(mp3 file – click to play, or right click the link, then select “Save as”)
Odeon 3814/6483
Matrices 3814-4 x, 6483 x (P 2279)
Recorded January 1906
74.2rpm playing in F minor and E flat major at A435
The next two sides are classics of the gramophone, though my copies aren’t the best. Johann II Strauss – Die Fledermaus – Mein Herr Marquis; Spiel’ ich die Unschuld vom Lande Orchestra, Karl Alwin Elisabeth Schumann, soprano
(mp3 file – click to play, or right click the link, then select “Save as”)
HMV E 545
Matrices Bb 12008-I, BV 614-III (7-43097, 30-1473)
Recorded 11th November 1927, Studio C, Small Queen’s Hall, London; 6th September 1929, Mittlerer Konzerthaussaal, Vienna
76.3rpm, 76.5rpm
The final Strauss of the day celebrates his sesquicentennial anniversary this year, and is represented by his best known waltz.
Richard Strauss – Der Rosenkavalier – Waltz Berlin State Opera Orchestra, Leo Blech
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
(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
(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
(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
(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
(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.
(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
(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
(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
(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
(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
(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
(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
(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
(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.
(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
(mp3 files – click to play, or right click the link, then select “Save as”)
Columbia DX 1441-2
Matrices: CAX 10119-1, 10120-2, 10121-1, 10122-2
Recorded: 11th November 1947, No.1 Studio, Abbey Road
Issued December 1947
This was the second commercial recording of the Sea Interludes, but the first to be issued. Eduard van Beinum recorded them, and the Passacaglia, for Decca with the Concertgebouw Orchestra on September 15th and 16th 1947, with the 78s issued in January 1948. These Sargent sides were recorded two months later, but the incredibly quick turnaround for issue suggests to me that perhaps EMI were determined to be the first to get excerpts from Peter Grimes in the catalogues.
I received an email recently asking if I knew where George W Byng’s recording of the Ballet Music from Gounod’s Faust might be found. Some six years ago, before I had this website I did a transfer of the recording, so the time seemed apt to revisit it for a new transfer. Listening again, I get a sense of Byng’s experience as a theatre conductor – there is great life in these pieces.
Gounod – Faust – Ballet Music
Royal Opera Orchestra, Covent Garden, George W. Byng
More Wagner for the bicentenary year, this time with rarely head Vocalions from Adrian Boult in the overture to the Flying Dutchman and the Procession of Masters from Die Meistersinger (both 1927), and from Stanley Chapple in the Act 3 Prelude from Lohengrin (1927) and the Siegfried Idyll (a late acoustic recording from around 1925)
Wagner – Der fliegende Holländer – Overture Festival Symphony Orchestra, Adrian Boult
April 23rd is St George’s Day, Shakespeare’s birthday, and more importantly for this site, the anniversary of Albert Coates’s birth. For this year’s Coates tribute, we have two early electrical choral recordings: excerpts from Mendelssohn’s Elijah, and unaccompanied spurious Bach!
Georg Gottfried Wagner – Blessing, Glory and Wisdom (attr. J.S. Bach, BWV Anh 162) Sung in English Choir from the Chorus of the British National Opera Company, Albert Coates
(mp3 file – click to play, or right click the link, then select “Save as”)
His Master’s Voice D 1036
Matrices Cc 64624-I, 6425-II (single side numbers 04852, 04853)
Recorded 30th July 1925, Studio B, Hayes
These sides play at standard pitch at about 74.5rpm (putting the music in E flat)
This is a rare example of Coates conducting unaccompanied choral music – the piece in question was attributed to Bach, but is now known to be by Georg Gottfried Wagner, who worked with Bach in Leipzig for a little while.
Mendelssohn – Elijah – Baal chorus; Thanks be to God Sung in English Chorus and Symphony Orchestra, Albert Coates
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice D 1070
Matrices CR 37-II, CR 38-II (single side numbers 4-0781, 4-0782)
Recorded 1st December 1925, Queen’s Hall, London
These sides play in score pitch at about 78.5rpm
One early recording by the cellist Heinrich Grünfeld (brother of pianist Alfred Grünfeld) has appeared previously on this site. This has now been revisited, and a later recording by added as well. A full discography for Heinrich Grünfeld can be found on my discographies site.
(mp3 file – click to play, or right click the link, then select “Save as”)
Gramophone Concert Record G.C.-47875x
Matrix 19h
Recorded: 1905, Berlin
Issued: August 1905
Plays at A=435 at 77.0rpm
The record label states “LARGO (von Handel) gespielt von Professor Heinrich Grünfeld, Hofcellist, Berlin”
Heinrich Grünfeld, cello with piano (mp3 files – click to play, or right click the link, then select “Save as”)
Grammophon double sided 2-47851, 2-47852
Matrices 18140l, 18141l
Recorded: 1915, Berlin
At 78.0rpm these sides play at A=435, which is a reasonable pitch for the time.
It’s quite some time since any of Percy Pitt’s recordings appeared here. I’ve therefore opted to share one of his acoustic HMV recordings. It’s an orchestral recording, unusual in his HMV output, which was mainly devoted to accompanying singers either as pianist or conductor.
Wagner – Götterdämmerung – Siegfried’s Journey to the Rhine
Symphony Orchestra, Percy Pitt
This is a curious recording. The first side has the later matrix number, and though it begins as usual, when the first horn call is reached, we find the passage transposed down a minor third into D major. The bass clarinet line is given to lower strings, and a coda is appended. The second side begins from the second horn call, now at score pitch of F major. This means the sides do not join easily. The first file below gives the two sides in full. In the second version, I have digitally repitched the horn call passage into F major (without changing the tempo) to effect a side join and make the piece continuous.
As the festive season passes, it’s time for some of Humperdinck’s Hansel and Gretel, in early acoustical recordings by Adrian Boult. To follow this, in the spirit of the New Year Concert, if not the letter, some very light fare indeed: two entertaining bassoon solos from E W Hincliff and two numbers performed by the Serge Krish septet.
Humperdinck – Hansel and Gretel:
Overture
Hexenritt
Traum Pantomime
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice D 591, D 617
Matrices Cc 624-II, 625-II, 1069-III, Cc 1070-II (3-0690, 3-0691, 3-0718, 3-0719)
Recorded 3rd November 1921 (Overture) and 6th March 1922, Hayes, Room 1
Trad arr. Fred Godfrey – Lucy Long
Hinchcliff – Ri-Too-Ral-I-Tay
E.W. Hinchcliff, bassoon
Mme Adami, piano
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice B 1756
Matrices Bb 3977-II, 3978-I (7551, 7552)
Recorded 17th December 1923, Hayes
Ernest William Hinchcliff was born in London in 1878, and married a Jean Arklay, producing a son and two daughters by 1935. He was a professor of bassoon at the Royal College of Music, the Royal Military School of Music (Kneller Hall) and the Guildhall. He was bassoonist for the London Symphony Orchestra from 1904, Beecham Symphony Orchestra from 1910, New Symphony Orchestra from 1913, BBC Orchestra from 1923.
F Poliakin – The Canary (Le Canari)
F Arndt – Nola – A Silhouette
Serge Krish Septet
It’s been some time since my last update, but we were due something for Christmas. This is another Franz André LP on Telefunken, with works by Tchaikovsky.
I couldn’t let this Delius anniversary year pass without a selection of his recordings from 78s. These range from acoustics conducted by Eugene Goossens III through some early electricals with Geoffrey Toye up to post-war records by John Barbirolli. There’s one filler side from Barbirolli which is not by Delius. There’s also the early electrical set of the Cello Sonata played by its dedicatee, Beatrice Harrison.
And for a bonus, another English composer, Dame Ethel Smyth, conducts the overture to her opera “The Wreckers.”
Delius – Brigg Fair
Delius – On Hearing the First Cuckoo in Spring Royal Albert Hall Orchestra, Eugene Goossens
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice D 799-800
Matrices Cc 4017-I, 4018-I, 4019-II, 4081-I (3-0974, 3-0975, 3-0976, 3-0977)
Recorded 31st December 1923 and 15th January 1924, Hayes
Brigg Fair is complete, but the Cuckoo is slightly abridged, losing 23 bars in total (from 2 before fig 5 to 4 after fig 6, and from 4 after fig 9 to 3 before fig 11.)
Delius – Sonata for Cello and Piano Beatrice Harrison, cello
Harold Craxton, piano
(mp3 file – click to play, or right click the link, then select “Save as”)
His Master’s Voice D 1442-3
Matrices CR 1649-I, 1650-I, 1651-I, 1652-I (5-0824, 5-0773, 5-0774, 5-0775)
Recorded 19th February 1928, Kingsway Hall, London
Delius – In a Summer Garden London Symphony Orchestra, Geoffrey Toye
Delius – A Song Before Sunrise New Symphony Orchestra, John Barbirolli
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice D 1696-7
Matrices CR 1655-I, 1656-IA, 1657-IA, Cc 16663-II (5-0776, 5-0777, 6-0808, 6-0793)
Recorded 19th February 1928 (Toye) and 7th June 1929 (Barbirolli), Kingsway Hall, London
Delius – The Walk to the Paradise Garden New Symphony Orchestra, Geoffrey Toye
Now we head back to the early 1920s for three English Columbia acoustic discs, featuring two of Columbia’s regular conductors: Albert W Ketelbey and Hamilton Harty. The reason for grouping these together is a little confusion in the catalogues as to who is conducting on one of the records.
Massenet – Angelus from “Scenes Pittoresques”
Luigini – The Voice of the Bells – Reverie Court Symphony Orchestra, Albert W Ketelbey
(mp3 file – click to play, or right click the link, then select “Save as”)
Columbia 976
Matrices AX 361-1, 362-1 (4718, 4719)
Recorded 7th March 1924, London
Available from June 1924 to August 1932
This recording is unabridged. The first side begins at 80rpm and progresses to 81rpm, while the second side remains around 80rpm.
On the record label, the performance is credited simply to the Court Symphony Orchestra, and in Columbia’s 1925 catalogue it is listed under the section for Court Symphony Orchestra conducted by Albert W. Ketelbey. However, Ronald Taylor’s discography of 12” Columbia records 1906-1930 notes the conductor as “Harty (Listed in the catalogues as Ketelbey)” Another Court Symphony Orchestra recording, from 4th March 1924 (record 980, matrices AX 356-2, AX 359-1), was issued in the UK with no conductor credited, and appears in the same section of the 1925 catalogue under Ketelbey’s name but American issues gave Harty’s name.
I’m inclined to accept the attribution of Harty as the conductor, partly because of the accelerando at the end of the overture which is not unusual for him.
Stanford – Shamus O’Brien – Overture
Rossini – Barber of Seville – Overture Hallé Orchestra, Hamilton Harty
To celebrate this Diamond Jubilee weekend for Queen Elizabeth II, I present here two records from the year before her accession to the throne. The opening of the Royal Festival Hall in 1951 included Handel’s Coronation Anthem “Zadok the Priest,” which was also heard during the Queen’s Coronation in June 1953. The 1951 concert also included Elgar’s Pomp and Circumstance March No.1, a staple, of course, of British patriotic events.
Handel – Zadok the Priest
Elgar – Pomp and Circumstance March No.1 in D major Op.39 “Land of Hope and Glory” Royal Festival Orchestra and Chorus, Sir Malcolm Sargent
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice Records DA 1980, 1981
Matrices 0EA 15573-1C, 15574-1C, 15575-1A, 15576-1A
Recorded live on 3rd May 1951 at the Ceremonial Opening Concert of the Royal Festival Hall, London
The baritone, Bridge Peters, was active in the first quarter of the 20th century. He was born in late 1878 in Haslingden, near Altrincham in Lancashire, England. In 1907 he married Daisy, and by 1911, they had a son James, and were living in Manchester, and were financially secure enough to have a domestic servant. Bridge Baron Peters lived for most of his life in or around Manchester, but appears to have moved to the south coast of England around the start of the Second World War. He died in the spring of 1949, in Honiton, Devon,
There are a few mentions of concerts to be found online, including a Prom concert on Tuesday 1st October 1912, conducted by Sir George Henschel, at which he sang Henschel’s “Young Diderich”, in an orchestration by Percy Pitt, and the first Proms performance of “The Sea Road” by Haydn Wood, with Frederick Kiddle at the piano. Peters made several recordings for the Gramophone Company between 1910 and 1914, issued on the Zonophone label, and also for Edison Bell around the same time (some issued on the Winner label.)
Handel – Samson – Honour and Arms Bridge Peters, baritone
with Orchestra
There are two parts to this latest addition to my site. First, a performer who has appeared already as a composer: Easthope Martin, whose popular “Come to the fair” has been heard here performed both by Julie Andrews, and her stepfather Ted Andrews. However, in the period before the First World War, Martin recorded a number of sides for Zonophone, though he was disguised behind a pseudonym.
Godard – Second Mazurka Op.54
Grieg – Norwegian Bridal March Op.19 No.2 Easthope Martin, piano
(credited on label as Paul Astor)
(mp3 files – click to play, or right click the link, then select “Save as”)
Zonophone Record The Twin Serial A 144
Matrices z7135f, z7136f (side numbers Z-045509, Z-045508)
Recorded 24th February 1913
To commemorate Shakespeare’s anniversary, and the birthday of the Anglo-Russian conductor Albert Coates, I present here one of Coates’s later Decca recordings – Tchaikovsky’s Romeo and Juliet, with Rimsky-Korsakov’s Dance of the Tumblers as the filler side.
Tchaikovsky – Romeo and Juliet – Fantasy Overture
Rimsky-Korsakov – The Snow Maiden – Dance of the Tumblers National Symphony Orchestra, Albert Coates
(mp3 files – click to play, or right click the link, then select “Save as”)
Decca (Dutch) X 10068/9, X 10170
Matrices AR 9109-2, 9110-1, 9111-2, 9112-2, 9113-1, 9152-2
Recorded 8th February 1945 (sides 1 and 4), 23rd February 1945 (sides 2, 3, 5 and Rimsky-Korsakov), Kingsway Hall, London
Curiously, sides 1 to 4 are coupled in automatic sequence on X 10068/9, and side 5 and the Rimsky-Korsakov are on X 10170
This update is by way of tribute to one of the significant contributors to the UK recording industry. Lilian Bryant was a pianist and conductor, and was the musical director of the Pathéphone Company, Ltd. in London. There are numerous orchestral recordings on which she is the conductor, including several popular overtures. She is likely to be the conductor or piano accompanist on numerous British Pathé vocal recordings, often uncredited. She also recorded piano solos for Columbia (and Regal) several of which were issued in Holland, where she was known as the accompanist of violinists Alfred Indig and Boris Lensky (and is credited as such on the record labels). She also crops up on the unusual Chantal de Luxe label (manufactured by Crystalate), conducting for the baritone Louis Lynel. This unusual recording and a number of her piano records are given below. The piano solos are mainly of popular songs of the day, very much in lighter mood, though she did record some popular classical pieces as well. These include the only electrical recording in the current batch, of Wagner’s Bridal Chorus, and Mendelssohn’s Wedding March. I also have several English Pathés which she may appear on as uncredited accompanist, but I’ve not yet restored them.
Drigo – Les Millions d’Arlequin – Sérénade
Toselli – Serenade Orchestra, Lilian Bryant
Louis Lynel, baritone
(mp3 files – click to play, or right click the link, then select “Save as”)
Columbia D9085
Matrices F6, F7 (15896, 15897)
Recorded 1923?
Wagner – Bruidskoor (uit Lohengrin) (Bridal Chorus from Lohengrin, Act 3)
Mendelssohn – Hochzeits Marsch (Wedding March from Midsummer Night’s Dream) Lilian Bryant, piano
To welcome in the New Year, I’ve transferred Johann Strauss’s Die Fledermaus overture in an early recording by Carl Schuricht, and as an extra, a pair of overtures by Suppé and Offenbach, conducted by Franz André.
J. Strauss II – Die Fledermaus – Overture Berlin State Opera Orchestra, Carl Schuricht (credited on label as “New State Symphony Orchestra, with no conductor named)
(mp3 file – click to play, or right click the link, then select “Save as”)
Decca K.638
Matrices 30159, 30160 (from Telefunken originals)
Recorded 9th September 1929, Berlin
Play at 78rpm
Offenbach – Orpheus in der Unterwelt – Overture
Suppé – Dichter und Bauer – Overture L’Orchestre Symphonique de la Radiodiffusion Nationale, Belge, Franz André
Aeolian Vocalion records are the source for a quintet of vocal recordings in time for Christmas. They also serve as a little coda to the pile of Carmen recordings that I posted here in October. The English-born contralto, Marguerite d’Alvarez, sings Silent Night, and then the Habanera from Carmen, and, with tenor Giulio Crimi, “Ai nostri monti” from Verdi’s Il Trovatore. This is followed by two more recordings from the same works – baritone George Baker, in a lesser known corner of his discography, made a number of operatic sides for Aeolian Vocalion.
Gruber – Silent Night, Holy Night Orchestra
Marguerite d’Alvarez, contralto
Another brief chamber music update, this time one of the four chamber sides recorded in 1917 by Mark Hambourg. This features Marjorie Hayward on violin, Frank Bridge on viola and Warwick Evans on cello, in a heavily abridged version of the Scherzo from Saint-Saëns’s Piano Quartet in B flat major.
Saint-Saëns – Piano Quartet in B flat major Op.41 – Scherzo Marjorie Hayward, violin
Frank Bridge, cello
C. Warwick-Evans, cello
Mark Hambourg, piano
The single record in this update is contains two treats from the wind ensemble repertoire. The London Wind Quintette are heard on an early 1920s Edison Bell Velvet Face 12” record. The quintette features flautist Robert Murchie, Leon Goossens on oboe, Haydn Draper on clarinet, bassoonist Wilfred James and horn player Alfred Edwin Brain Jr. The discography given in Carole Rosen’s “The Goossens – A Musical Century” names Frederick Salkeld as the horn player, with a recording date of 1923. However, the record labels clearly state A.E. Brain. Brain left the UK in August 1922, playing in the NYPO, LAPO and was heard on numerous film soundtracks. His date of emigration and the matrix numbers on the record suggest a 1922 recording date.
Pierné – Pastorale
Scarlatti – Andante and Allegro (from Suite) London Wind Quintette:
Robert Murchie, flute
Leon Goossens, oboe
Haydn Draper, clarinet
Wilfred James, bassoon
Alfred Edwin Brain Jr, horn
(mp3 files – click to play, or right click the link, then select “Save as”)
Edison Bell Velvet Face 515
Matrices X1147H-2, X1148H-1
Recorded 1922
Play at about 83.6rpm
The Scarlatti pieces are arrangements of the Sonata in D minor K9/L413 transposed to E minor, and Sonata in G minor K450/L38 in its original key.
The Pierné Pastorale is No.1 from Album pour mes petits amis Op.14, in its original key of A minor. Bars 35-80 are repeated, presumably so that record was filled out to a reasonable duration.
