voice DB 1759/60
Matrices Cc 19735-II, 19736-II, 19737-II, 2B 598-I (single side numbers 32-1767/9, 32-2303)
Recorded 17th September 1929, Kingsway Hall, London (Svendsen)
Recorded 24th June 1931, Kingsway Hall, London (Tchaikovsky)

London Symphony Orchestra, Sir Landon Ronald (Svendsen)
London Symphony Orchestra, Eugene Goossens (Tchaikovsky).

Bizet – Carmen – Preludes to Act 1 and 2

Updated transfers now available

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

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

Royal Albert Hall Orchestra, Landon Ronald

Wagner – Die Meistersinger – Overture

Mediafire link for Wagner – Die Meistersinger Overture – Landon Ronald

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

Opera Disc Company 65365
Matrices ac6117f, ac6119f (single side numbers 040760/1)
Recorded 2nd March 1912, London

New Symphony Orchestra, Landon Ronald

This recording has appeared here before, but is now presented in an improved transfer.

Mary Law was a young British violinist, born 1889, died 1919, possibly from tuberculosis. She recorded a number of sides for Zonophone in 1915, primarily of operatic fantasias – those arrangements that provided audiences the tunes they knew. In November 1915 she began a tour of Australia. The Melbourne Argus of November 23rd 1915 contains the following:

Just Arrived, Direct from London, Under Special Engagement and First Appearance in Australia of Miss MARY LAW, The Notable English Violinist. Miss Law has been honoured with Royal Commands galore, and can claim the distinction of having played before most Members of the Royal Family.

Verdi – Rigoletto, Fantasia
Rossini – William Tell, Fantasia

Mediafire link for operatic fantasias with Mary Law

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

Zonophone Record The Twin – Serial A 187
Matrices z8393f, z8398f (single side numbers 047922/1)
Recorded 5th August 1915, London

Mary Law, violin with piano

The next item is the very traditional coupling on record of Ai nostri monti and the Miserere from Il Trovatore. This is a record on the short lived Pioneer label, which came into being in 1914, and lasted only until 1915. It’s on an earlier black label pressing, making 1914 the likely date. The two soloists are Australian soprano Carrie Lanceley and Welsh tenor Gwilym Richards. For more information on each, go to their respective pages.

Verdi – Il Trovatore – Home to our mountains; Miserere

Mediafire link for Verdi – Il Trovatore – duets with Lanceley and Richards

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

Pioneer 135
Matrices 2522, 2523
Recorded 1914, London

Carrie Lanceley, soprano
Gwilym Richards, tenor
with Orchestra

Daisy Kennedy, the Australian violinist has already appeared here, playing Saint-Saens. The present recording, is somewhat of a departure. This is an interview with Daisy Kennedy, broadcast on the BBC as the interval feature for a concert by Rafael Kubelik. The dates of the concert or the original interview are unknown. Many thanks to to Cheniston K Roland for providing a copy of this interview. Kennedy reflects on how she began to learn the violin, playing for Jan Kubelik, studying with Sevcik, and working with Landon Ronald, Percy Pitt and Henry Wood.

Daisy Kennedy, interviewed by Irene Slade

Mediafire link for Daisy Kennedy interview

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

A full transcript can be found on my Daisy Kennedy page.

Landon Ronald and Arthur de Greef in Grieg and Liszt; Thor Johnson conducts Grieg

Yet more from Landon Ronald now – this time conducting accompaniments for the Belgian pianist Arthur de Greef (1862 – 1940), in music by Liszt and Grieg. As a bonus there’s also a disc of two De Greef solos, by the same composers. The recordings are of some significance, as De Greef was one of Liszt’s pupils, and was a friend of Edvard Grieg, who endorsed his performances.

Grieg – Piano Concerto in A minor Op.16

Mediafire link for Grieg’s Piano Concerto – Arthur de Greef, Landon Ronald (electrical recording)

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

His Master’s Voice D 1237-40
Matrices CR 918-I, 919-II, 920-I, 921-IA, 922-II, 923-IA, 924-IA, 925-IA (single side numbers 05982/9)
Recorded 18th January 1927 (except side 2, 21st January) Queen’s Hall, London

I. Allegro molto moderato (4 sides)
II. Adagio (1½ sides)
III. Allegro moderato molto e marcato (2½ sides)

Arthur de Greef, piano
Royal Albert Hall Orchestra, Sir Landon Ronald

Side 2 was noticeably off pitch compared to the other sides, beginning somewhat below speed for a fraction of a setting, before rising to 80rpm and slowly returning to 78rpm.

Grieg – Piano Concerto in A minor Op.16 (abridged acoustic recording)

Mediafire link for Grieg’s Piano Concerto – Arthur de Greef, Landon Ronald (acoustic recording, and solo items)

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

His Master’s Voice D 551-2
Matrices Cc 78-I, 79-I, 80-II, 81-II (single side numbers 05663/6)
Recorded 19th April 1921, Hayes, Room 1

I. Allegro molto moderato (2 sides)
II. Adagio (1 side)
III. Allegro moderato molto e marcato (1 side)

Arthur de Greef, piano
Royal Albert Hall Orchestra, Sir Landon Ronald

This recording is cut to about half of its original length to fit  on just four sides, rather than the eight of the electrical version.

Side 1 starts at bar 1,  runs to 12 after A, then cuts to 21 after E (Animato), continuing through to the pause before the cadenza. The cut is from the Animato section of the Exposition to that in the Recapitulation.

Side 2 runs from the cadenza through to the end of the movement. Curiously, de Greef adds an extra half bar in the cadenza in bar 8, just before the descending octave passage leading to the fff repeat of the main theme. He does not do this in the electrical recording, so it must be a slight memory slip.

Side 3 starts 2 before A and runs to the end of the movement

Side 4 runs from the beginning(!) through to C, cuts to 8 before H, runs to 27 after H, cuts the 3/4 section, and resumes at K, continuing to the end of the movement.

Grieg – Norwegian Bridal March (Pictures from Folk Life Op.19 No.2)
Liszt-Schubert – Soirée de Vienne S247/6
His Master’s Voice D 1412
Matrices Cc 11773-II, 11800-I (single side numbers 2-05561, 2-05577)
Recorded 7th and 10th November 1927, C Studio, Small Queen’s Hall

Arthur de Greef, piano

The Liszt is played without repeats, and with cuts to both A major sections. The Grieg is uncut, and in fact, De Greef slightly extends the final cadence, by repeating the E major chord an octave higher, followed by a low E in the bass.

Liszt – Hungarian Fantasia

Mediafire link for Liszt – Hungarian Fantasia – Arthur de Greef, Landon Ronald (electrical recording)

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

His Master’s Voice D 1306-7
Matrices CR 914-III, 915-II, 916-IA, 917-III (single side numbers 05978/81)
Recorded 21st January 1927 (except side 3, 18th January) Queen’s Hall, London

Arthur de Greef, piano
Royal Albert Hall Orchestra, Sir Landon Ronald

Liszt – Hungarian Fantasia (acoustic recording, slightly abridged)

Mediafire link for Liszt – Hungarian Fantasia – Arthur de Greef, Landon Ronald (acoustic recording)

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

His Master’s Voice D 523, 528
Matrices HO 4573af, 4574af-II, 4575af, 4576af-III (single side numbers 05654, 05655, 3-0582, 3-0583)
Recorded 27th October 1920, Hayes

Arthur de Greef, piano
Royal Albert Hall Orchestra, Sir Landon Ronald

This acoustic recording omits one of the first three bars. As they’re identical, it’s hard to say which. It seems a bizarrely pointless cut – the side runs to just over 4 minutes, and could easily have accommodated the few extra seconds required.

De Greef elaborates slightly on the solo part, when compared to the score.

Thor Johnson was the youngest American-born conductor to be music director of an American orchestra when he took over the Cincinnati Symphony Orchestra. He recorded three LPs for English Decca (through its London label in the USA) in 1951, before moving on to record for Remington in 1953 and 1954.

Grieg – Sigurd Jorsalfar

Mediafire link for Grieg’s Sigurd Jorsalfar Suite – Thor Johnson

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

DECCA LW 5124 (10” LP)
Matrices TRL 275-1B, 276-1B
Recorded c1951

No.1 – In the King’s Hall (Prelude)
No.2 – Borghild’s Dream (Intermezzo)
No.3 – Homage March (Triumphal March)

Cincinnati Symphony Orchestra, Thor Johnson

Franz André conducts Tchaikovsky, Glazunov & Meyerbeer; Landon Ronald conducts Tchaikovksy

Yet more from Franz André – the contents of two mid 1950s 10” Telefunken LPs, with music by Tchaikovsky, Glazunov and Meyerbeer.

Mediafire link for Tchaikovsky, Glazunov and Meyerbeer – Franz André

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

Tchaikovksy – Capriccio Italien Op.45
Tchaikovksy – Romeo and Juliet Fantasy Overture

Telefunken LGM 65005
Matrices LP 36720-1A, 36721-1B
Recorded 12th and 14th April 1952, Palais des Beaux Arts, Brussels
Released 1955
Le Grand Orchestre Symphonique de L’I.N.R. Belge, Bruxelles, Franz André

Meyerbeer – Fackeltanz No.1 in B flat major
Glazunov – Valse de Concert No.1 in D major Op.47

Telefunken TM 68014
Matrices MRL 28-1B, 27-1B
Recorded 2nd October 1953, Palais des Beaux Arts, Brussels
L’Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André

These two LPs are in poor condition, so there is a significant amount of noise and distortion.

To give another view on one of the scores recorded by Franz André, and a welcome return to one of my favourite conductors, here is Landon Ronald’s abridged 1917 recording of Capriccio Italien.

Tchaikovksy – Capriccio Italien Op.45

Mediafire link for Tchaikovsky – Capriccio Italien – Landon Ronald

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

His Master’s Voice D 124
Matrices HO 2891af, 2892af (single side numbers 2-0837, 2-0842)
Recorded 29th September 1917, Hayes
Royal Albert Hall Orchestra, Landon Ronald

The sides run at various speeds – the first side runs from about 80 down to 77rpm,  while the second is around 75rpm.

Benno Moiseiwitsch and John Drinkwater

Regular visitors to this site will not be surprised to find a recording conducted by Landon Ronald. In this case, for the anniversary year, it’s Mendelssohn’s Piano Concerto No.1 with Benno Moiseiwitsch. The other item is a spoken word recording – the poet and playwright John Drinkwater reading some of his own works. The two men are connected by violinist Daisy Kennedy (of whom I now have several recordings.) Moiseiwitsch was her first husband, and Drinkwater was her second.

Mendelssohn – Piano Concerto No.1 in G minor Op.25
His Master’s Voice D 969-71
Matrices Cc 5655-III, 5656-II, 5657-I, 5658-I, 5659-II, 5660-II (single side numbers 05832/7)
Recorded 27th January 1925

Download – Mendelssohn – Piano Concerto No.1 – 1st movement – Moiseiwitsch, Ronald

Download – Mendelssohn – Piano Concerto No.1 – 2nd movement – Moiseiwitsch, Ronald

Download – Mendelssohn – Piano Concerto No.1 – 3rd movement – Moiseiwitsch, Ronald

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

I. Molto allegro con fuoco (2 sides)
II. Andante (2 sides)
III. Presto: Molto allegro e vivace (2 sides)

Royal Albert Hall Orchestra, Landon Ronald
Benno Moiseiwitsch, piano

 

Lecture 70: John Drinkwater reading his own poems
Part 1: Mystery; Vagabond; Moonlit Apples; Birthright
Part 2: Cotswold Love; Anthony Crumble; Mrs. Willow; Mamble

Columbia D 40140
Matrices WAX 4608-1, 4609-2 (11340, 11330)
Recorded 30th January 1929

Download – John Drinkwater reading his own poems

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

The sides are labelled as:

Made in England & Published by
Columbia Graphophone Co. Ltd.
Sole Official Publishers for
International Educational Society.

The address is given on side 1 as 26, Buckingham Gate, Westminster, S. W. 1, and on side 2 as 98, Clerkenwell Road, E.C. 1

JOHN DRINKWATER (1882-1937)

Associated with Barry Jackson in the formation of the company that developed into the Birmingham Repertory Theatre, in and for which his plays up to and including “Abraham Lincoln” were written. Published New Numbers in conjunction with Lascelles Abercrombie, Rupert Brooke and Wilfrid Wilson Gibson, and was a contributor to the five volumes of Mr. Marsh’s Georgian Poetry. In addition to his poetry and plays, he has written various critical studies, including volumes on Byron, Charles II, and Charles James Fox.

The texts of these poems are available on the John Drinkwater page on this site.

German’s Welsh Rhapsody from Landon Ronald and Henry Gibson, Elisabeth Schwarzkopf in La Traviata

There are just a few items today, with more to follow later in the week. Edward German’s “Welsh Rhapsody” was, surprisingly, not one of the many works that German himself conducted for the Gramophone Company. Pioneering acoustic versions were left to Dan Godfrey (on one side), Henry Gibson and the Mayfair Orchestra (2 sides) and Bainbridge Robinson with Boosey’s Concert Orchestra (4 sides). Electrical recordings followed from Landon Ronald with the LSO and Basil Cameron with the Hastings Municipal Orchestra in 1930, and the City of Birmingham Orchestra under George Weldon came later. The July 1931 issue of The Gramophone had the following to say about Ronald’s recording:

German is always likeable, because he knows his job inside out – the job of inventing good tunes, working them up into not-too-complex patterns, and orchestrating them in firm, bright colours (with a special ear to the values of the wind, as you may notice in this Rhapsody, which he wrote for the Cardiff Festival in 1904). This time he did not invent the tunes, but took them from the splendid folk store of Wales. The first movement builds on the air to “Loudly proclaim o’er land and sea This is the home of liberty” a capital, lusty opening. About a third of the way on side 2 we run right into the scherzo section, beginning with the fleet “Hunting the Hare” and using secondly “The Bells of Aberdovey” (with some neat combinations of the two). A minor-key reminiscence of the Bells tune, an inch in on side 3, changes the scene reflectively for the third movement, in which oboes and lower strings give out “David of the White Rock”, which is briefly treated, and ends pp; directly, we know what is going to happen, for the instruments hint excitingly at “Men of Harlech”, and then we sit back and, if we are not too blasé, feel a touch of the old patriotic thrill as the grand old march recalls the pageant of stormy history. All very simple and old-fashioned, you may say; but it is done by a man who, I repeat, knows his job inside out, and there are too few who have learnt their job as German did, graduating in the most valuable of all arenas, that of the theatre. Without over-smiting, the L.S.O. paints warmly and well, and no one could keep the thing in perspective better than Ronald. The tunes on which the movements are based should have been noted on the labels.

The two recordings given below are Henry Gibson’s abridged 1916 account, and Landon Ronald’s 1930 recording. In addition to these, a little opera: a test pressing of Elisabeth Schwarzkopf’s 1950 Addio del passato, included as an extra in a recent record order, as one of the other discs in the order had a rim flake that the seller hadn’t previously spotted.

German – Welsh Rhapsody

Download – German – Welsh Rhapsody – Henry Gibson

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

His Master’s Voice C 701
Matrices HO 1453ac, 1455ac (2-0654/5)
Recorded 27th January 1916
Issued September 1916
Mayfair Orchestra, Henry Gibson

German – Welsh Rhapsody

Download – German – Welsh Rhapsody – Landon Ronald

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

His Master’s Voice D 1939-40
Recorded 17th September 1930
Matrices Cc 19731-II, Cc 19732-II, Cc 19733-I, Cc 19734-1 (32-1763/6)
London Symphony Orchestra, Sir Landon Ronald

 

Verdi – La Traviata – Addio del passato

Download – Verdi – La Traviata – Addio del passato – Schwarzkopf

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

Columbia one-sided test pressing (issued on LX 1370)
Matrix CAX 10947-2
Recorded 1950
Elisabeth Schwarzkopf, soprano
Philharmonia Orchestra, Alceo Galliera

Mark Hambourg’s Tchaikovsky 1st Concerto, Rodzinski conducts Mozart concertos, Howard Barlow conducts Haydn’s Surprise, creators of Der Rosenkavalier, Vladimir Golschmann conducts Sibelius and Mozart

There’s quite a mixture of items for mid-January. Firstly, I’ve had another attempt at Mark Hambourg’s recording of the Tchaikovsky First Piano Concerto – the HMV surfaces are rough, and the recording isn’t the easiest to deal with, but I’ve certainly improved on my previous attempt. It also brings the name of Landon Ronald to my site – there’ll be much more to follow. In addition, I’ve transferred a Westminster LP with Artur Rodzinski conducting Mozart’s Clarinet and Bassoon Concertos. Then it’s back to two of this year’s anniversary composers. Haydn’s Surprise symphony has already appeared on this site in versions by Horenstein, Weissmann and Sargent. The next account is with Howard Barlow conducting the Columbia Broadcasting Symphony Orchestra. And as a little nod to the sixtieth anniversary of the death of Richard Strauss, two of the sides recorded by Minnie Nast and Eva Plaschke-von der Osten, the creators of Sophie and Octavian in Der Rosenkavalier. Finally, I’ve transferred an early LP of Vladimir Golschmann conducting Sibelius’s 7th Symphony and Mozart’s Prague Symphony.

Tchaikovksy – Piano Concerto No.1 in B flat minor Op.23

I. Allegro non troppo e molto maestoso
II. Andantino semplice
III. Allegro con fuoco

Mediafire link for Tchaikovsky – Piano Concerto No.1 – Hambourg, Ronald

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

His Master’s Voice D 1130-33
Matrices CR 736-IA, 737-I, 738-IA, 739-I, 732-IIA, 733-IA, 734-IA, 735-IA (single side numbers 05951/4, 05947/50)
Recorded 28th September 1926, Kingsway Hall, London
Royal Albert Hall Orchestra, Sir Landon Ronald
Mark Hambourg, piano

Mozart – Clarinet Concerto in A major K.622

I. Allegro
II. Adagio
III. Rondo: Allegro

Mozart – Bassoon Concerto in Bb major K.191

I. Allegro
II. Andante ma adagio
III. Rondo: Tempo di minuetto

Mediafire link for Mozart concerti – Rodzinski

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

Whitehall WH20060
Matrices XTV 21725/6 (M18287A/B)
Recorded June 27th to July 11th 1954, Vienna Konzerthaus, Mozartsaal
Vienna State Opera Orchestra, Artur Rodzinski
Leopold Wlach, clarinet
Karl Oehlberger, bassoon

Haydn – Symphony No.94 in G major “The Surprise”

I. Adagio cantabile – Vivace assai (2 sides)
II. Andante (2 sides)
III. Menuetto (Allegro molto) and Trio (1 side)
IV. Allegro di molto (1 side)

Mediafire link for Haydn – Surprise Symphony – Howard Barlow

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

Columbia (UK) DX 929-931
Matrices XCO 24147/52
Recorded 20th February 1939, New York
Columbia Broadcasting Symphony Orchestra, Howard Barlow

This UK Columbia set has a very high level of surface noise and crackle, and proved much more difficult to restore than other UK Columbias of a similar vintage, despite the good recording quality.

Richard Strauss – Der Rosenkavalier:
Mit ihren Augen voll Tränen (Act 2)
Ist ein Traum, kann nicht wirklich sein (Act 3)

Download – R Strauss – Rosenkavalier – Mit ihren Augen – Nast, Osten

Download – R Strauss – Rosenkavalier – Ist ein Traum – Nast, Osten

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

His Master’s Voice D 1002
Matrices 2305½c, 2304c (single side numbers 044184, 044183)
Recorded 25th August 1911, Berlin
Minnie Nast, soprano
Eva Plaschke-von der Osten, soprano
with Orchestra

Der Rosenkavalier was premiered in Dresden on January 26th 1911. These two sides were part of a group made seven months later in Berlin. Eva von der Osten and Minnie Nast created the roles of Octavian and Sophie. Margarethe Siems, the creator of the Marschallin, also took part in the session, recording solo and ensemble pieces.

“Mit ihren Augen” runs from 2 bars before fig 115 to fig 129
“Ist ein Traum” runs from 2 bars before fig 297 to fig 300, then has a transition section, before running fig 303 to 2 bars after fig 305

Sibelius – Symphony No.7 in C Op.105
Mozart – Symphony No.38 in D major “Prague”

I. Adagio – Allegro
II. Andante
III. Finale: Presto

Mediafire link for Sibelius and Mozart – Vladimir Golschmann

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

RCA Victor Bluebird Classics LBC-1067
Matrices E3RP-5266-1S, 5267-1S
Recorded 1942 (Sibelius), 1945 (Mozart)
St. Louis Symphony Orchestra, Vladimir Golschmann

This very early American LP was in poor condition, with considerable surface noise, and suffers some blasting in bass-heavy passages.