The major project continues, so I’ve again transferred some other items, with the focus on violinists. Marjorie Hayward is heard as the first violinist of the Virtuoso Quartet in a Beethoven Quartet, and then as soloist in Grieg’s Third Sonata, with Una Bourne at the piano. The additional curiosity item is of the Turkish violinist Fethi Kapuz, recorded by the BBC in 1950 with Clarence Raybould as accompanist, playing two movements by the Turkish composer Hasan Ferit Alnar.
Beethoven – String Quartet No.12 in E flat major Op.127
I. Maestoso – Allegro (2 sides)
II. Adagio ma non troppo – Andante con moto – Adagio molto espressivo (3 sides)
III. Scherzando, vivace (2 sides)
IV. Finale (2 sides)
(This is a zip file – left click the link, download the file, then unzip when downloaded)
His Master’s Voice Album Series No.35, D1183-7
Matrices Cc 7022-V, 7023-VI, 7059-II, 7060-II, 7503-I, 7506-II, 7507-III, 7552-I, 7553-II, 8517-I (single side numbers 08293, 08294, 08260, 08268, 08298, 08256, 08261, 08269, 08257, 08272)
Recorded 12th October 1926 (sides 1, 2), 26th October 1925 (sides 3, 4 at 79rpm), 14th December 1925 (sides 5, 6, 7), 17th December 1925 (sides 8, 9), 6th September 1926 (side 10), Hayes
Grieg – Violin Sonata No.3 in C minor Op.45
I. Allegro molto ed appassionato (2 sides) II. Allegretto espressivo alla Romanza – Allegro molto – Allegretto espressivo alla Romanza (2 sides) III. Allegro animato (2 sides)
(This is a zip file – left click the link, download the file, then unzip when downloaded)
His Master’s Voice C 1388-90
Matrices Cc 6812-IV, 6813-VI, 6814-VIII, 7008-V, 7009-V, 7010-III (single side numbers 08254, 08258, 08266, 08267, 08255, 08259)
Recorded 11th November 1925 (side 1), 19th November 1925 (sides 2 to 6), Hayes
Mozart – Violin Sonata in B flat major K.378
I. Allegro (2 sides) II. Andante sostenuto e cantabile (1 side) III. Allegro (Rondo) (1 side)
(This is a zip file – left click the link, download the file, then unzip when downloaded)
His Master’s Voice C 1247-8
Matrices Cc 7233-I, 7234-IV, 7492-II, 7493-III (single side numbers 08234/7)
Recorded 11th November 1925 (sides 1 and 2), 10th December 1925 (sides 3 and 4), Hayes
The next item is a BBC library recording, with that stalwart of the Columbia catalogues, Clarence Raybould providing the accompaniment for the Turkish violinist Fethi Kapuz in two of the three pieces from Suite for Violin and Piano by Hasan Ferit Alnar.
Hasan Ferit Alnar – Three Pieces from Suite for Violin and Piano
While a big project slowly progresses, I’ll be posting occasional smaller updates. This latest includes three very different records, embracing opera, orchestra and piano.
Balfe – The Bohemian Girl – Vocal Gems: Light Opera Company:
Sopranos: Della Baker, Helen Clark, Erva Giles, Emily Stokes Hagar, Olive Kline, Lucy Isabelle Marsh, Gladys Rice
Contraltos: Edna Indermauer, Marie Stone Langston, Mrs James Price Tenors: Franklyn Baur, Richard Crooks, Charles H Hart, Lambert Murphy Baritones: Royal Dadmun, Elliott Shaw
Basses: Frank Croxton, Wilfred Glenn
(mp3 file – click to play, or right click the link, then select “Save as”)
His Master’s Voice C 1382
Matrices CVE-17507-01, 17508-10 (HMV sides 2-04606, 2-04607)
Recorded 25th August 1926, Victor Church Building Studio, Camden, New Jersey
Score references to Boosey The Royal Edition vocal score (1899)
Side 1:
Intro.: – Away to Hill and Glen – I dreamt that I dwellt (Eb, p96-98, on pitch) – Heart bow’d down – Silence (D, p82-84, 87, semitone down) – Fair Land of Poland – Happy and light (Eb, p114-117)
Side 2
Intro.: – In the gipsy life (G, p32-35 – on pitch) – Come with the Gypsy Bride – Bliss for ever past – What is the spell – Then you’ll remember me (Db, p178-9) – Oh what full delight
Brahms – Intermezzo Op.119 No.1 and Intermezzo Op.117 No.1
PM Ireland, piano
(mp3 file – click to play, or right click the link, then select “Save as”)
Private Recording by Levy’s Sound Studios Ltd, London W.1. England
73 & 101 New Bond St., W.1 – Mafair 8521/2
Lacquer on aluminium disc
Unnumbered, no matrix numbers. Probably recorded around 1950
I have been unable to trace any information about the pianist PM Ireland who is heard on these two sides.
Charles Shadwell – Lulworth Cove
Queen’s Hall Light Orchestra, Charles Williams
Here in London, it’s traditional that the chiming of Big Ben rings in the New Year. The following recordings, from November 1926, includes that distinctive bell, and other bells of Westminster, together with Stanley Roper playing the organ of St. Margaret’s Church, Westminster.
St. Margaret’s Chimes, Westminster. “O God, our help in ages past”
Impressions of London (Westminster). Actual recording of BIG BEN and traffic noises. St. Margaret’s Chimes and Organ (“The Old 100th”)
Stanley Roper, organ
(mp3 files – click to play, or right click the link, then select “Save as”)
His Master’s Voice B 2398
Matrices BR 868-III, 869-I (9764, 9765)
Recorded 24th November 1926, St. Margaret’s Church, Westminster, London
New Year’s Day itself brings the concert from Vienna, with waltzes, polkas, galops and so on, usually by the Strauss family. The four recordings presented here are dances of the same type, but by a wider range of composers, and ensembles.
Warschawsky (or Vasily S. Varshavsky) recorded for a number of different labels (Beka, Columbia, Favorite, Gramophone Co., Zonophone) with his “Harmonia Orchestra”. This was in fact an accordion ensemble. He conducted accompaniments for choirs and solos. More details can be found at Russian Records.
(mp3 file – click to play, or right click the link, then select “Save as”)
G&T Gramophone Concert Record G.C.-20596
Matrix 1556z (20596 II)
Recorded 1903, Moscow
This plays in G major at 78rpm (with concert pitch of A440). My copy of this record is very worn, particularly at the start.
Chris Chapman was an American percussionist who recorded for Victor from 1905 to 1909, playing mainly bells or xylophone. In this recording he plays a Gavotte by Charles W Kremer, about whom I can find no further information. This is the only recording of one of his works to appear in the Victor acoustic catalogues.
Charles W Kremer – Southern Girl Gavotte
Chris Chapman, bells with Orchestra
(mp3 file – click to play, or right click the link, then select “Save as”)
Gramophone Concert Record G.C.-9383
Matrix B-4764 (Victor master – English pressing gives A4764 (9383 IV))
Recorded 5th August 1907
This plays in F major at 78rpm.
Although named on the label as “Clarkes London Concert Band,” this recording was issued in the French catalogue as being played by the Musique de la Garde Républicaine, and its use of the o-series matrix number also suggests a French recording.
Waldteufel – Toujours ou jamais Waltz “Clarkes London Concert Band” – Musique de la Garde Républicaine
(mp3 file – click to play, or right click the link, then select “Save as”)
G&T Gramophone Concert Record G.C.-2-145
Matrix 4397o (2-145)
Recorded 1904-5, Paris
Curiously, after the end of the Waldteufel, there is a gap in the grooves, and then another track – a few seconds of a steady single note on a trumpet.
The French military had already adopted diapason normal by this time and this recording plays in G flat major at 75.9rpm. At this speed, this trumpet tone appears as A440. A speed of around 80.4rpm would put the work in G major, with the test tone as a B flat, this would put result in many of the transposing instruments playing in A major and E major, which may be less likely than playing in A flat major and E flat major. However, I’ve provided transfers at both pitches, and leave it to the listener to decide which sounds more likely. The original orchestral key of E major is unfeasible!
As with the Warschawsky, there is a great deal of wear and distortion, particularly near the start of this record.
The label for the following record of music by Lumbye names “Elite Orkester”, then København, Danish Orchestra. However, the matrix listings name the Black Diamonds Band, the Gramophone Company’s house band. At the same session they recorded several other works by Lumbye, Lund, Eriksen and Wenrich, likely for the Danish catalogue.
H.C. Lumbye – Salut for August Bournonville, Galop “Elite Orkester” – Black Diamonds Band
(mp3 file – click to play, or right click the link, then select “Save as”)
Gramophone Concert Record V.*70659
Matrix 11414e (V*70659)
Recorded 4th March 1910, London
On the basis that standard military band pitch at the time was A452, I’ve transferred this at 80rpm, which puts it in B flat for this pitch standard. The original orchestral version is in D, which would give a turntable speed which is unfeasibly fast for Gramophone records of this period. It would however give the piece at a speed comparable to modern recordings of this galop!
This Christmas update brings a batch of Dickensian spoken word recordings and related items. A few of these have appeared here before, but are presented here in new transfers.
There are more items for the Chopin anniversary from various pianists, and some recordings by the same pianists of other composers, including a little festive Bach.
Albert Whelan (1875-1961) is remembered as a music hall entertainer, emigrating to England from his native Australia fairly early in his career. Given the nature of his career, it becomes hard to be sure whether these Dickens performances are intended sincerely or not. Certainly, The Death of Little Nell is worked for every ounce of sentimentality, and the orchestral backing carries it literally into the realms of melodrama as originally understood. This kind of performance makes one appreciate the reasons for Oscar Wilde’s withering put down of the scene, and is not easy to listen to after hearing more modern acting styles.
Dickens – The Old Curiosity Shop: The Death of Little Nell
Dickens – David Copperfield: Little Emily
Albert Whelan, actor
with Orchestra
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Zonophone The Twin Serial 268
Matrices 2211e, 7263e
Recorded 4th July 1905, 1907
Based on pitch of orchestral accompaniments, these have been transferred at 77.0rpm and 75.7rpm respectively.
Bransby Williams (1870-1961) is another music hall entertainer, born and bred in London. He was known very much for his impersonations (including a fine imitation of Henry Irving, the great Shakespearean), but also performed many characters from Dickens. He was particularly known for his Scrooge, and he recorded his Scrooge monologues for various companies. In 1928 he played the role in a short sound film, and also in a 1950 BBC TV production. He appeared in a number of silent films of works by Dickens. His recorded repertoire included many Dickens roles, and a number of other dramatic monologues and recitations, several of which are given here.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Dickens – A Christmas Carol – Scrooge No.3 The Awakening
Dickens – A Tale of Two Cities – Sydney Carton’s Farewell
Bransby Williams, actor His Master’s Voice C 500
Matrices 3704f, 2636f (01031, 01014)
Recorded 7th October 1909, 9th October 1908
Recorded at about 81rpm and 80rpm respectively
Dickens – David Copperfield: Micawber and Uriah Heep
Cuthbert Clarke & Charles H Taylor – Devil May Care
Bransby Williams, actor His Master’s Voice C 501 (first side also on Gramophone Monarch 01011)
Matrices 2631f, 2634f (01011, 01021)
Recorded 9th October 1908
Both sides recorded at about 80rpm
Dickens – A Christmas Carol – Scrooge: Before the Dream; After the Dream
Bransby Williams, actor The Winner 2533
Matrices 1033D, 1034K
Recorded 1913
Available from January 1914
Milton Hayes – The Green Eye of the Yellow God
Chas J Winter – The Caretaker
Bransby Williams, actor Columbia 388 (80rpm)
Matrices 6352-3, 6353-3 (1054/5)
Recorded 2nd May 1924
Available from June 1924 to May 1926
These sides were recorded 3 times. First in 1913 (6352-1, 6353-2), available from July 1913 to June 1924. They were then replaced with versions recorded on 2nd May 1924 (6352-3, 6355-3). These were in the catalogues until May 1926, when the electrically recorded remakes of 1st April 1926 replaced them (WAX 1400-1, 1401-1). These were deleted from the catalogue in February 1943
Dickens – The Pickwick Papers – Tony Weller
Dickens – Oliver Twist – Bill Sykes
Bransby Williams, actor Columbia-Rena 400
Matrices 6354-1 or -2, 6355-2
Recorded 1913
Available from September 1913 to June 1924
Columbia 400
Matrices 6354-4, 6355-4 (1056/7)
Recorded 23rd and 21st May 1924
Available from June 1924 to July 1929
These two versions of the same “Dramatic Recitals” show how Williams’s performances varied. The broad outline of each version is the same, but there are differences in the details. Another, slightly cut, version of the Tony Weller scene was filmed for British Pathé
Dickens – A Christmas Carol – Scrooge: Before the Dream; The Dream; After the Dream
Dickens – David Copperfield: Micawber’s Advice to Copperfield
Bransby Williams, actor Columbia 347 (81.8rpm)
Matrices WAX 1397-2, 1396-2 (6043, 6042)
Recorded 31st March 1926
Available from May 1926 to February 1944
Columbia 348 (80rpm)
Matrices 6277-1, 6278-1
Recorded 1912
Available from December 1923 to May 1924
This set was recorded 3 times. First in 1912 (6275-2, 6276-2, 6277-1, 6278-1), available from December 1912 to May 1924. It was then replaced with versions recorded on 14th and 4th April 1924 (6275-3, 6276-3, 6277-4, 6278-3). These were in the catalogues until May (347) and June (348) 1926, when the electrically recorded remakes of 31st March 1926 replaced them (WAX 1397-2, 1396-2, 1398-1, 1399-1). These were deleted from the catalogue in February 1944
Dickens, Lee, Weston – A Charles Dickens Christmas
Bransby Williams, actor
with various other performers Columbia DX 554
Matrices CAX 6971-1, 6972-1
Recorded October 1933, London
The pianist Mark Hambourg has already featured on this site. The latest item is one of his earlier acoustic recordings, of Chopin and Schubert.
(mp3 files – right click the link, then select “Save as”)
Chopin – Polonaise in A major Op.40 No.1 (“Military”)
Schubert-Tausig – Marche Militaire
Mark Hambourg, piano His Master’s Voice D 486
Matrices HO 4160af, 4162af (05646, 05647)
Recorded 15th December 1919, London
Wilhelm Backhaus (1884-1969) is without doubt one of the most famous of recorded pianists, with a studio career stretching from acoustic recordings in the first decade of the twentieth century through to stereo recordings in the 1960s. The recordings below show him in core repertoire from 1913 to 1934.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Chopin – Etude in E major Op,10 No.7; Waltz in D flat major Op.64 No.1 (“Minute”)
Schubert – Moment Musical Op.94 No.3; Hark, hark the lark Wilhelm Backhaus, piano
His Master’s Voice D 170 (81rpm)
Matrices z7358f, z7360f (05553, 05550)
Recorded 20th May 1913, London
Brahms – Variations on a Theme by Paganini Op.35 Book 1 (Theme and Variations 1-8; Variations 9 -13)
Wilhelm Backhaus, piano His Master’s Voice D 1019
Matrices Cc 5437-II, 5438-III (05855, 05856)
Recorded 5th December 1924, London
Chopin – Fantaisie Impromptu in C sharp minor Op.66
Chopin – Prelude in C major Op.28 No.1; Etude in C major Op.10 No.1 Wilhelm Backhaus, piano His Master’s Voice DB 2059
Matrices 2B 5391-II, 5392-IV (32-4189, 32-4190)
Recorded 7th and 10th October 1933, London
Beethoven – Piano Sonata in C sharp minor Op.27 No.2 (“Moonlight”)
I. Adagio sostenuto (1 side)
II. Allegretto (½ side)
III. Presto agitato (1½ sides)
Bach arr Lucas – Pastorale from “Christmas Oratorio”
Wilhelm Backhaus, piano His Master’s Voice DB 2405-6
Matrices 2EA 518-II, 519-III, 520-III, 516-II
Recorded 6th (sides 1 and 4) and 8th (sides 2 and 3) November 1934, Abbey Road Studio No.3, London
Vladimir de Pachmann (1848-1933) was highly regarded for his wonderful Chopin playing. The odder aspects of his platform behaviour carried into the recording studio, and his comments can be heard on several of the recordings here.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Chopin – Prelude in B minor Op.28 No.6; Etude in G flat major Op.67 No.1
Chopin – Etude in G flat major Op.10 No.5 Vladimir de Pachmann, piano His Master’s Voice DA 1302
Matrices Bb 6258-I, 11763-I (30-10220, 30-10221)
Recorded 26th June 1925, Hayes, Studio B and 3rd November 1927, C Studio, Small Queen’s Hall, London
Chopin – Nocturne in B major Op.32 No.1
Chopin – Impromptu in F sharp major Op.36 No.2 Vladimir de Pachmann, piano His Master’s Voice DB 859
Matrices Cc 6259-II, 6261-I (05854, 05853)
Recorded 26th June 1925, Hayes, Studio B
Chopin – Nocturne in D flat major Op.27 No.2
Chopin – Etude in F major Op.25 No.3; Valse in C sharp minor Op.64 No.2 Vladimir de Pachmann, piano His Master’s Voice DB 860
Matrices Cc 6253-I, 6260-I (05859, 05860)
Recorded 26th June 1925, Hayes, Studio B
Moritz Rosenthal (1862-1946) was a pupil of Liszt, and recorded extensively.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
I. Allegro maestoso
II. Romanza
III. Rondo vivace
Moritz Rosenthal, piano
Berlin State Opera Orchestra, Frieder Weissmann
Parlophone R 902-4, E 11113-4 (3 10” and 2 12” records)
Matrices W 38839, 38840, 133019, 133020, 133021, 133026, W 2-21695-3, 21696-2, 2-21697, 2-21698
Recorded 1st May 1839m 26th November 1930, 2nd March 1931, Berlin
Several sides of this recording are afflicted with a high pitched whistling noise, which I have done my best to ameliorate. Additionally, there is a twenty-six bar overlap between sides 3 and 4, so I have given two versions of the first movement, with the edit at the start and end of the overlapping section.
The recording is also somewhat cut:
1st movement:
Side 1: b1-24, b139-221
Side 2: b221-333
Side 3: b333-434
Side 4: b408-510
Side 5: b510-588
Side 6: b589-689
2nd movement:
Side 7: b12-71 (orchestral introduction omitted)
Side 8: b72-126
3rd movement:
Side 9: b1-47, b88-260
Side 10: b260-295, b327-520
Irene Scharrer (1888-1971) was one of the UK’s best known pianists. While perhaps best remembered for her recording with Henry Wood of the Litolff Scherzo, she was in fact a regular in the recording studios from around 1909 onwards. She made concerto recordings with Landon Ronald, and even attempted the Litolff Scherzo with him in 1915, though it was never issued.
Chopin – Scherzo No.2 in B minor Op.31
Irene Scharrer, piano
Albert Sammons (1886-1957) was a much loved violinist, nicknamed the English Kreisler. He made several concerto recordings which are still highly regarded. The recording below was the first orchestrally accompanied version of Vieuxtemps’s Ballade et Polonaise, though with wind band accompainment. British military pitch at this time was A=452Hz, so this is the standard I’ve adopted in this transfer, giving a speed of 83.6rpm.
Vieuxtemps – Ballade & Polonaise
Albert Sammons, violin
Band of H.M. Grenadier Guards, Dr Albert Williams
(mp3 file – right click the link, then select “Save as” or click the play button)
Columbia L1165
Matrices 6964-2, 6963-2
Recorded 1916, London
Available from May 1917 to March 1926
The Ballade is given complete on the first side. The 31 bar transition to the Polonaise is omitted, and the second side starts with the Tempo di polacca. A number of cuts are made (b10 to 1 before E, 14 after G to 18 after G, 21 after G to I, 8 after M to R, S to W in the piano score)
Adela Verne (1877-1952) was a member of a musical family. She was acknowledged as one of the greatest pianists of her era, and a successor to Teresa Carreño. Her sister Mathilde, was one of the greatest piano teachers, and a pupil of Clara Schumann. Although Adela played for Clara, she did not have the opportunity to study with her, but was taught by Mathilde, who also taught Solomon, Lympany, and Harold Samuel. She made her debut in the Tchaikovsky first concerto aged 13. She studied Chopin with Paderewski, and also played a number of his works. She performed extensively at the Proms, and in 1902 played a Liszt Rhapsody in the Grand Coronation Concert, in which Clara Butt sang the first performance of Land of Hope and Glory. Other soloists were Santley, Albani, Kennerley Rumford and Lady Hallé.
Chopin – Polonaise in A flat major Op.53 Adela Verne, piano
I mentioned to Nick Morgan a litle while ago that I had a Vox LP of 2 Palestrina masses. As he’s uploaded some 1950s Palestrina, it prompted me to get on with completing the restoration of this recording. Ferdinand Grossmann has featured here as a conductor before – with the Viennese Men’s Singing Club in a 1928 recording of The Blue Danube. He was director of the Vienna Boys’ Choir from about 1940 to 1963, and directed several other choirs. This recording with the Pro Musica Choir was not favourably reviewed in Gramophone.
Palestrina – Missa Papae Marcelli; Missa Assumpta est Maria
Pro Musica Choir, Vienna, Ferdinand Grossmann
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
(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
Today would have been Dame Joan Sutherland’s 84th birthday. It is also exactly four weeks after her death. It seems apt to mark this with one of her earliest discs. Her Lucia di Lammermoor mad scene from 1959 was issued as part of a recital disc, but also was issued on a mono 45rpm record. Less than two weeks before Dame Joan’s death, the American coloratura soprano Dolores Wilson died aged 82. She had recorded Lucia in 1951, and part of the mad scene and the sextet were issued on an ARC 33rpm 7 inch record in the early 1960s. This seemed an ideal opportunity to remaster both recordings by way of tribute and comparison.
Donizetti – Lucia di Lammermoor – excerpts Chorus and Orchestra of La Scala, Milan, Franco Capuana
Sextet: Chi mi frena
Dolores Wilson, soprano Ebe Ticozzi, contralto Mario Carlin, tenor Gianni Poggi, tenor Anselmo Colzani, baritone Silvio Maionica, baritone
(mp3 files – right click the link, then select “Save as”)
ARC 31 7″ 33rpm
Matrices HOC 31A, HOC 31B
Recorded 1951
(Taken from 1951 complete recording, though label claims “First published 1963”)
Donizetti – Lucia di Lammermoor – Mad Scene: Il dolce suono mi corpi di sua voce!… Ardon gl’ incensi L’Orchestre de la Société des Concerts du Conservatoire, Paris, Nello Santi
Paris Opera Chorus
Joan Sutherland, soprano
(mp3 file – click to play, or right click the link, then select “Save as”)
Decca CEP 614 (45rpm 7″)
Matrices EFF-1979-1A, EFF-1980-1A
Recorded 1959
Arturo Toscanini made his earliest recordings for Victor with the orchestra of La Scala, Milan during its 1920-21 tour of the USA. These included the following record of Bizet’s Farandole.
Bizet – L’Arlèsienne Suite No.2 – Farandole
Orchestra of La Scala, Milan, Arturo Toscanini
While other projects are ongoing, I want to try and get a few small items onto this site with some regularity. So there are just two items for ths latest update.
Ted Andrews was stepfather to Dame Julie Andrews, and accompanied her on some of her early 78s. This disc was privately recorded at the Star Sound Studios (just off Baker Street in London), on an unknown date, and features “Ted Andrews and his Canadian Singing Sisters.” They perform upbeat renditions of Easthope Martin’s “Come to the Fair” (which Andrews recorded with young Julie in more sedate fashion on a Columbia 78) and “Oh dear, what can the matter be?”
Easthope Martin – Come to the fair
Traditional – Oh dear, what can the matter be
(mp3 file – right click the link, then select “Save as” or click the play button)
Star Sound Studios – private recording without catalogue number or matrix number
Recorded 1940s?
Perhaps a more traditional offering for this site is a 10” slightly abridged electrical Zonophone recording of the overture to The Barber of Seville. This was recorded in London in 1929 with the “National Symphony Orchestra”. No conductor is named on the label or in the matrix listings, though George W Byng was the most frequent conductor for other sessions with this group.
Rossini – The Barber of Seville – Overture National Symphony Orchestra
When you have a lot of free time, it sometimes turns out that the things you planned to use it for just don’t happen. Such was the case with my summer holidays. This is why it’s been two and a half months since the last update. I hope the new selection proves interesting. I’ve been exploring recordings of Aida, and this has included branching out into one or two other recordings by some of the same artists, and occasionally other recordings on the same labels. This diversification brings us several excerpts from Tosca and Cavalleria Rusticana. The recordings are presented roughly in score order for the selections from Aida (and are annotated with the pages of the vocal score.) And just to round things off, there’s some Stravinsky from Stanley Chapple, and some Richard Strauss and Liszt from Franz André.
Verdi – Otello – (Tu! Indietro! Fuggi!…) Ora e per sempre
Verdi – Aida – (Se quel guerriero io fossi…) Celeste Aida (VS pp6-11)
Orchestra
Sydney Rayner, Premier Tenor of the Opera Comique, Paris
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Decca T.204
Matrices GA 5380-1D, GA 5382-11D
Issued April 1933
Recorded 20th December 1932
Verdi – Aida – Ritorna vincitor
Aida – Ritorna vincitor. Part 1 (VS pp52-56)
Aida – Ritorna vincitor. Part 2 (VS pp56-59)
(3½ bar overlap between sides) Orchestra, Sir Thomas Beecham
Eva Turner, soprano
Columbia L 2150
Matrices WAX 3931-3, 3932-2 (9956, 9958)
Recorded 19th July 1928
Available from mid October 1928 to August 1949
Puccini – Tosca – Vissi d’arte
Mascagni – Cavalleria Rusticana – Voi lo sapete
Orchestra, Sir Thomas Beecham
Eva Turner, soprano
Columbia L 2118
Matrices WAX 3929-3, 3930-2 (9952, 9951)
Recorded 18th July 1928
Available from November 1928 to April 1950
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Verdi – Aida – Ballet music Side 1: a) Tanz der Priesterinnen (VS pp65-67) b) Tanz der Mohrensklaven (VS pp85-87)
Side 2: Ballettmusik a. d. 2. Akt (VS pp122-131) Berlin State Orchestra, Herbert Haarth Siemens Polydor 57270
Matrices 2281½ GS9, 2280½ GS9
Recorded 1943 (Depositato 10.8.43 (on both sides))
Verdi – Aida – Triumphal March Act 2 Side 1 (VS p111-117,120-122)
Side 2 (VS p121 line 4 -122, 132-141, 196-203) Berlin State Opera Orchestra, Frieder Weissmann Parlophone E 11041
Matrices XXB 8479/80
Recorded probably 31st March 1930
Side 1:Ciel! mio padre (VS pp215-223)
Side 2: Su, dunque, sorgete egizie coorti (VS pp223-233) Grand Symphony Orchestra, Angelo Albergoni
Giovanni Inghilleri, baritone – Amonasro
Tina Poli-Randaccio, soprano – Aida
Parlophone Odeon Series R 20141
Matrices XXPh 6405/6
Recorded 20th October 1928
Orchestra , John Barbirolli
Giovanni Inghilleri, baritone Octave Dua, tenor
His Master’s Voice D 1701
Matrices CR 2422-I, CR 2423-I (2-052426/7)
Recorded 19th June 1929
Orchestra of La Scala, Milan, Carlo Sabajno
Giovanni Inghilleri, baritone
His Master’s Voice D 1823
Matrices CR 2424-II (2-052424), CF 2359-IV (2-052394)
Recorded 19th June 1929, 10th December 1928
This record has a small chunk chipped from the rim, affecting the start of the groove on both sides.
(These are mp3 files – left click the link and download the file, or press play)
Verdi – Aida – Je te revois enfin – Duo (Pur ti riveggo) – (VS pp233-235, 245-247, 248-249) Verdi – Aida – Mourir ô toi si belle – Duo final (Morir, si pura e bella) – (VS pp298-300, 303-304, 308-309) Orchestra
Agustarello Affre, tenor – Radames Jane Marignan, soprano – Aida
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Pathé AGPA P1503 (25) [88.6rpm, 28cm diameter, centre start]
Matrices 54579 GR, 60516 GR
Recorded c1906-11
Verdi – Aida – Nile Duet. From Finale, Act III
Aida – Nile Duet. From Finale, Act III. Part I (VS pp239-244)
Aida – Nile Duet. From Finale, Act III. Part II (VS pp244-249) Orchestra, Hamilton Harty
Frank Mullings, tenor – Radames Elsa Stralia, soprano – Aida
(This is an mp3 file – left click the link, download the file)
Columbia-Rena Opera Record D 5540 (10”)
Matrices 41851, 41852
Recorded c1912
These sides form part of the abridged Columbia Aida, issued on 17 double sided records, though this particular issue is not from the main run of either the Italian or English issues.
Verdi – Aida – Sacerdoti, compiste un delitto (Scena del Giudizio, Act IVo) (VS pp288 – 295) Verdi – Aida – La fatal pietra (VS pp296 – 298) Grande Orchestra, Carlo Sabajno
Valentina Bartolomasi, soprano – Aida Guido Fernandez, bass – Ramfis Rosita Pagani, mezzo-soprano – Amneris Enrico Trentini, tenor – Radames
Gramophone Concert Record S 5178
Matrices 1013Aj (2-20254147), 971Aj (2-0254148)
Recorded 3rd November 1919, 27th October 1919
Issued 1920
These are sides 37-38 of a 40 side complete recording of Aida
Mascagni – Cavalleria Rusticana – Scena Ia
Parte Ia – “Gli aranci olezzano” (VS p11 – 20.2.2)
Parte IIa – “Cessin le rustiche opre” (VS p20.2.3 – 26) La Scala Chorus
Grande Orchestra, Carlo Sabajno Gramophone Concert Record S 5094
Matrices 3017c, 3018c (2-0524500, 2-0254501)
Recorded 6th April 1915
80.8rpm
These are sides 3-4 of a 20 side complete recording of Cavalleria Rusticana
Bizet – Carmen – Preludio atto IV
Orchestra of La Scala, Milan, Carlo Sabajno Gramophone Concert Record G.C.-50547 (10”)
Matrix 10383b (50547 IV)
Recorded April 1907
Donizetti – Don Pasquale – Coro dei servitori (complete) Gounod – Faust – Kermesse (VS pp29-41, 44-46) CORI DELLA SCALA
Aristide Venturi, chorus master Orchestra, Carlo Sabajno Gramophone Monarch Record 054502/054503
Matrices 570c (054502 III), 629c (054503L)
Recorded October-December 1905 (approved 19/3/06), May 1906 (approved 17/9/06)
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Orth – In a Clockmakers Shop
Band of H.M. Coldstream Guards, John Mackenzie-Rogan Gramophone Concert Record G.C.-2-178 (10”)
Matrix 3393e (2-178 II)
Recorded 19th January 1906
Issued 1906
Tchaikovsky – Finale 4th Symphony
Band of H.M. Coldstream Guards, John Mackenzie-Rogan Gramophone Monarch Record 0185 (12”)
Matrix 2758f (0185-1*)
Recorded 17th December 1908
Issued 1909
Mackenzie-Rogan is not named on the record label.
This recording is likely to be transposed a tone down from Tchaikovksy’s original, like the Safranek arrangement for band. The recording plays in E flat at 78rpm. However, at this time, British military pitch was around A-452, so the record should probably be played at 80rpm, to be in E flat for the appropriate pitch standard.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Stravinsky – L’oiseau de feu:
Danse Infernale du roi Kastchei Opening Key A minor, Full score p118-155 Finale
Opening Key B, Full score p166-172 Aeolian Orchestra, Stanley Chapple
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Vocalion K-05288
Matrices M.0169, M.0168
Released April 1927 R. Strauss – Der Rosenkavalier – Waltzes
Liszt – Les Preludes
L’ Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André
It’s been more than a month since my last update, so there are quite a number of items to add this time. The recordings range from acoustic 78s through to mono LP, and include military band, orchestra, piano and vocal recordings.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
No.1 – The Earle of Oxford’s Marche (¾ side)
No.5 – Wolsey’s Wilde (¼ side)
No.6 – The Bells (1 side)
His Master’s Voice C 1215
Matrices Cc 5982-II, 5983-I (single-side numbers 2-0419/20)
Recorded 2nd April 1925 Band of H.M. Coldstream Guards, Lieut. R.G. Evans
Gordon Jacob’s arrangement of a number of keyboard pieces by William Byrd was made for Military Band in 1923 and orchestra in 1924. It is likely that this late acoustic recording was the earliest recording of these three movements.
Between 1909 and 1927, A=452Hz was the standard pitch for British military bands. A change to the Kings Regulations in 1927 adopted modern pitch of A=439Hz. At 78rpm the record plays at about the expected A=452Hz, slightly more than a semitone sharper than modern pitch.
Brahms – Hungarian Dances Nos. 1 and 2
Elgar – Pomp and Circumstance March No.1
(mp3 files – right click the link, then select “Save as” or click the play button)
Broadcast Twelve 5033
Matrices Lo.104x, LO.103
Recorded c1929 Metropolitan Symphony Orchestra, Stanley Chapple
Chapple (1900-1987) was music director for the Aeolian Company, and conducted frequently for them, though the recordings are hard to find now. These Broadcast Twleve sides are badly affected by the persistent whistle which seems so common a feature of records on this label. I have done my best to alleviate this problem, so when you notice the remnants of it, bear in mind that it was originally much worse than it sounds now. As the whistle oscillates in pitch, whilst also gradually decreasing pitch and increasing amplitude until the end of the record, correcting it proved to be a major task!
Coates – London Suite
I. Covent Garden (Tarantelle)
II. Westminster (Meditation)
III. Knightsbridge (March)
Coates – London Bridge
Elgar – Pomp and Circumstance March No.1 in D major Op.39
Gershwin – An American in Paris
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Telestar 10049
Matrices LP-071621-I, LP-038079-III
Recorded 2nd to 7th April 1958 (Coates), 20th April 1957 (Elgar), 19th April 1957 (Gershwin) L’ Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André
R. Strauss – Tod und Verklärung – Symphonic Poem Op.24
(This is an mp3 file – left click the link, download the file)
American Decca 25350/2
Matrices 2-21619-2, 21620, 21621-2, 21622-2, 21623, 21624 C
Recorded c1930 Philharmonic Orchestra, Frieder Weissmann
I originally transferred this recording about four years ago, before this website was born. The present file is a completely new transfer, in much improved sound.
R. Thalberg – Home, Sweet Home
Ascher – Alice, Where Art Thou?
(mp3 files – right click the link, then select “Save as” or click the play button)
His Master’s Voice B 3166
Matrices Bb 17255-III, 17256-III (single-side numbers 30-833/4)
Recorded 19th August 1929, London, Small Queen’s Hall, Studio C Arthur Meale, piano
Arthur Meale was the regular organist of the Queen’s Hall. He made many organ recordings in a light and popular classical vein. This record gives us the rare opportunity to hear him as a pianist, in two nineteenth century virtuoso salon pieces. For UK comedy fans, Ascher’s melody is the one that was used as the title music for the Ronnie Barker and David Jason sitcom “Open All Hours”.
This record is in very poor condition, with a serious fracture, and a noisy surface with significant distortion – it’s still a fun listen, though.
Mussorgsky – Song of the Flea
Traditional – Drinking (In cellar cool)
(mp3 files – right click the link, then select “Save as” or click the play button)
Columbia L 1991
Matrices WAX 2739-1, 2740-1 (7664/5)
Recorded 12th May 1927
Available from October 1927 to April 1941 Capiton Zaporojetz, bass with piano
I was prompted to transfer this after seeing Zaporojetz’s name mentioned in a couple of places recently. Firstly, in the booklet notes for “Firebirds of Paris”, a Ward Marston CD of French recordings of Russian repertoire from around 1930. Zaporojetz is noted as singing Prince Yuri in Rimsky-Korsakov’s Kitezh in 1926 in Paris, then in 1929 in the premiere of Stravinsky’s Oedipus Rex. He also sang the same role in Kitezh in 1935.
A few weeks after reading this, I was reading the June 2010 issue of “The Record Collector”, and the article on Marguerite D’Alvarez mentioned a concert on 2 October 1927 in London, where Thomas Beecham conducted “An Afternoon of Grand Opera” at the Royal Albert Hall. with Austral, Burke, D’Alvarez and Zaporojets.
Gounod – Romeo & Juliet – Je veux vivre
Easthope Martin – Come to the fair (from “Songs of the Fair”)
Columbia DB 2470
Matrices CA 20923-2, 20924-1
Recorded c1948 Julie Andrews, soprano Ted Andrews, baritone (Come to the fair) Barbara Andrews, piano
Mozart-Adam – Ah! vous dirai-je mama
Benedict – The Wren
Columbia DB 2553
Matrices CA 21114-1, 21115-1
Recorded c1948 Julie Andrews, soprano Orchestra, Ted Andrews
Balfe’s “The Bohemian Girl” was a popular light opera on the English stage from the nineteenth century. Various popular arias from the work were a staple of the record catalogues in the 78rpm era, and its overture remained a favourite. The present recording is a typical “vocal gems” compilation, including three of the most popular solos and some ensemble passages. Licette and Noble remain fairly familiar names, though Russell (who sang Calaf) and Brindle (a stalwart of the Moody-Manners opera company) are barely remembered now.
(This is an mp3 file – left click the link, download the file)
Balfe – The Bohemian Girl – Vocal Gems Part 1:
Happy and light of heart (p114-117); I dreamt that I dwellt (p96-98); When other lips (p178-179); Silence (p82-84, 87, transposed down a semitone)
Part 2:
The heart bowed down (p161-162, transposed down a semitone to F); Thou who in might supreme (p75-77); In the gipsy life (p32-35)
Score references to Boosey The Royal Edition vocal score (1899)
Columbia 9579
Matrices WAX 4343-2, 4344-1 (10737/8)
Recording Date 27th November 1928
Available from Jan 1929 to March 1942
Orchestra and Chorus, Charles Prentice
Miriam Licette, soprano Francis Russell, tenor Dennis Noble, baritone Harry Brindle, bass
The first selection of recordings this time is of the soprano Lilian Stiles-Allen. She was widely respected in her day, though her performances were confined to the concert platform and broadcasting as she was “not suited to the operatic stage.” She was one of the original sixteen soloists in Vaughan Williams’s Serenade to Music, and went on to teach Dame Julie Andrews. She recorded a number of sides for the Edison Bell company, with the recordings appearing on various of its labels. The recordings have only rarely been reissued, and having gathered a number of them, seeing Julie Andrews perform in London prompted me to transfer these recordings of her teacher.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Handel – Messiah – Rejoice greatly
Handel – Theodora – Angels ever bright and fair Edison Bell Velvet Face 700
Matrices X1663B-1, X1664E-1
Recorded c1922 Lilian Stiles Allen, soprano Orchestra
Verdi – Aida – Act 2. Neath the chances of battle… Tremble, thou art discovered Edison Bell X546
Matrices X1840J, X1841D
Recorded c1930 Lilian Stiles Allen, soprano. Edith Furmedge, contralto
Orchestra
Verdi – Il Trovatore – Miserere Edison Bell Winner L5397
Matrix 13747F-2
Recorded c1930 Lilian Stiles Allen, soprano. Hardy Williamson, tenor
Orchestra, Orazio Fagotti
Mascagni – Cavalleria Rusticana – O rejoice that the Lord has arisen Edison Bell Winner L5397
Matrix 13746E-2
Recorded c1930
Lilian Stiles Allen, soprano
Orchestra
Mascagni – Cavalleria Rusticana – Santuzza’s Song Edison Bell X523
Matrix X1763D
Recorded c1930 Lilian Stiles Allen, soprano
John Barbirolli’s Symphony Orchestra
Puccini – Madam Butterfly – Act 1. Love duet, finale Edison Bell X523
Matrix X1762F
Recorded c1930 Lilian Stiles Allen, soprano. Dan Jones, tenor
John Barbirolli’s Symphony Orchestra
Puccini – Madam Butterfly – Act 2. Flower duet: Shake the cherry tree… Not a flower left Edison Bell Electron 0282
Matrices 11963N-1, 11964A-1
Recorded c1930 Lilian Stiles Allen, soprano. Edith Furmedge, contralto
Orchestra
Puccini – Madam Butterfly – Act 2. One Fine Day Edison Bell Electron 0178
Matrix 11142A-1
Recorded c1930
Lilian Stiles Allen, soprano
Orchestra
Gounod – Faust – Finale Trio Edison Bell Electron 0178
Matrix 11143F-2
Recorded c1930 Lilian Stiles Allen, soprano. Edward Leer, tenor. Edward Halland, bass
Orchestra
HG Pelissier – Awake (Ballad) Maude Craske Day – Arise, O sun (Ballad) Edison Bell Winner 5199
Matrices 12845B-1, 12846A-1
Recorded c1930 Lilian Stiles Allen, soprano with piano
Monckton – A Country Girl (excerpts) (Rhajah of Bong; Under the Deodar; Two Little Chicks; Farewell; Pink Hungarian Band; Try It On Johnnie; Yo Ho Little Girls; Coo; My Own Little Girl; Speak And Tell)
Edison Bell Winner L5379
Matrices 13786F-2, 13787F-2
Recorded c1930 Lilian Stiles Allen, soprano. Tessa Deane, mezzo-soprano. Anthony Quorn, tenor
London Concert Orchestra
Lehar – Frederica – Why did you kiss my heart awake Edison Bell Winner 5171
Matrix 13001F-2
Recorded c1930
Lilian Stiles Allen, soprano
Orchestra
Lehar – Frederica – O maiden, my maiden Edison Bell Winner 5171
Matrix 13002B-2
Recorded c1930 Hardy Williamson, tenor
Orchestra
The remaining recordings here focus around Schubert and English Columbia. Sir Hamilton Harty, as well as recording a stunning account of Schubert’s Great C major Symphony, also recorded substantial parts of the Rosamunde music, including both the Alphonso and Estrella overture, and the Zauberharfe one.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Schubert – Rosamunde – Overture (Die Zauberharfe) Columbia L 1998
Matrices WAX 2654-1, 2655-2 (7526, 7530)
Recorded 2nd May 1927
Available from December 1927 to June 1947 Hallé Orchestra, Sir Hamilton Harty
As is common with many UK Columbias from this period, the stated 80rpm, turns out to be unreliable, with both sides starting at that speed and ending about 81.2rpm. The recording is somewhat cut, with side 1 containing bars 1-83 and 104-185, and side 2 containing bars 206-375 and 396 to the end.
Schubert – Rosamunde Incidental Music
Overture (Alphonso and Estrella) (2 sides)
Entr’acte No.1 (2 sides)
(a) Entr’acte No.2; (b) Shepherd’s Melody (for Clarinet, Bassoon and Horn)
Entr’acte No.3 (in B flat major) (without repeats)
Ballet Music No.1 – Andantino (in G major) (without repeats)
Ballet Music No.2 – (a) Allegro Moderato; (b) Andante un Poco Assai (without repeats)
Columbia L 2122-5
Matrices WAX 3549-2, 3550-2, 3551-1, 3552-1, 3554-3, 3555-2, 3556-2, 3553-2 (9230, 9228, 9229, 9248, 9239, 9240, 9235, 9238)
Recorded 27th April 1928
Available from September 1928 to August 1946 Hallé Orchestra, Sir Hamilton Harty
Sir Henry Wood recorded Schubert’s Unfinished symphony in a very abridged acoustic version, before making two electrical versions in 1926 and 1933.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Symphony in B minor (Unfinished)
I. Allegro moderato (3 sides – no repeat)
II. Andante con moto (3 sides)
Columbia 9513-5
Matrices WAX 1490-1, 1491-2, 1492-2, 1493-2, 1494-2, 1495-2 (S654, 653, 657, 658, 652, 655)
Recorded 23rd April 1926
Originally issued on L1791-93 available January 1927 to October 1928
This issue available October 1928 to December 1933 (when it was replaced by the 1933 recording) The New Queen’s Hall Orchestra, Sir Henry J. Wood
All sides play at the stated 80rpm
Symphony No.8 in B minor (Unfinished)
I. Allegro moderato (3 sides – no repeat)
II. Andante con moto (3 sides)
Columbia DX 551-3
Matrices CAX 6975-1, 6976-1, 6977-1, 6978-2, 6979-2, 6980-1
Recorded 30th October 1933
Available from December 1933 London Symphony Orchestra, Sir Henry J. Wood
Frank Merrick’s Two Movements in Symphonic Form and John St.Anthony Johnson’s Pax Vobiscum were the English Prize Works in the Schubert Centenary – Columbia International Composers Contest.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Frank Merrick – Two Movements in Symphonic Form (A completion of Schubert’s Unfinished Symphony)
1. Scherzo (2 sides)
2. Poco Allegro (2 sides)
Columbia 9562-3
Matrices WAX 4180-2, 4181-1, 4249-1, 4250-3 (10437, 10436, 10575, 10574)
Recorded 20th October 1928 (sides 1,2), 3rd November 1928 (sides 3,4)
Available from January 1929 to March 1942 Royal Philharmonic Orchestra, Stanford Robinson
This plays in the expected key of B minor at 76rpm.
Based on the deliberately Schubertian structure of the Scherzo, I’ve surmised that a section of music at the end of the first side is repeated at the start of the second. I’ve included two versions of the movement, one with the repeated section edited together as I believe it should be played, and one with all the music as recorded.
John St.Anthony Johnson – Pax Vobiscum
Columbia 9564
Matrices WAX 4178-2, 4179-2 (10438, 10435)
Recorded 20th October 1928
Available from January 1929 to March 1935 Royal Philharmonic Orchestra, Stanford Robinson
This plays in C sharp minor at 76rpm, the same speed as the Merrick piece recorded at the same session.
Finally some Schubert of a rather different style – as arranged by Clutsam for the musical Lilac Time.
(mp3 file – right click the link, then select “Save as”)
Schubert-Clutsam – Lilac Time – Selection
His Master’s Voice C 1098
Matrices Cc 2373-II, Cc 2376-II (3-0812/3)
Recorded 12th January 1923 Mayfair Orchestra, George W. Byng
Lilac Time – Selection, Part 1 (Just a little ring; The Flower; The Golden Song; Yours is my heart)
Lilac Time – Selection, Part 2 (My Sweetest Song of all; Maiden, try to smile; Girls and Boys)
The focus this time is on Mozart, with a new transfer of Dan Godfrey’s recording of Symphony No.41 “Jupiter” K551, and a selection of orchestral and keyboard items, including Eine Kleine Nachtmusik, from the 1950s as presented on a French “Mode disques” LP from some time later. For a different take on Eine Kleine Nachtmusik, there is also the Lener Quartet’s 1926 recording. There are also some acoustic items from Don Giovanni, sung in English.
Mozart –Symphony No.41 in C major (“Jupiter” Symphony)
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Columbia L1938-41
Matrices: WRAX 2432-2, 2433-1, 2434-2, 2435-2, 2436-2, 2437-2, 2438-2, 2439-2
Recorded 4th February 1927
Available November 1927 to April 1934 Symphony Orchestra, Sir Dan Godfrey
This recording has a substantial overlap between sides 2 and 3. The first movement spreads over 3 sides, despite lasting only a little over 8 minutes. The first side contains the exposition (which could therefore be repeated by playing the record twice.) The second side carries through into the recapitulation, up to bar 243. The third side begins at bar 212, therefore overlapping 32 bars with the previous side, a fact acknowledged (but not explained) in the notes of the original record album.
It’s a shame that Godfrey chose this unusual side arrangement – if he’d squeezed the first movement onto 2 sides, he could have included a filler on the 8th side.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Columbia LX 350-52
Matrices: CAX 7302-2, 7303-1, 7304-2, 7305-1, 7306-2, 7307-1
Recorded 1934
I. Allegro (1½ sides)
II. Theme and 6 Variations (1½ sides)
III. Menuetto & Trio
VI. Rondo: Allegro
London Philharmonic Orchestra, Sir Hamilton Harty
Harty omits the fourth and fifth movements. In the second, repeats are played only in the theme and the final variation. The finale is somewhat cut, omitting bars 127-134, 1702-1861, 2072-2151, 269 and 3362-3441.
Mozart – “Petite Musique de Nuit; Marche Turque; Concerti No.2 et 3 pour piano et orchestre”
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Columbia L 1729-30
Matrices WAX 1125-6, 1126-6, 1127-6 or 7, 1128-7
Recorded 19th February 1926
Available from Jun 1926 to July 1943 (Side 3 take 6 replaced by take 7 on 3rd March 1927)
I. Allegro (1 side)
II. Romance: Andante (1½ sides)
III. Menuetto: Allegretto (½ side)
IV. Rondo: Allegro (1 side)
His Master’s Voice D 957
Matrices Cc 4572-II, 4573-II (single side numbers 2-02073/4)
Recorded 5th May 1924 Tudor Davies, tenor Orchestra, George W Byng
Zonophone X-44130
Matrix 10142e (X-44130-IV)
Recorded 19th May 1909 Peter Dawson, bass-baritone Eleanor Jones-Hudson, soprano (credited on label as Alvena Yarrow) Orchestra
(mp3 files – left click the link and download the file, or press play)
The latest selection of recordings is a typically mixed bag.
Firstly, Fabien Sevitzky, who has been heard here before with the Indianapolis Symphony Orchestra, recorded slightly earlier with his own Philadelphia String Simfonietta. One product of his studio sessions was Arensky’s Variations on a Theme by Tchaikovsky, an adaptation of the third movement of Arensky’s String Quartet No.2.
The tragically short-lived English pianist Marie Novello managed to record extensively. For Winner she recorded Liszt’s 2nd Hungarian Rhapsody, though it’s somewhat gratingly abridged to fit on two 10” sides.
Thorpe Bates has also appeared here before in recordings from early in his career. The present pair of recordings take us earlier still, and also to the end of his career.
As a regular in the Gramophone Company studios, he featured in numerous ensemble recordings, not always credited on the label. A 1906 recording of the Captain’s Song from HMS Pinafore includes Bates as soloist. The accompanying choir includes Peter Dawson, whose distinctive tones can be heard particularly on each cry of “What never?” as he holds the final note longer than everyone else!
Bates also visited the studios in 1945, to take part in one of those curious patriotic records for the National Savings movement. This one celebrated the work of the British forces in securing victory in Europe, and was recorded after Hitler’s death, but a few days before VE Day. Bates contributes to the first side, and the second features Walter Saull, a baritone who had sung Dr Caius in the third performance of Vaughan Williams’s Sir John in Love in 1929 (part of the original run).
And staying with English singers, I’ve just acquired a fine set of original 78s of Vaughan Williams’s Serenade to Music, which provides a much improved transfer compared to the Columbia 7” reissue that I previously transferred.
I’ve been prompted to transfer my latest Edison Bell of the violinist Michael Zacharewitsch, who has also appeared here before. As well as the new disc in my collection, I’ve also improved the transfers of the other Zacharewitsch recordings which have appeared here.
Arensky – Variations on a Theme of Tchaikovsky, Op.35a
(This is an mp3 file – left click the link, download the file)
RCA Victor Red Seal DM 896 (11-8155/6)
Matrices 056558 7, 056559 1, 056560 1A4, 056561 10 (11-8155/6 auto, 11-8153/4 manual)
Recorded 1942
Part 1 – Variations 1 and 2
Part 2 – Variations 3 and 4
Part 3 – Variations 5 and 6
Part 4 – Variation 7 and Finale
Philadelphia Chamber String Sinfonietta, Fabien Sevitzky conductor
Album notes:
Arensky – Variations on a Theme of Tchaikovsky, Op.35a
Anton Arensky was one of the most distinguished Russian composers of his period. Endowed with a natural facility of musical diction, a tenderness of feeling and a gift for simple and beautiful melody, Arensky soon won the warm friendship of his older and greater contemporary, Peter Ilyitch Tchaikovsky. A word concerning the cordial relationship between the two men is in order, for it is a melody by Tchaikovsky which forms the basis for the variations by Arensky recorded here. Tchaikovsky found in Arensky “a man of remarkable gifts” (as he expressed it in a letter to Mme. von Meck), not the least of which was an impeccable technical equipment in the craft of composition which, in Tchaikovsky’s words, “deserves unqualified praise.” As an older and more experienced composer, Tchaikovsky occasionally felt called upon to criticize certain aspects of Arensky’s music. The criticism was kindly but firm, and, in one instance at least, reveals perhaps more about Tchaikovsky than it does about Arensky. Arensky had submitted a work (Marguerite Gautier) based on the famous La Dame aux Camelias of Dumas fils – the work which served Verdi as the foundation for his La Traviata. Tchaikovsky disapproved, failing to see how “an educated musician” could have chosen so trivial a work when such authors as Homer, Shakespeare, Dante, Pushkin, Gogol, Tolstoy were available as sources of inspiration. But Tchaikovsky could be extraordinarily kind as well. He put himself to considerable trouble to gain Arensky a hearing. He recommended Arensky’s book on musical theory to Jurgenson, the publisher. He wrote to Rimsky-Korsakoff asking as a favor that one of Arensky’s works be performed at one of his concerts. The manner in which the favours was asked is unique in the history of the friendship of composers, and indicates how much faith Tchaikovsky had in his friend’s talent. He proposed to Rimsky-Korsakoff that his own Rome overture be replaced by a composition of Arensky’s, arguing that where all Russian composers find a place, room should be made for Arensky. Arensky indicated his veneration for his friend by dedicating several of his compositions to Tchaikovsky. The present series of variations – originally a part of his string quartet, Op.35 – takes as its theme a song by Tchaikovsky.
In brief, the main outlines of Arensky’s biography follow. He was brought up amidst eminently musical surroundings. His father, a doctor, played the ‘cello, and his mother was reputed to have been an accomplished pianist. Arensky supplemented his early musical training with a course of study at the Petrograd Conservatory under Rimsky-Korsakoff. Following the completion of his studies – he graduated with honors – he was appointed professor of harmony and counterpoint at the Imperial Conservatory in Moscow in 1882. In 1889 he became a member of the Council of the Synodal School of Church Music at Moscow, a post which he held until 1893. For seven years he was conductor of the Russian Choral Society. In 189 he succeeded Balakirev, upon the latter’s own recommendation, as director of the Imperial Chapel at Petrograd. This post he resigned in 1901. He died in Terijoki, Finland, on February 25, 1906 following a long illness.
(mp3 file – right click the link, then select “Save as”)
Gramophone Concert Record G.C.-4404 (10”)
Matrix 8352b (4404 II)
Recorded 16th June 1906 Orchestra
Sullivan Quartette:
Thorpe Bates, baritone Peter Dawson, bass-baritone Stanley Kirkby, baritone Ernest Pike, tenor
Thorpe Bates listed as soloist in Gramophone Company archives. Though the record label notes “Sullivan Quartette”, the ledgers give “Sullivan Operatic Party.” As noted earlier, Dawson is distinctly audible in the chorus. The recording ledgers do not list the chorus members, but Pike, Dawson and Kirkby were all in studio on the same day, recording with Bates and Eleanor Jones-Hudson in various combinations: Kirkby (recording as Walter Miller) was accomapnied by the Minster Singers, comprising Dawson, Bates, Pike and Jones-Hudson), and when Pike was the soloist his place is the same named group was taken by Kirkby.
(mp3 file – right click the link, then select “Save as”)
Columbia LX757-8
Matrices CAX 8367-2A, 8368-2A, 8369-1, 8370-1
Recorded 15th October 1938 BBC Symphony Orchestra, Sir Henry J. Wood
Isobel Baillie, soprano – Lilian Stiles Allen, soprano – Elsie Suddaby, soprano – Eva Turner, soprano Margaret Balfour, contralto – Muriel Brunskill, contralto – Astra Desmond, contralto – Mary Jarred, contralto Parry Jones, tenor – Heddle Nash, tenor – Frank Titterton, tenor – Walter Widdop, tenor Norman Allin, bass – Robert Easton, bass – Roy Henderson, baritone – Harold Williams, baritone
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Schubert – Ave Maria
Zacharewitsch – Imagination
Edison Bell Velvet Face 509
80.0rpm
Matrices X1125E-?, X1126N-? Michael Zacharewitsch, violin with piano
Wieniawski – Legende
Svendsen – Romanze Edison Bell Velvet Face 517
Matrices X1122D-4, X1123B-4
80.0rpm Michael Zacharewitsch, violin with piano
Sarasate – Zigeunerweisen (Gipsy Airs) Edison Bell Velvet Face 525
81.9rpm
Matrices X1171E-1, X1172F-2 Michael Zacharewitsch, violin with piano
The themes this month are the cello and French composers. A number of recordings will fall into both categories.
We begin with Franz André conducting Saint-Saëns’s Carnival of the Animals and Ravel’s second Daphnis and Chloe suite. The early 1950s Telefunken sound is generally good, particularly in the Saint-Saëns, with its sparer textures. The Ravel, the earlier of the two recordings, suffers some crumbling of sound in climaxes. Both works receive impressive performances, though the double bass player in Le Carnaval isn’t as secure as one would wish.
From twenty years earlier, François Ruhlmann conducts Chabrier’s España, on a rather noisy Pathé recording.
Recordings of two French cello concertos date from about the same period. Maurice Maréchal plays the Lalo concerto impressively, with solid backing from Philippe Gaubert in a 1932 Columbia recording. There are a few small cuts in the first movement. And from spring of 1926, W.H. Squire plays Saint-Saëns’s Cello Concerto No.1 with equally fine support from Hamilton Harty and the Hallé Orchestra.
Arnold Földesy recorded for the Gramophone company around 1915-19, Odeon in the early 1920s, and again for the Gramophone Company around 1930. Among his HMV recordings were movements from the Lalo concerto, presumably abridged. He was principal cellist of the Berlin Philharmonic for a number of years, before working as a soloist. His cello is now owned by Daniel Müller-Scholl, who has recorded Bruch’s Kol Nidrei on it. It is this work that we can hear Földesy playing (with a minor cut), in an early 1930s Gramophone Company recording with piano accompaniment.
For the final cello recording of this update, we return to the early LP era. Antonio Janigro plays Dvorak’s Cello Concerto, with the support of Dean Dixon and the Vienna State Opera Orchestra.
Saint-Saëns – Carnival of the Animals
Ravel – Daphnis and Chloe Suite No.2
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Telefunken GMA 41
Matrices LPO-65330-3B, LPO-36498-3B
Recorded 5th October 1952, November 1950 L’ Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André with Frank Vanbulck and Jeanne Visele, pianos
(This is an mp3 file – left click the link, download the file)
Columbia L 1800-2
Matrices WAX 1414-2, 1415-1, 1416-1, 1417-1, 1418-4, 1419-1 (6064, 6066, 6057, 6058, 6067, 6065)
Recorded 25th March 1926
Available from December 1926 to January 1940 W.H. Squire, cello
Hallé Orchestra, Sir Hamilton Harty
All sides run at 80.6rpm, and maintain a consistent speed – this seems a rare occurrence for Columbias of this vintage. The work is in one continous movement, though it is divided into sections.
(mp3 file – right click the link, then select “Save as”)
His Master’s Voice E.H. 15
Matrices Cw 303-I, 304-I (single-side numbers 4-047850/1)
Recorded c1930 Arnold Földesy, cello
Helmut Baerwald, piano
Side 1 runs from the start of the work to the first beat of letter D in the score. The second side picks up at one beat before letter E – thus omitting 11½ bars.
Földesy also recorded this work in August 1920 for Odeon.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
World Record Club T 342 (Westminster recording)
Matrices W 7904-1N, 7905-1N
Recorded 1953/4
I. Allegro
II. Adagio ma non troppo
III. Allegro moderato
Antonio Janigro, cello
Vienna State Opera Orchestra, Dean Dixon
The original Nixa release of this recording was reviewed in Gramophone in June 1954. It was described as “first-class in every way.” It is compared favourably against versions by Zara Nelsova and Rostropovich.
The original release had the first two movements on the first side, and the third movement on the second side. On this World Record Club reissue, the 2nd movement is moved onto the second side.
The second update of 2010 brings my typical mixed bag of recordings.
The first is an unusual recording by the wonderful British baritone Dennis Noble. It is not listed in the discography of Noble which appeared in The Record Collector in 2004. The record label is a private EMI pressing made to promote the National Savings scheme. The songs on one side are a “Silver Lining Medley”, and on the other “Look for the Silver Lining.” These were presumably chosen to tie in with the film “Look for the Silver Lining”, a 1949 biopic of Marilyn Miller. In the medley, Noble sings two songs, and C Wright (a very English tenor crooner) sings another. A fourth is assigned to the chorus. The second side has Noble singing with the chorus. Both sides are introduced by actor Norman Shelley.
Next, from around the same time, a British conductor in the US – Eugene Goossens with the Cincinnati Symphony Orchestra in Delius’s The Walk to the Paradise Garden.
Some decades before, a Russian conductor made recordings in the US – Vassily Andreyev took his Balalaika Orchestra on tour there in 1911. One of the sides he made has appeared here before, when it was a coupling for Landon Ronald’s abridged recording of Schubert’s Unfinished Symphony.
An altogether different sound comes from an early single-side Zonophone of Fucik’s “Entry of the Gladiators”, recorded a little before it acquired its circus connotations. The Zonophone Military Band credited on the label are actually the Band of H.M. Colstream Guards.
Maintaining the Czech theme, Dvorak’s New World Symphony receives a compelling performance from Jascha Horenstein on a Vox LP. The tempi are perhaps slow in places, but the conductor’s attention to detail makes for a highly satisfying account.
Finally, making a long overdue appearance here, the American conductor, Dean Dixon. I have more recordings by Dixon than can be given here – many are still in copyright, as he continued recording into the 1970s. The three LPs here include two symphonies by Schumann, two by Schubert, and Schubert’s Rosamunde music.
Silver Lining Medley:
Trad. – Roll away, clouds
Milton Egan – Song of the Dawn
Jack Ager – Over on the Sunny Side
Irving Berlin – Blue Skies
(mp3 file – right click the link, then select “Save as” or click the play button)
Zonophone X-40168
Matrix 2293e (X40168V)
Recorded 19th July 1905 Band of H.M. Coldstream Guards, John Mackenzie-Rogan
(credited on label as Zonophone Military Band)
This recording plays just sharp of A major at 78rpm and, in A flat major at 73rpm. Transposition up to B flat major seems unnaturally fast, and A is an unlikely key for a military band. The piano score of the piece is in C major.
To begin the New Year, I’m looking back as well as forwards. Mendelssohn and Purcell had anniversaries in 2009, so you can hear works by them, conducted by Henry Wood. There’s also a movement from one of Mendelssohn’s String Quartets, as a filler for the Virtuoso Quartet’s recording of the Debussy String Quartet. There will be more from this quartet and from Wood in 2010. Also I hope to make more recordings by Hamilton Harty available here – so as a sort of teaser, one of those odd Columbia couplings, of Harty conducting Tchaikovksy and Mengelberg conducting Johann Strauss II (which serves as a late acknowledgement of the New Year’s Day Concert). From the LP era, comes a delightful sounding recording of Bizet’s Arlèsienne Suites from Franz André, and three Balakirev works, probably recorded in the early to mid-1950s, but here remastered from a Saga LP.
And as a curio, and a continuation of unusual vocal recordings, the widely recorded bass Robert Carr sings two songs on a Winner record, including an early recording of the Trail of the Lonesome Pine – rather more lugubrious than the version with Stan and Ollie.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Telefunken LGX 666021
Matrices LP037096-1B, 037097-1B
Recorded 1st October 1953
Issued 1954 L’ Orchestre Symphonique de la Radiodiffusion Nationale Belge, Franz André
Suite No.1 – I. Prelude
Suite No.1 – II. Minuetto No.1
Suite No.1 – III. Adagietto
Suite No.1 – IV. Carillon
Suite No.2 – I. Pastorale
Suite No.2 – II. Intermezzo
Suite No.2 – III. Minuetto No.2
Suite No.2 – IV. Farandole
Balakirev – Russia
Soviet Radio Symphony Orchestra, Konstantin Ivanov Balakirev – Overture on Three Russian Themes
Soviet Radio Symphony Orchestra, Alexander Gauk Balakirev – Tamara
Soviet Radio Symphony Orchestra, Nikolai Golovanov
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Decca K.975/6
Matrices TA 2967-II, 2968-II, 2969-II, 2970-III
Recorded 2nd April 1937
Available from October 1941 The Queen’s Hall Orchestra, Sir Henry J. Wood
George Stratton, leader
No.1. Prelude from Act 3 “Dioclesian” (Molto maestoso)
No.2. Minuet from “Distressed Innocence” (Tempo di minuetto)
No.3. Largo from “5th Sonata for Strings, in three parts”
No.4. Song of the Birds (Allegro from “Timon of Athens”) No.5. Vivace from “1st Sonata for Strings”
Mendelssohn – Fingal’s Cave Overture; Two Songs without words
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Columbia 9843-4
Matrices WAX 4731-2, 4732-2, 4733-2, 4734-2 (S 808, 810, 811, 807)
Recorded 4th March 1929
Available from mid-September 1929 to February 1948 The New Queen’s Hall Orchestra, Sir Henry J. Wood
All sides run at about 76.8rpm
Fingal’s Cave Overture (“The Hebrides”) (3 sides)
Two Songs without Words – (1) Spring Song; (2) Bee’s Wedding (1 side)
Tchaikovksy – Mazeppa – Cossack Dance Matrix CAX 6279-1
Recorded 12th February 1932 Hallé Orchestra, Sir Hamilton Harty
Johann Strauss II – Perpetuum Mobile Matrix 6428-1
Recorded 11th May 1932, Concertgebouw, Amsterdam Concertgebouw Orchestra, Amsterdam, Willem Mengelberg
(This is a zip file – left click the link, download the file, then unzip when downloaded)
His Master’s Voice D 1058-1061
Matrices Cc 6690-II, 6691-V, 6692-VII, 6711-IIII, 6712-IIII, 6713-II, 6891-IV, 7021-I (single side numbers 08218/9, 08220/5)
Recorded 14th September 1925 (side 1), 18th September (side 4, 6) 4th December 1925 (side 2, 3, 5, 7), 21st October 1925 (Mendelssohn)
No.1. First Movement – Animé et très décidé (First Record)
No.2. First Movement – Animé et très décidé (Second Record)
No.3. Second Movement – Assez vif et bien rythmé
No.4. Third Movement – Andantino doucement expressif (First Record)
No.5. Third Movement – Andantino doucement expressif (Second Record)
No.6. Fourth Movement – Très modéré (First Record)
No.7. Fourth Movement – Très modéré (Second Record)
String Quartet in Eb major Op.44, No.3 – II. Scherzo: Assai leggiero vivace
I’ve now acquired a better source for Susskind’s Pye recording of Handel’s Messiah, which I present here in rather better sound than its previous appearance. I repeat below the full details of this recording:
This Pye recording from 1958 is announced on the blue folder it was issued in as “Handel’s Messiah – the original manuscript.” This is perhaps misleading – while the performance observes the traditional cuts for the period (with Part III particularly abbreviated), Susskind has removed the two centuries of orchestral accretions to the score, giving us an early attempt at Handel’s original scoring. It’s still very much a mid 20th century account of the work though, with nothing in the way of double-dotting, ornamentation or the fast tempos to which we are now more accustomed.
(These are zip files – left click the link, download the files, then unzip when downloaded)
Handel – Messiah
Pye Golden Guinea GSGL 10062
Matrices GSGL 10062 A-1L, B-2L, C-2L, D-2L, E-1L, F-1L
Recorded 1958 The London Orchestra, Walter Susskind
London Philharmonic Choir (Choirmaster Frederick Jackson)
April Cantelo, soprano
Helen Watts, contralto
Wilfred Brown, tenor
Roger Stalman, bass
George Malcolm, harpsichord
Harold Darke, organ
This set of three stereo LPs (auto coupling) was in rather variable condition, with side 4 being particularly noisy. There are one or two places where the stereo focus drifts. I have corrected occasional pitch variations (in particular at an edit in “But who may abide.”) “The London Orchestra” is so named on the records, and is likely to be the London Philharmonic.
This recording was reviewed in Gramophone in November 1960, and its reissues on Pye’s budget Marble Arch label (both in full and as a single disc of highlights) were reviewed more briefly in February 1966.
There’s more from Daisy Kennedy this month. Several of the raw transfers here were provided by Cheniston Roland of Violinland , and one disc comes from my collection.
(These are zip files – left click the link, download the file, then unzip when downloaded)
Drdla – Dance Op.96
Ethel Barnes – Swing Song (L’Escarpolette) Columbia 2697
Matrices 35882, 35885
Recorded 1916
Available from September 1916 Daisy Kennedy, violin
with piano
Kosloff – Idylle Finnoise
Zimbalist – Slavonic Dance No. 2 (Hebrew song and dance) Columbia 2698
Matrices 65490, 65492
Recorded 1916
Available from October 1916 Daisy Kennedy, violin
with piano (from the collection of Cheniston Roland)
d’Ambrosio – Canzonetta
Kosloff – Melodie tartare Columbia D1371
Matrices ??
Recorded c1917 Daisy Kennedy, violin
with piano (from the collection of Cheniston Roland)
Kreisler – Liebesfreud
Zimbalist – Russian Dance Columbia D1373
Matrices ??
Recorded c1917 Daisy Kennedy, violin
with piano (from the collection of Cheniston Roland)
La Guerre des Bouffons reaches my site today, with works from opposing sides of the French operatic conflict. Rousseau is better known as a philosopher, but fancied himself as something of a musician, and his “Le Devin du Village” was extremely influential in its day. It was later parodied by Mozart in “Bastien und Bastienne.” Rousseau was a proponent of Italian operatic style as exemplified by Pergolesi’s “La serva padrona,” and wrote articles supporting the Italian as opposed to the French style espoused by Rameau. Rousseau’s own amateur attempt at opera, though hugely popular at the time, sounds somewhat trite and pedestrian now, though it is given as good a performance as one could hope for in the recording below. Gedda is perhaps too strong for the role of Colin sometimes. The Rameau excerpts, to me, win out easily, directed by Nadia Boulanger.
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Columbia 33CX 1503
Matrices XPTX 394 21, 395 21 (M6 176329/30)
Recorded April 1956
Issued February 1958 Orchestre de Chambre Louis de Froment, Louis de Froment Nicolai Gedda, tenor (Colin) Janine Micheau, soprano (Colette) Michel Roux, bass (Le Devin) Choeurs Raymond Saint-Paul
(This is a zip file – left click the link, download the file, then unzip when downloaded)
Brunswick AXTL 1053
Matrices MC 3135-1B, MC 3136-3B
Issued 1954 Instrumental Ensemble, Nadia Boulanger
Dardanus – Act 2. Introduction – Tout l’avenir… Suspends ta brillante carrière… Hâtons-nous!… Nos cris ont pénétré Doda Conrad, baritone with vocal ensemble
Castor et Pollux – Prologue: Minuet… Naissez, dons de Flore Paul Derenne, tenor Jean Maciet, tenor Nadine Sautereau, soprano Flore Wend, soprano
Dardanus – Act 3. O jour affreux! Irma Kolassi, mezzo-soprano
Les Indes Galantes – Entrée 2. Clair flambeau Bernard Demigny, baritone with vocal ensemble
Hippolyte et Aricie – O disgrâce cruelle – Overture and Fanfare Irma Kolassi, mezzo-soprano with vocal ensemble
Hippolyte et Aricie – Ballet figuré
Castor et Pollux – Act 4. Séjour de l’éternelle paix Paul Derenne, tenor
Les Fêtes d’Hébé – Prologue: Volons sure les bordes de la seine; Acanthe et Céphise – Entr’acte; Les Fêtes d’Hébé – Entrée I. Je vous revois Nadine Sautereau, soprano Flore Wend, soprano
Platée – Chantons Bacchus! Paul Derenne, tenor with vocal ensemble
In the early years of his recording career, Eugene Goossens frequently recorded operatic pots-pourris, though it was something he did more often for Columbia than for HMV as here with the Royal Albert Hall Orchestra
(mp3 file – right click the link, then select “Save as” or click the play button)
His Master’s Voice D 913
Matrices Cc 2668-IV, 2669-II (single side numbers 4-0592/3)
Recorded 19th January 1924, 7th March 1923, Hayes Royal Albert Hall Orchestra, Eugene Goossens
The French violinist Renée Chemet is a virtually unknown name to most, but she did record extensively for the Gramophone Company. Her recorded repertoire consists mostly of minor works which were the staple fare for violinists on record at the time. She did however record a number of sonata movements, an arrangement of a Vivaldi concerto, a Mozart concerto with Goossens conducting (albeit the doubtful No.6, K268), and this favourite Saint-Saens work.
(mp3 file – right click the link, then select “Save as” or click the play button)
His Master’s Voice DB 887
Matrices Cc 6789-I, 6790-II (single side numbers 4-07955/6)
Recorded 28th September 1925, Hayes Renée Chemet, violin
Harold Craxton, piano
