Elisabeth Schumann Discography
by Floris Juynboll and James Seddon
First published in the Record Collector, Volume 33, numbers 3/4/5 in March 1988. Republished here by kind permission.
Annotated by Simon Holledge, 2003
No attempt at a biographical sketch of Elisabeth Schumann has been made to accompany this discography because the authors find they have nothing to add to what has already been written, and frequently repeated, in the notes which accompany the many re-issues of her recordings on microgroove. The principle sources for the interested reader are the notes written by Desmond Shawe-Taylor for the Great Recordings of the Century series, especially for COLH 154, and more recently for Elisabeth Schumann sings Favourite Schubert Lieder, and by Alan Blyth for The Art of Elisabeth Schumann, both issued by EMI. For the German reader there is a long note by Anton Odelga on the sleeves of Preiser LV 186 and LV 218. Extracts from an unpublished biography of the artist by Alfred Mathis appeared in Opera for August, September, November 1973 and January 1974 (Vol. 24, Nos. 8, 9 and 11, and Vol. 25, No. 1). These cover the period 1917-1929 and are based on conversations between Mathis and Schumann during 1937 and 1938. While informative they are as much concerned with Richard Strauss as with the artist. As Mathis also dealt extensively with the politics of the musical scene in Austria and Germany during the 1920s, matters with which the artist did not wish to be associated, she refused to sanction publication of the book. Material for an authoritative biography of Elisabeth Schumann is in the hands of her son Gerhard Puritz and still awaits publication.
['Elisabeth Schumann, A Biography' by Gerd Puritz, edited and translated by Joy Puritz, was first published by André Deutsch in 1993 and reprinted, with corrections, by Grant & Cutler Ltd, London 1996 (ISBN 0-7293-0394-2).]
During her professional career Elisabeth Schumann made commercial recordings for six companies: Favorite (1914 or 1915) [no: 1913], Edison (1915), German Odeon (1917/1919), Deutsche Grammophon (1920/1922-23), The Gramophone Company (HMV) (1926-1949), and Allegro Music. The discography follows this chronological sequence and is divided into five parts:
Part I: acoustic 78 rpm recordings (Favorite, Edison, Odeon, Polydor);
Part II: electric 78 rpm recordings (HMV);
Part III: microgroove recordings (Allegro);
Part IV: live performances on record and tape;
Part V: re-issues on microgroove.
[Re-issues on CD are covered on a separate page, See The Recordings of Elisabeth Schumann on CD. ]
Each commercial side recorded in Parts 1, 11 and III has been assigned a discography number, and these numbers serve also (a) as a key to the explanatory notes which follow the sections; (b) to indicate the titles re-issued on microgroove in Part V; and (c) for the title index. When more than one title is recorded on a single side the separate titles are indicated by the letters 'a', 'b' etc. added to the discography number.
Every effort has been made to supply all essential matrix numbers (the master, or serial, numbers allotted by the manufacturers) together with their 'takes' (i.e. repeat recordings of the same title bearing the same matrix number, beginning always with take 1, which is the first recording made by the artist of a particular title), and all known catalogue numbers. When a single-face, or catalogue, number is shown in parenthesis it signifies that the number was assigned but never used for the title in question, and further information will be found in the notes. Recording venues and session dates are given when known. When accurate information cannot be supplied owing to the loss of recording books and matrix cards - and this concerns only the acoustic recordings listed in Part I - suggestions as to when and where the various titles might have been recorded have been given based on such evidence as could discovered, scanty though this usually is.
The language in which the arias and songs are sung is German unless otherwise indicated by (E) English, (F) French, (1) Italian, and (L) Latin, at the end of the title line. 'Re indicator (G) means that the artist sings a German translation of words set originally in another language.
Abbreviations are minimal and for the most part self-explanatory, e.g. w. for with, obb. for obbligato, cond. for conductor, or conducted by, arr. for arranged and so on. The World Encyclopaedia of Recorded Music by F. F. Clough and G. J. Cuming is referred to as WERM, and the earlier discography of the artist published in the Record Collector (Vol. 7, No. 10, October 1952) as the '1952 RC Discography'. Other publications cited are given full titles. The Gramophone Company is often referred to simply as HMV or Hayes.
Part 1: The Acoustic Recordings
Recording session dates are known only for the Edison discs and these, along with other details, are given in the Notes which follow the listing. Some estimated datings for the Odeon and Polydor recordings are also given in the Notes, accurate dating being no longer possible owing to the wartime loss of recording books held by Electrola and Deutsche Grammophon. The listing is straightforward with the discography number [in red] followed by the matrix number [in bold] and the title recorded, the catalogue numbers appearing on the last line of the entry. Two numbers are shown for the Polydors, the second relating to double-sided issues, the first to single-sided, the 04 series being the original HMV single-face numbers and those prefixed B the later Deutsche Grammophon numbers which were assigned up to 1931 (B indicates the German language). Although these are also catalogue issue numbers no single-sided Schumann Polydors have been traced and it is likely that no copies were pressed.
Recording speeds could not be determined owing to the inaccessibility of original shellacs. Speed checks of shellac and microgroove dubbings, based on the assumption that the transfers were made at 78 rpm, yielded results varying from 73 rpm for Discography Nos. 13 and 14, to 79 rpm for Nos. 37 and 38.
Favorite Luxus acoustic recordings, 25cm, 1914 or 1915 [no: 1913]
I. (3076-b+) LE NOZZE DI FIGARO: Neue Freuden, neue Schmerzen (Non so più) (Act 1) (Mozart) (G) 1-16230
[Title not traced 1-16230 ]
2. (3077-b+) LE NOZZE DI FIGARO: Ihr, die ihr Triebe des Herzens kennt (Voi che sapete) (Act 2) (Mozart) (G) 1-16231
[MADAMA BUTTERFLY: Eines Tages seh'n wir (Un bel vedremo) (Act 2) (Puccini) (G) 1-16231]
[LE NOZZE DI FIGARO: Ihr, die ihr Triebe des Herzens kennt (Voi che sapete) (Act 2) (Mozart) (G) 1-16232]
[LE NOZZE DI FIGARO: Neue Freuden, neue Schmerzen (Non so più cosa son) (Act 1) (Mozart) (G) 1-16233]
5. 3080-b+ MIGNON: Kam ein armes Kind von fern (Je connais un pauvre enfant) 'Styrienne' (Act 2) (Thomas) (G) 1-16234
6. 3081-b+ MIGNON: Kennst du das Land? (Connais-tu le pays?) (Act 1) (Thomas) (G) 1-16235
Edison Diamond acoustic recordings, 25cm, 1915
7. 3554 DER FREISCHÜTZ: Kommt ein schlanker Bursch' gegangen (Act 2) (Weber) 82082
8. 3557 FIDELIO: Ach, wär ich schon mit dir vereint (Act 1) (Beethoven) 73005
9. 3558 MIGNON: Kam ein armes Kind von fern (Je connais un pauvre enfant) 'Styrienne' (Act 2) (Thomas) (G) (82084) (not issued)
10. 3560 MIGNON: Kennst du das Land? (Connais-tu le pays?) (Act 1) (Thomas) (G) 73004
11. 3568 CARMEN: Je dis que rien ne m'épouvante, 'Air de Micaëla' (Act 3) (Bizet) (F) (not issued)
12. 3569 DER FREISCHÜTZ: Trübe Augen, Liebchen, taugen (Act 3) (Weber) 82092
Odeon acoustic recordings, 30cm, 1917
13. xxB 6377 CARMEN: Ich sprach, dass ich furchtlos mich fühle (Je dis que rien ne m'épouvante) - 'Air de Micaëla' RXX 76724 (Act 3) (Bizet) (G)
14. xxB 6378 FIDELIO: Ach, wär ich schon mit dir vereint (Act 1) (Beethoven) RXX 6725
15. xxB 6379 HÄNSEL UND GRETEL: Wo bin ich? Wach ich? Ist es ein Traum? (Act 3) (Humperdinck) RXX 76728, UAA 79019
16. xxB 6380 DON GIOVANNI: Schmäle, schmäle, lieber Junge (Batti, batti, o beI Masetto) (Act 1) (Mozart) (G) RXX 76726
17. xxB 6381 DON GIOVANNI: Wenn du fein fromm bist (Vedrai carino) (Act 2) (Mozart) (G) RXX 76727
18. xxB 6382 DIE ZAUBERFLÖTE: Ach, ich fühl's, es ist verschwunden (Act 2) (Mozart) RXX 76729, UAA 79020
19. xxB 6385 Morgen (Mackay - R. Strauss, Op.27, No.4) (pno & vln.) UAA 57811, 0-6441 AA
20. xxB 6386 Frage und Antwort (Mörike-Wolf (pno) UAA 57812, 0-6441 AA
21. xxB 6427 Die Forelle (Schubart-Schubert, D.550) (pno) RXX 76749
22. xxB 6428 Blauer Sommer (Busse-R. Strauss, Op.31, No.1) (pno) RXX 76750
Polydor (Deutsche Grammophon) acoustic recordings, 30cm, 1920
23. 269 as LE NOZZE DI FIGARO: Neue Freuden, neue Schmerzen (Non so più) (Act 1) (Mozart) (G) B 24097, 65654
24. 270 as LE NOZZE DI FIGARO: Ihr, die ihr Triebe des Herzens kennt (Voi che sapete) (Act 2) (Mozart) (G) B 24098, 65654
25. 271 as DON GIOVANNI: Wenn du fein fromm bist (Vedrai carino) (Act 2) (Mozart) (G) B 24099, 65655
26. 272 as DER WILDSCHÜTZ: Auf des Lebens raschen Wogen (Act 1) (Lortzing) B 24032. 65613
27. 273 as FAUST: Jewelenarie (Air des Bijoux) (Act 3) (Gounod) (G) 043366, 65587
28. 274 as DIE ENTFÜHRUNG AUS DEM SERAIL: Durch Zärtlichkeit und Schmeicheln (Act 2) (Mozart) 043348, 65580
29. 275 as DIE ENTFÜHRUNG AUS DEM SERAIL: Welche Wonne, welche Lust (Act 2) (Mozart) 043349, 65580
30. 276 as DON GIOVANNI: Schmäle, schmäle, lieber Junge (Batti, batti, o bel Masetto) (Act 1) (Mozart) (G) B 24100, 65655
31. 277 as FRA DIAVOLO: Welches Glück (Quel bonheur) (Act 2) (Auber) (G) 043365 65587
32. 278 as HÄNSEL UND GRETEL: Wo bin ich? Wach ich? Ist es ein Traum? (Act 3) (Humperdinck) B 24033, 65613
33. 923 as Die heiligen drei Könige (Heine-R. Strauss, Op.56, No.6) (w. orchestra) B 24144, 65689
34. 924 as EXSULTATE, JUBILATE: Part I - Allegro (Mozart, K.165) (L) B 24141, 65688
35. 925 as EXSULTATE, JUBILATE: Part 2 - Andante (L) B 24142, 65688
36. 926 as EXSULTATE, JUBILATE: Part 3 - Alleluia (L) B 24143, 65689
37. 1258 as LE NOZZE DI FIGARO: Endlich naht sich die Stunde . . . 0 säume länger nicht (Deh vieni, non tardar) (Act 4) Mozart) (G) B 24223, 65811
38. 1260 as DIE ZAUBERFLÖTE: Ach, ich fühl's, es ist verschwunden (Act 2) (Mozart) B 24224, 65811
Notes to the Acoustic Recordings
1-6 The recording date cannot be verified as neither recording books nor catalogues have been traced, and the helpful practice of the Favorite Company of printing session dates on their labels (e.g. Gertrude KappeI's 1911 issues) seems to have been discontinued by 1914 - at least the copy of Fneda Langendorf's Wagner issue held by Yale Historical Sound Recordings is undated , and this disc on 1-16228/9, matrix numbers 3074/75-b + immediately precedes the Schumann Mozart issues (Nos. I and 2). The discovery of the latter (on a list issued by Teuchtler, the Vienna dealer, in the late 1970s) implies so strongly that at least six sides were made during this session that Discography Nos. 3 and 4 have been written in to cover the untraced titles recorded on matrix numbers 3078/9-b + and issued on catalogue numbers 1-16232/3. The labels show the artist's married name, Schumann-Puritz, which she used professionally at Hamburg between 1909 and 1919. The recording venue was probably Hannover.
[E M van Oirschot has pointed out that the Phonokritik page of Phonographische Zeitschrift for 20 November 1913 contains a review of one of the two missing Favorite titles. This is 'Eines Tages seh'n wir' (Un bel di vedremo) from Act 2, Scene 1 of Puccini's Madama Butterfly. The catalogue number is given as 1-16231, tentatively assigned to matrix 3077-b+ in the discography, and this means that to link up the matrix and catalogue numbers for Nos. 2, 3, and 4 it will be necesssary to see a copy of this particular record. The coupling is not mentioned in the review. As Die Sprechmaschine for 1 November 1913 contains an advertisement for 1-16234, the 'Styrienne' from Mignon, this further establishes that Schumann made her Favorite recordings in 1913 or earlier.]
7-12 Schumann recorded a voice test for the Edison Company in December 1914, during her season with the Metropolitan Opera Company in New York. Edison thought she was 'pretty good' and in his report of 24 December 1914 he observed, "She has not much tremolo. What she has is very rapid and not very noticeable. She is like Case. If not expensive, might take half-a-dozen. Get repertoire". The artist signed 'half a standard contract' and made six sides, four of which were issued. Edison stipulated three perfect takes of each side and these are lettered A, B and C. The recordings were made at the Edison Studios, 79 Fifth Avenue, New York.
The recording details are as follows:
7. Recorded on I February 1915 and listed in the Edison Diamond catalogue from 1915 to 1927. The coupling is an explanatory talk by Harry E. Humphrey (matrix 3699).
8. Recorded on 2 February 1915 and in the catalogue from 1921 to 1929. The coupling is a performance by Jacques Urlus (on matrix 3590) of Sehnsucht by Rubinstein (Op.8, No.5) - not by Riis, as James Dennis unaccountably has it in his Urlus discography (Record Collector, Vol.26, 11-12, September 1981).
9. Recorded on 2 February 1915. Not issued. The recording was passed and assigned catalogue number 82084 but that number was used for Alice Verlet's Ernani, involami. A test of take B exists in the Edison Laboratory National Monument, West Orange, New Jersey, under No. ED 344. The coupling is a talk by H. E. Humphrey (matrix 3698).
10. Recorded on 3 February 1915 and in the catalogue from 1921 to 1929. The coupling is Dein gedenk' ich (Faust) sung by Carl Jörn (matrix 5519).
11. Recorded on 8 February 1915. Not issued. A test of take C is retained in the Edison Laboratory under No. ED 345.
12. Recorded on 8 February 1915 and, in the catalogue from 1915 to 1924. The coupling is a talk by H. E. Humphrey matrix 3990).
The recording of 0 glückliches Land (O beau pays de la Touraine), from Act 2 of Meyerbeer's Les Huguenots, included in the 1952 RC Discography has not been traced. The catalogue number cited, 79019, appears neither in Vertical-cut Cylinders & Discs by Victor Girard and Harold M. Barnes (1964), nor in Edison Disc Recordings by Raymond Wile (1978).
13-22 The recording venue was Berlin, probably 137 Grosse Frankfurter Strasse for the 1917 recordings and 26 Schlesische Strasse for the 1919. The company move took place between 1917 and 1919, when all recording was suspended and not resumed, it seems, until June 1919. This accounts for the gap of only forty matrix numbers between the artist's 1917 and 1919 recordings and, since Tauber is known to have recorded xxB 6439-48 on 26, 27 and 28 June 1919, effectively dates the Schumann session as having taken place perhaps a week or so earlier. The 1917 sessions cannot be dated, even approximately, with any degree of certainty.
Odeon catalogues for 1918-21 could not be traced, and catalogue entries for Nos 13, 14, 21 and 22 have not been seen. This suggests these titles were deleted before 1922, the main catalogue for that year listing only Nos. 15, 16, 17 and 18. Nos. 19 and 20 - and somewhat inexplicably also Nos. 15 and 16 - appear in the Blue Label (Blaues Etikett) catalogue for 1922/23, which contains records offered at a lower price range. By 1926 only Nos. 19 and 20 remained available, and the record was deleted by 1928.
The 1952 RC Discography transposes the catalogue numbers for Nos. 15 and 18 and gives them an RX prefix, indicating a 10 3/4 -inch (27cm) record. This is probably an error as only 12-inch discs have been traced. The matrix numbers for Nos. 21 and 22 shown on the Rigler & Deutsch Index as MX 76749/50 are guesswork, and the fiche should be corrected.
23-38 A tentative sequential listing of matrix numbers in the 'as' series, based largely on catalogue information, suggests that the 1920 recordings were made towards the end of that year, and the 1922 recordings during the mid-year. As regards the 1923 recordings, a letter written by Selma Kurz from the Hotel Adlon in Berlin at the end of July 1923, in which she refers in detail to recordings she was then making on matrix numbers 1285as-1300as, indicated that Schumann was in the recording studio either earlier the same month or in late June. The recordings were made in Berlin, probably at the Ritterstrasse studios.
(NOTE: The recording date of 1919 for the above-mentioned matrix numbers given in the Selma Kurz discography published in Recorded Sound in January 1979 (No.73), cannot be correct. That year saw the last of the '1' and 'r' (25cm), and 'in' and 's' (30cm) series which had been in use throughout the war years, and their replacement on 1 January 1920 by the 'ar' (25cm) and 'as' (30cm) series along with the introduction of the 'av', ap' and 'an' series. All these series began with number one.)
Reissues of Acoustic Recordings
The main sources of reissues, at the time of writing, are Rococo Records (R6 or 5006), and Preiser (LV 186), and from these two LPs can be obtained all the acoustic Polydors. The following listings are dubbings on to LP unless otherwise stated:
Favorite recordings: Nos. 5 and 6 on Preiser LV 186
Edison recordings: No. 8 dubbed at 78 rpm on IRCC 3125 coupled with 'Gott! Welch Dunkel hierl' from Fidelio, sung by Jacques Urlus (matrix 3616); No. I I by Unique Opera Record Corporation on UORC 341 (Pot-pourri No. 5); No. 12 by EMI in 'A Record of Singing' RLS 743, Side 21, Band 1 (the catalogue number is given incorrectly 89092 for 82092).
Odeon recordings: Nos. 13 and 14 by the The Record Album, New York, dubbed at 78 rpm on RA-1; Nos. 19 and 20 by Preiser on LV 186, and by Perennial on PER 1001 (with incorrect recording dates).
Polydor recordings: Nos. 34-36 dubbed at 78 rpm on RR-1, and Nos. 28 and 29 dubbed at 78 rpm on RR-4 by Record Rarities, New York; No. 25 on Top Artists Platter, T 306, and No. 31 on T 318; Nos. 28, 29, 37, 38 by Perennial on PER 1001 (with incorrect recording dates): Nos. 25, 26, 27, 30, 31, 32, 33, 34-36 on Rococo R6 (or 5006); Nos. 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 37, 38 on Preiser LV 186; No. 31 on Preiser LV 500. [No. 27 has been re-issued on DGG 2721-176 and No. 33 on Metropolitan Opera Guild (USA), MET-302 ('The Gatti-Casazza Years I')]
Part 2: HMV Electric Recordings
In this section are listed, in chronological order, all the 78 rpm recordings made by Elisabeth Schumann for The Gramophone Company between April 1926 and October 1949. During this period she recorded over two hundred titles in the course of sixty-five sessions, eight of which took place in Vienna (between October 1928 and June 1934), two in New York (for Victor in 1939), and the remainder in the UK. She also took part in one 'live' recording, the Paris concert of 1937.
As the contents of this section have been transcribed direct from the HMV recording sheets, it has been possible to assign the discography number at the session at which the published take was recorded, or, if the side is unissued, when the last recording was made. If more than one session was needed to obtain a publishable take the earlier sessions are, therefore, unnumbered, a hyphen in parenthesis, thus (-) replacing the discography number, with a reference after the matrix numbers to the next session at which further takes were made. There are only nineteen unnumbered entries. Over half the recordings the artist made for HMV were passed on take one, even if second and third takes were also made, and for fifty of those only one take was required to obtain a publishable recording.
It should be noted that the complete works recorded in Paris in 1937 are exceptions to the above scheme as pressings of the original 78 rpm sides were not available. Hence the two performances have been assigned one discography number each, regardless of the number of sides recorded.
The column headings in the lay-out are self-explanatory. The first line of a recording sessions begins with the date, followed by the recording venue (London, if not otherwise specified) and details of the accompanying artists. The second line begins with the discography number followed by full details of the title(s) recorded. The third and succeeding lines show the matrix number to which is hyphenated the take, followed by all known catalogue issue numbers. An absence of catalogue numbers means that the side was not issued on shellac, in which case there will be a reference in the Notes. The letter 'A' added to the take number in certain sessions denotes that a second recording machine was in use, cutting a second wax master simultaneously with the first machine. The final column is reserved for recommended playing speeds when other than 78 rpm, or refers the reader to the Notes for further information.
Single-face numbers were discontinued in 1934, and after the Vienna session of 23 June 1934 the appropriate column (the first) is likewise discontinued. The last issue in this discography to be given a catalogue number in the black label D series is the Quintet from Die Meistersinger, recorded on 16 May 1931, and thereafter all D and E series numbers and their European equivalents disappear. Subsequent recordings were issued in the international red label DA and DB series, apart from a few titles published in Australia with domestic EC and ED numbers, in Ireland with IR and IRX numbers, and the solitary reissue in the HMV white-label Archive Series on VB 47.
A number of Schumann's recordings, mainly songs, were issued by Victor in Japan. Some were listed in the 1952 RC Discography, others are displayed in the Rigler & Deutsch Index, and these have been included though no catalogues have been seen and it is doubtful if they constitute the complete listing. For ten-inch records the catalogue numbers are prefixed JE, JF, NF, NP, and VE; for twelve-inch records, JD, ND and VD.
Couplings are for the most part adjacent or separated by only a few numbers. The more widely separated couplings are indicated in the Notes.
30 April 1926: Studio A, Hayes. Orchestra cond. George W. Byng
(-) LE NOZZE DI FIGARO: Voi che sapete (Act 2) (Mozart) (1)
-2 (See 19 May 1926 Discog. No. 42.)
(-) LE NOZZE DI FIGARO: Deh vieni, non tardar (Act 4) (Mozart) (1)
Cc 8378 -1 (See 7 June 1926)
39. DIE ENTFÜHRUNG AUS DEM SERAIL: Durch Zärtlichkeit (Act 2) (Mozart) (1)
(-) IL RE PASTORE: L'amerò, sarò costante (Act 2) (Mozart) (1)
-2 (See 19 May 1926)
19 May 1926: Studio B, Hayes. Orchestra cond. George W. Byng
40. EXSULTATE, JUBILATE: Alleluia (Mozart, K.165) (L)
Bb 8403 -1 7-53111 DA 845 1454 IR 311, AA 148
41. DON GIOVANNI: Batti, batti, 0 bel Masetto Act 1) (Mozart) (1)
Cc 8404 -1 2-053265 DB 946 7076 IRX 124
42. LE NOZZE DI FIGARO: Voi che sapete (Act 2) (Mozart) (1)
Cc 8377-3 2-053261 DB 946 7076 IRX 124
(-) IL RE PASTORE: L'amerò, sarò costante (Act 2) (Mozart) (1) (Vln. obb. M. Hayward)
-4 (See 7 June 1926, Discog. No. 44)
7 June 1926: Studio B, Hayes. Orchestra cond. George W. Byng
43. DON GIOVANNI: Vedrai carino (Act 2) (Mozart) (1)
Bb 8504-1 7-53095 DA 845 1454 IR 311, AA 148 77 rpm
(-) LE NOZZE DI FIGARO: Deh vieni, non tardar (Act 4) (Mozart) (1)
Cc 8378-2 (See 4 February 1927, Discog. No. 52.)
44. IL RE PASTORE: L'amerò, sarò costante (Act 2) (Mozart) (1) (Vln. obb. M. Hayward)
Cc 8380-5 2.053266 DB 1011 AB 424 77 rpm
14 June 1926: Studio A, Hayes. Orchestra cond. George W. Byng
(-) DON GIOVANNI: Batti, batti, 0 bel Masetto (Act 1) (Mozart) (1)
-3 (See 19 May 1926, Discog. No. 41 for issued take)
I February 1927: Studio C, Small Queen's Hall. Orchestra cond. Lawrance Collingwood
45. LE NOZZE DI FIGARO: Non so più cosa son (Act 1) Mozart) (1)
Bb 9871 -1 7-53109 DA 844 1431 EW 34, AA 142
-1A [see note below]
46. DIE ZAUBERFLÖTE: Ach, ich fühl's (Act 2) (Mozart) (I)
Cc 9872 -1
47. LE NOZZE DI FIGARO: Venite, inginocchiatevi (Act 2) Mozart) (I)
Bb 9873 -1 7-53110 DA 844 1431 EW 34, AA 142
48. DIE ENTFÜHRUNG AUS DEM SERAIL: Durch Zärtlichkeit (Act 2) (Mozart) (1)
49. Du bist die Ruh' (Rückert-Schubert, D. 776) (Orchestrated by Max Reger)
Cc 9875 -1 (2-043061)
4 February 1927: Studio C, Small Queen's Hall. Orchestra cond. Lawrance Collingwood
50. Ständchen (Schack-R. Strauss, Op.17, No.2) (Orchestrated by Felix Mottl)
-2 2-043062 DB 1010 7210 AB 423, JD 386 75 rpm
51. Morgen (Mackay-R. Strauss, Op.27, No.4) (Violin, Isolde Menges)
-2 2-043063 DB 1010 AB 423, JD 386 75 rpm
52. LE NOZZE DI FIGARO: Deh vieni, non tardar (Act 4) (Mozart) (1)
Cc 8378-3 2-053288 DB 1011 AB 424 75 rpm
53. EXSULTATE, JUBILATE: (Title uncertain - see Notes) (Mozart, K.165) (L)
Cc 9889 -1 (2-053287)
24 May 1927: Studio C, Small Queen's Hall. Piano: Ivor Newton
54. Freundliche Vision (Bierbaum-R. Strauss, Op.48, No.1)
Cc 10901 -1
-2 2-043073 DB 1065 EJ 197
55. Wiegenlied (Dehmel-R. Strauss, Op.41, No. 1)
Cc 10902 -1
-2 2-043074 DB 1065 7210 EJ 197
11 November 1927: Small Queen's Hall. Orchestra cond. Karl Alwin
56. CANTATA BWV 159: Es ist vollbracht (Picander-J. S. Bach arr. Alwin) (Oboe, L. Goossens)
Cc 12007-1 2-043086 D 1410 7275 W 980, EJ 243, ES 347 77 rpm
57. DIE FLEDERMAUS: Mein Herr Marquis (Act 2) (J. Strauss II)
Bb 12008-1 7-43097 E 545 EW 82, ER 319, P 853 77 rpm
58. MATTHÄUS-PASSION: Aus Liebe will mein Heiland sterben (J. S. Bach, BWV 244) (Flute, J. Amadio)
Cc 12009-1 2-043087 D 1410 7275 W 980, EJ 243, ES 347 77 rpm
14 November 1927: Studio C, Small Queen's Hall. Piano: Karl Alwin
59. (a) Die Post (Müller-Schubert, D.911) (Winterreise, No. 13)
(b) Wohin? (Müller-Schubert, D.795) (Die schöne Müllerin, No.2)
Cc 12011-1 2-043088 D 1411 6837 W 957, E260, ES 354, AB 447, JD 16, 77 rpm
(-) DIE FLEDERMAUS: Spiel' ich die Unschuld vom Lande (Act 3) (Johann Strauss 11)
-2 (See 20 February 1928, Discog. No. 63)
60. (a) Im Abendrot (Lappe-Schubert, D.799)
(b) Die Vögel (Schlegel-Schubert, D.691)
Cc 12013-1 2-043089 D 1411 6837 W 957, EJ 260 77 rpm
-2 ES 354, AB 447, JD 16
61. (a) Schlechtes Wetter (Heine-R. Strauss, Op.69, No. 5)
(b) Ständchen (Schack-R. Strauss, Op.17, No.2)
Cc 12014-1 2-043090 D 1951 7707 EJ557, ND 526, VD 8011, 77 rpm
62. Bird song imitations whistled by the artist
20 February 1928: Studio C, Small Queen's Hall. Piano: George Reeves
63. DIE FLEDERMAUS: Spiel' ich die Unschuld vom Lande (Act 3) (J. Strauss II)
64. Du bist die Ruh' (Rückert-Schubert, D.776)
Cc 9875-2 (2-043061)
15 October 1928: Vienna, Mittlerer Saal. Vienna State Opera Orch. cond. Karl Alwin
65. Die heiligen drei Könige (Heine-R. Strauss, Op.56, No.6) See Notes
-2 2-043108 D 1632 7209 EJ 432, ES 555
66. Muttertändelei (Bürger-R. Strauss, Op.43, No.2)
BW 1910-1 7-43115 E 532 1661 ER 304
67. Marienlied (Novalis-Marx)
-2 7-43116 E 532 1661 ER 304
68. JOSHUA: Oh! had I Jubal's lyre (Handel) (G)
-2 2-043109 D 1632 7209 EJ432, ES 555
29 April 1929: Vienna. Vienna Studio. Piano: Karl Alwin
69. Das Veilchen (Goethe-Mozart, K.476)
70. Schlafe mein Prinzchen (Gotter-Flies, attrib. Mozart, K.350)
BW 2483 -1
29 May 1929: Kingsway Hall. London Symphony Orchestra cond. Albert Coates
MASS IN B MINOR, BWV 232 (J. S. Bach) - complete
71. Christie eleison (Part 1) (w. Margaret Balfour, contralto) (L)
Cc 16643 -1
-3 2-054315 C 1711 9956 EH 434, AN 357
72. Christie eleison (Part 2) (w. Margaret Balfour, contralto) (L)
Cc 16644 -1
-2 2-054316 C 1712 9957 EH 435, AN 358
73. Et in unum (w. Margaret Balfour, contralto) (L)
-3A 2-054317 C 1720 9965 EH 443, AN 366
31 May 1929: Kingsway Hall. London Symphony Orchestra, cond. Albert Coates
74. MASS IN B MINOR, BWV 232 (J. S. Bach)
Domine Deus (Part 1) (w. Walter Widdop, ten.) (L)
Cc 16647-1 2-054313 C 1715 9960 EH 438, AN 361
75. Domine Deus (Part 2) (w. Walter Widdop, ten.) (L)
Cc 16648-1 2-054314 C 1716 9961 EH 439, AN 362
6 September 1929: Vienna. Mittlerer Saal. Vienna State Opera Orch. cond. Karl Alwin
76. DER VOGELHÄNDLER: Wie mein Ahn'l zwanzig Jahr (Act 3) (Zeller)
BV 612 -1
-3 30-1471 (E 554) EW 83, ER 338, DA 6037
77. DER VOGELHÄNDLER: Wie mein Ahn'l zwanzig Jahr (Act 3) (Zeller)(E)
BV 613-1 (30-1472)
78. DIE FLEDERMAUS: Spiel' ich die Unschuld vom Lande (Act 3) (J. Strauss 11)
-3 30-1473 E 545 EW 82, ER 319, P853
79. Schlafe mein Prinzchen (Gotter-Flies, attrib. Mozart, K.350)
BV 615 -1
3 January 1930: Vienna. Mittlerer Saal. Vienna State Opera Orchestra cond. K. Alwin
80. DER VOGELHÄNDLER: Wie mein Ahn'l zwanzig Jahr (Act 3) (Zeller)
81. DER OBERSTEIGER: Sei nicht bös' (Act 2) (Zeller)
82. Schlafe mein Prinzchen (Gotter-Flies attrib. Mozart, K.350)
6 January 1930: Vienna. Vienna Studio. Piano: K. Alwin
83. (a) All' mein Gedanken (Dahn-R. Strauss, Op.21, No.1)
(b) Hat gesagt, bleibt nicht dabei (Des Knaben Wunderhorn-R. Strauss, Op.36, No.3)
-2 32-1191 D 1951 7707 EJ557, ND 526, VD 8011
17 February 1930: Kingsway Hall. Orchestra cond. Lawrance Collingwood
84. DER OBERSTEIGER: Sei nicht bös' (Act 2) (Zeller)
-2 30-2818 E 552 (E 554) EW 83, ER 338, ER 340, IR 281, DA 6037
85. Schlafe mein Prinzchen (Gotter-Flies attrib. Mozart, K.350)
-2 30-2819 E 555 EW 80, ER 339, DA 4435, DA 6006, JE 555, JE 259
86. DER VOGELHÄNDLER: Wie mein Ahn'l zwanzig Jahr (Act 3) (Zeller) (E) 'Nightingale Song'
-2 30-1472 E 552 ER 340, IR 282, B 32
18 February 1930: Studio C, Small Queen's Hall. Piano: George Reeves
87. (a) Schneeglöckchen (Rückert-Schumann, Op.76, No.27)
(b Der Nussbaum (Mosen-Schumann, Op.25, No.3)
-2 32-1232 D 1824 ES 673, JD 110, JD 2009, ND 254
88. (a) Er ist's (Mörike-Schumann, Op.79, No.23)
(b) Aufträge (L'Egru-Schumann, Op.77, No.5)
Cc 18858 -1
-3 32-1233 D 1824 ES 673, JD 110, JD2009, ND 254
89. (a) Warnung (Männer suchen stets zu naschen) (Anon-Mozart, K.433)
(b) Wer hat dies Liedlein erdacht (Des Knaben Wunderhorn-Mahler)
-2 30-2899 E 555 EW 80, ER 339, DA 6006, JE 555
16 May 1931: Kingsway Hall. London Symphony Orchestra cond. John Barbirolli
90. DIE MEISTERSINGER VON NÜRNBERG: Selig, wie die Sonne (Quintet, Act 3) (Wagner) (w. Lauritz Melchior, ten.; Gladys Parr, alto; Friedrich Schorr, bar.; Ben Williams, bass [no: tenor])
-3A 32-2225 D 2002 7682 EJ 693, ES 761, AB 715, AW 289
25 June 1931: Vienna Studios, Instrumental Sextet cond. K. Alwin. Piano. K. Alwin
91. Der Vogel im Walde (Taubert) (w. Sextet)
OL 293 -1
92. (a) Schweizerlied (Ufim Bergli bin i g'sässe) (Goethe-Schubert, D.559) (w. piano)
(b) Liebhaber in allen Gestalten (Goethe-Schubert, D.558) (w. piano)
OL 294 -1
4 April 1932: Studio No. 2, Abbey Road. Orchestra cond. Karl Alwin
93. Der Vogel im Walde (Taubert, arr. Alwin)
OB 3060-1 30-8593 DA 1274 1606 JF 37
94. Was i'hab (Bavarian folksong arr. Bohm, Op. 326, No. 12)
OB 3061 -1
-3 30-8594 DA 1274 1606 JF 37
7 November 1932: Studio No. 3, Abbey Road. Piano: Karl Alwin
95. (a) Traum durch die Dämmerung (Bierbaum-R. Strauss, Op.29, No.1) See Notes
(b) Ich schwebe (Hanckell-R. Strauss, Op.48, No.2)
-2 32-3358 DB 1845 14076
96. Mondnacht (Eichendorff-Schumann, Op.39, No.5)
2B 4473-1 32-3359 DB 1845 14076
97. (a) Die Lotosblume (Heine-Schumann, Op.25, No.7)
(b) Über den Wellen (Wildgang-C. von Franckenstein, Op.41, No.1)
2B 4474-1 (32-3360)
98. (a) Heidenröslein (Goethe-Schubert, D.257)
(b) Das Lied im Grünen (Reil-Schubert, D.917)
2B 4475-1 32-3361 DB 1844 14077 JD 164
99. Du bist die Ruh' (Rückert-Schubert, D.7761
2B 4476-1 32-3362 DB 1844 14077 JD 164
20 September 1933: Vienna. Mittlerer Saal. Vienna Philharmonic Orchestra, Vienna State Opera Chorus, cond. Robert Heger
DER ROSENKAVALIER (abridged) (R. Strauss, Op.59) See Notes
100. Mir ist die Ehre wiederfahren (w. M. 0lszewska, alto) (Act 2)
2 WX 582 -1
-2A 32-4111 DB 2065 7922 (Side 12)
(-) Wo war ich schon einmal (w. M. 0lszewska, alto) (Act 2)
2WX 583 -1
-1A (See 24 September 1933, Discog. No. 109)
21 September 1933: DER ROSENKAVALIER (continued)
101. Sind halt aso (w. M. 0lszewska, alto, V. Madin, bar.) (Act 3)
-2A 32-4123 DB 2072 7929 (Side 26)
Sind halt aso (w. L. Lehmann, sop., M. 0lszewska, alto, V. Madin, bar.)
102. Heut' oder morgen (w. L. Lehmann, sop., M. 0lszewska, alto) (Act 3)
2WX 585 -1
-3A 32-4120 DB 2071 7928 (Side 23)
103. Marie Theres'! Hab' mir's gelobt (w. L. Lehmann, sop., M. 0lszewska, alto) (Act 3)
-2A 32-4121 DB 2071 7928 (Side 24)
104. Weiss bereits nicht (w. L. Lehmann, sop., R. Mayr, bass) (Act 3)
2WX 593 -1
-1A 32-4118 DB 2070 7927 (Side 21)
22 September 1933: DER ROSENKAVALIER (continued)
105. In dieser feierlichen Stunde (w. Ä. Michalsky, sop.) (Act 2)
-2A 32-4110 DB 2065 7922 (Side 11)
23 September 1933: DER ROSENKAVALIER (continued)
106. Ich hab' halt schon einmal (w. L. Lehmann, sop., M. Olszewska, alto, R. Mayr, bass, B. Paalen, alto, W. Wernigk, ten., H. Gallos, ten.) (Act 3)
2WX 600 -1
-3A 32-4119 DB 2070 7927 (Side 22)
107. Zu ihm hätt' ich ein Zutraun (w. M. Olszewska, alto) (Act 2)
2WX 602 -1 32-4113 DB 2066 7923 (Side 14)
108. Muss jetzt partout zu ihr (w. L. Lehmann, sop., M. Olszewska, alto, R. Mayr, bass, W. Wernigk, ten., K. Kittl, bass) (Act 3)
2WX 604 -1
-2A 32-4117 DB 2069 7926 (Side 20)
24 September 1933: DER ROSENKAVALIER (continued)
109. Wo war ich schon einmal (w. M. Olszewska, alto) (Act 2)
-4A 32-4112 DB 2066 7923 (Side 13)
(-) Ist ein Traurn (w. M. Olszewska, alto) (Act 3)
-5A (See 21 September, Discog. No. 101 for published take)
110. Ist ein Traum . . . Sind halt aso! (w. L. Lehmann, sop., M. Olszewska, alto, V. Madin, bar.) (Act 3)
2WX 606 -1
Ist ein Traum (w. M. Olszewska, alto) (Act 3)
-2 32-4122 DB 2072 7929 (Side 25)
27 November 1933: Studio No. 3, Abbey Road. Piano: George Reeves
111. Wonne der Wehmut (Goethe-Beethoven, Op.83, No.1)
OB 5471-1 30-11515 DA 1357 1836 JF 45
112. Mit einem gemalten Bande (Goethe-Beethoven, Op.83, No.3)
-2 30-11516 DA 1357 1836 JF 45
113. Das Veilchen (Goethe-Mozart, K.476)
OB 5473-1 (30-11517)
114. (a) Loreley (Lorenz-Schumann, Op.53, No.2)
(b) Ständchen (Reinick-Schumann, Op.36, No.2)
-2 30-11518 DA 1355 1764 JF 49
29 November 1933: Studio No. 3, Abbey Road. Piano: George Reeves
115. (a) An die Nachtigall (Claudius-Schubert, D.497)
(b) Liebhaber in allen Gestalten (Goethe-Schubert, D.558)
OB 5476-1 30-11519 DA 1355 1764 JF 49
23 June 1934: Vienna. Mittlerer Saal. Orchestra cond. L. Rosenek See Notes
116. Sphärenklänge (Knepler-Mittler-Josef Strauss, Op.235)
-2 30-12301 DA 1395 DA 4435, IR 281, JE 12
117. Auf Flügeln des Gesanges (Heine-Mendelssohn, Op.34, No.2)
OWX 765 -1
-2 30-12302 DA 1395 1837 JE 12
118. Ave Maria (Ellens Gesang III) (Scott trans. Storck-Schubert, D839)
-2 32-4807 DB 2291 8423 JD 49
119. Bist du bei mir (Stölzel, attrib. J. S. Bach, BWV 508)
2WX 767 -1
-2 32-4808 DB 2291 8423 JD 49
HMV Victor Other
.D/face Cat. No. D/face Cat. No. Cat. Nos. Speeds (rpm)
26 February 1935: No. 3 Studio, Abbey Road. Piano. G. Reeves
120. My lovely Celia (G. Monro arr. H. Lane-Wilson) (E)
OEA 1293 -1
-2 DA 1416
121. A Pastoral ('Flocks are sporting') (H. Carey arr. H. Lane-Wilson) (E)
OEA 1294 -1
-3 DA 1416 IR 283
122. (a) Wiegenlied (Trad. ed. G. Scherer-Brahms, Op.49, No.4)
(b) Vergebliches Ständchen (Traditional-Brahms, Op.84, No.4)
OEA 1295 -1
-2 DA 1417 1756 JE 61
(-) (a) Nachtigall (Reinhold-Brahms, Op.97, No.1)
(b) Der Jäger (Halm-Brahms, Op.95, No.4)
-2 (See 19 November 1935, Discog. No.127)
26 August 1935: No. 3 Studio, Abbey Road. Piano: E. Lush
123. Schlafendes Jesuskind (Mörike-Wolf)
-2 DA 1438 1840
(-) HÄNSEL UND GRETEL: Abends will ich schlafen gehen (Act 2) (Humperdinck)
OEA 2196 -1 (First part of a self duet - see 28 August, Discog. No. 124)
28 August 1935: No. 3 Studio, Abbey Road. Piano: E. Lush
124. HÄNSEL UND GRETEL: Abends will ich schlafen gehen (Act 2) (Humperdinck)
-2 DA 1439 1948
125. HÄNSEL UND GRETEL. (a) Ein Männlein steht im Walde (Volkslied) (Act 2) (b) Der kleine Sandmann bin ich (Act 2) (Humperdinck)
OEA 2198-1 DA 1439 1948
126. Nun wandre, Maria (Heyse-Wolf)
OEA 2199-1 DA 1438 1840
19 November 1935: Studio No. 3, Abbey Road. Piano: George Reeves
127. (a) Nachtigall (Reinhold-Brahms, Op.97, No.1)
(b) Der Jäger (Halm-Brahms, Op.95, No.4)
-5 DA 1417 1756 JE 61
128. (a) Du denkst mit einem Fädchen (Heyse-Wolf)
(b) Mausfallen Sprüchlein (Mörike-Woff)
(c ) Elfenlied (Mörike-Wolf)
129. (a) Ach, des Knaben Augen (Heyse-Wolf)
(b) Bedeckt mich mit Blumen (Geibel-Wolf)
130. (a) FrühIingsglaube (Uhland-Schubert, D.686)
(b) Die Forelle (Schubart-Schubert, D.550)
131. (a) Der Gang zum Liebchen (Wenzig-Brahms, Op.48, No.1)
(b) Der Tod, das ist die kühle Nacht (Heine-Brahms, Op.96, No.1)
20 November 1935: Studio No. 1, Abbey Road. Orchestra cond. Lawrance Collingwood
132. SISSY: Ich glaub' das Glück hält mich heute im Arm ('Caprice Viennois') (Act 3) (Kreisler)
-3 DA 1455
133. Vogellied (Mörike-von Weingartner, Op.41, No.4)
-2 DA 1455
134. Last Night (Marzials-Kjerulf) (E)
OEA 2806-1 DA 1457
135. Down in the Forest (H.Simpson-L. Ronald) (from 'A Cycle of Life') (E)
OEA 2807-1 DA 1457 IR 282
7 September 1936: Studio No. 3, Abbey Road. Piano: Gerald Moore (Nos. 136,137,140,141) Elisabeth Coleman (Nos. 138, 139)
136. Horch! horch! die Lerch' - 'Ständchen' (Shakespeare trans Schlegel, stanza two Reil-Schubert, D.889)
OEA 3759-1 DA 1526 1933 VE 85, NF 4040
137. An die Musik (Schobert-Schubert, D.547)
OEA 3760-1 (DA 1525) 1932 VE 85
138. Auf dem Wasser zu singen (Stolberg-Schubert, D.774)
OEA 3761-1 DA 1521 1932 VE 1009
139. (a) Der Jüngling an der Quelle (Salis-Schubert D.300)
(b) Geheimes (Goethe-Schubert, D.719)
OEA 3762-1 DA 1521 1933 VE 1009
140. Sandmännchen (Zuccalmaglio-Brahms, V.K.4)
OEA 3763-1 DA 1526 1838 JE 130, NF 4184
141. Der Tod, das ist die kühle Nacht (Heine-Brahms, Op.96, No.1
OEA 3764-1 (DA 1525) 1838 JE 130, NF 4184
25 November 1936: Studio No. 2, Abbey Road. Orchestra cond. Walter Goehr
142. DAS DREIMÄDERLHAUS: Was macht glücklich -'Lied aus Wien' (Act 1) (Willner-Reichert-Schubert-arr. Berté)
-1A DA 1541
143. Wien du Stadt meiner Träume (Sieczynski)
-1A DA 1541
144. THE KISS (HUBICKA): Schlafe mein Kindlein - 'Wiegenlied' (Act 1) (Smetana) (G)
-1A DA 1544 1839 JE 148
145. PEER GYNT: Der Winter mag scheiden - 'Solveig's Song' (Act 4) (lbsen-Grieg, Op.23, No. 11) (G)
-1A DA 1544 1839 JE 148, NF 4040
26 November 1936: Studio No. 3, Abbey Road. Piano: Gerald Moore
146. Des Fischers Liebesglück (Leitner-Schubert, D.933)
OEA 4486-1 DA 1545 1934
147. Der Musensohn (Goethe-Schubert, D.764)
OEA 4487-1 DA 1545 1935
148. Litanei auf das Fest aller Seelen (Jabobi-Schubert, D.343)
OEA 4488-1 DA 1546 1934
149. Liebesbotschaft (Rellstab-Schubert, D.957) (Schwanengesang, No.1)
OEA 4489-1 DA 1546
150. Fischerweise (Schlechta-Schubert, D.881)
OEA 4490-1 DA 1547 JE 99
151. Gretchen am Spinnrade (Goethe-Schubert, D. 118)
OEA 4491-1 DA 1547 1935 JE 99
10 March 1937: Studio No. 3, Abbey Road. Piano: Gerald Moore
152. (a) Nähe des Geliebten (Goethe-Schubert, D.162)
(b) Lachen und Weinen (Rückert-Schubert, D.777)
2EA 4849-1 DB 3184 15168
153. (a) Nacht und Träume (von Collin-Schubert, D.837)
(b) Seligkeit (Hölty-Schubert, D.433)
2EA 4850-1 DB 3184 15167
154. Der Einsame (Lappe-Schubert, D.800)
2EA 4851-1 DB 3185 15167 JD 1284
155. Frühlingstraum (Müller-Schubert, D.911) (Winterreise, No. 11)
2EA 4852-1 DB 3185 JD 1284
11 March 1937: Studio No. 1, Abbey Road. Orchestra cond. Walter Goehr
156. Immer leiser wird mein Schlummer (Lingg-Brahms, Op.105, No.2)
-2A DA 1562 1837
157. Wiegenlied (Trad. ed. C. Scherer-Brahms, Op.49, No.4)
-2A DA 1562
158. DER LANDSTREICHER: Sei gepriesen, du lauschige Nacht (Act 1) (Ziehrer)
OEA 4683 -1
-2A DA 1557
159. DER FREMDENFÜHRER: 0 Wien, mein liebes Wien (Act 2) (Ziehrer)
OEA 4684 -1
-1A DA 1557
29 June 1937: Paris. Théâtre des Champs Elysées. Vienna Philharmonic Orchestra, Vienna State Opera Chorus, cond. Bruno Walter. With Kerstin Thorborg (mezzo-sop.), Anton Dermota (ten.), Alexander Kipnis (bass)
160. MASS No. 19 IN D MINOR (REQUIEM) (Mozart, K.626) - complete (L)
2LA 2005-1 to 2LA 2019-1 incl.
161. TE DEUM IN C (Bruckner) -L complete (L)
2LA 2020-1 to 2LA 2025-1 incl.
21 September 1937: Studio No. 3, Abbey Road. Piano: George Reeves. Clarinet: Reginald Kell.
162. Der Hirt auf dem Felsen (Müller & von Chézy Schubert, D.965) - Part I
2EA 5443-1 DB 3317 14815 VB 47, ED 115
163. Der Hirt auf dem Felsen - Part 2
2EA 5452-1 DB 3317 14815 VB 47, ED 115
22 November 1937: Studio No. 1, Abbey Road. Orchestra cond. Lawrance Collingwood
164. Still wie die Nacht (C. Bohm, Op.326, No.27)
-3 DB 3641 15735
165. Zum Schlafen (Schellenberg-Reger, Op.76, No.59)
0EA 5900-1 DA 1619
166. Mariae Wiegenlied (Boelitz-Reger, Op.76, No.52)
0EA 5901-1 DA 1619
167. Oh, quand je dors (Hugo-Liszt, S.282/1) (F)
29 November 1937: Studio No. 3, Abbey Road. Piano: George Reeves
168. (a) O ihr Herren (Rückert-Schumann, Op.37, No.3)
(b) Röselein, Röselein (von der Neun-Schumann, Op.89, No.6)
OEA 6019-1 DA 1620
169. (a) Das Mädchen spricht (Gruppe-Brahms, Op.107, No.3)
(b) Der Mond steht über dem Berge - 'Ständchen' (Kugler-Brahms, Op. 106, No. 1)
OEA 6020-1 DA 1620
170. Des Baches Wiegenlied (Müller-Schubert, D.795) (Die schöne Müllerin, No.20)
2EA 6021-1 DB 3426 15735
171. (a) Schlafe, schlafe, holder, süsser Knabe - 'Wiegenlied' (Anon- Schubert, D.498)
(b) Der Schmetterling (Schlegel-Schubert, D.633)
2EA 6022-1 DB 3426 15168
1 June 1938: Studio No. 3, Abbey Road. Piano: L. Rosenek
172. Ruhe Süssliebchen im Schatten (Die schöne Magelone) (Tieck-Brahms, Op.33, No.9)
2EA 6652-1 (DB 3598) DB 21572
173. (a) Nachtviolen (Mayerhofer-Schubert, D.752)
(b) An die Geliebte (Stoll-Schubert, D.303)
2EA 6653-1 (DB 3598) DB 21572
8 June 1938: Studio No. 1A, Abbey Road. Orchestra cond. Walter Goehr
174. Dors, mon enfant (Wiegenlied) (Anon-Wagner) (G)
OEA 6353 -1
175. Ich muss wieder einmal in Grinzing sein (Benatzky)
OEA 6354 -1 DA 1651
(-) CONTES D'HOFFMANN: Night of Stars - 'Barcarolle' (Act 3) (Offenbach arr. Walter) (E)
-2 (First part of a self duet - see 2 July, Discog. No. 184)
176. Dors, mon enfant (Wiegenlied) (Anon-Wagner) (G)
2EA 6356-1 DB 3654
11 June 1938: Studio No. 1A, Abbey Road. Orchestra cond. Walter Goehr
177. Oh, Quand je dors (Hugo-Liszt, S.282/1) (F)
-3 DB 3654
178. DER OPERNBALL: Im chambre séparée (Act 2) (Heuberger)
OEA 6362 -1 DA 1651
179. Orpheus with his lute (Shakespeare-Sullivan) (E)
-2 (DA 1662)
180. A memory (Goring Thomas) (E)
OEA 6364-1 (DA 1662 )
2 July 1938: Studio No. 3, Abbey Road. Piano: L. Rosenek
181. Der Jüngling und der Tod (von Spaun-Schubert, D.545)
2EA 6677-1 DB 3600
182. (a) Das Heimweh (Hell-Schubert, D.4569
(b) CLAUDINE VON VILLA BELLA: Hin und wieder fliegen Pfeile (Goethe-Schubert, D.239, No.3)
(c) CLAUDINE VON VILLA BELLA: Liebe schwärmt auf allen Wegen (Goethe-Schubert, D.239, No.6)
2EA 6678-1 DB 3600
183. An eine Äolsharfe (Mörike-Brahms, Op.19, No.5)
2EA 6679-1 (DB 3599)
184. LES CONTES D'HOFFMANN: Night of Stars -'Barcarolle' (Act 3) (Offenbach) (E)
2EA 6680-1 DB 3641
6 July 1938: Studio No. 3, Abbey Road. Piano: L. Rosenek
185. (a) THE COUNTRY LOVER: The early morning (Belloc-Peel I (E)
(b) THE SHE-GALLANTS: So well Corinna likes the joy (Eccles transcr. A. Bernard) (E)
OEA 6681-1 DA 1668
186. (a) Bitteres zu sagen denkst du (Daumer-Brahms, Op.32, No.7)
(b) Blinde Kuh (Anon Sicilian trans. A. Kopisch-Brahms, Op.58, No. 1)
2EA 6682-1 (DB 3599)
187. Lehn' deine Wang' an meine Wang' (Heine-A. Jensen, Op. 1, No. 1)
OEA 6683-1 DA 1663
188. Wo du hingehst da will auch ich (Setting of Ruth, 1.16 - E. Hildach, Op.8)
OEA 6684-1 DA 1663
8 July 1938: Studio No. 3, Abbey Road. Piano: Leo Rosenek
189. (a) Erlaube mir, fein's Mädchen (trad.-Brahms, D.V.2)
(b) Wie komm' ich denn (trad.-Brahms, D.V.42)
OEA 6685-1 (DA 1652) [Previously unpublished, but pressed from the original master and issued as HM 73, a vinyl 78 rpm record in the Historic Masters series,1991?]
190. In stiller Nacht (Spee-anon.-Brahms, D.V.42)
OEA 6686-1 (DA 1652)
191. (a) Mein Mädel hat einen Rosenmund (Zuccalmaglio-Brahms, D.V.25)
(b) Da unten im Tale (Swabian-Brahms, D.V.6)
2EA 6687-1 (DB 3597) DB 21605
192. (a) Schwesterlein (Zuccalmaglio-Brahms, D.V.15)
(b) Och Moder, ich well en Ding hanl (trad.-Brahms, D.V.33)
2EA 6688-1 (DB 3597) DB 21605
193. Heimkehr (Schack-R. Strauss, Op. 15, No. 5)
16 August 1938: Studio No. 3, Abbey Road. Piano: Leo Rosenek
194. THE TEMPEST: Where the bee sucks, there suck I (Shakespeare-Arne) (E)
OEA 6700-1 77 rpm
-2 DA 1668
22 October 1938: Studio No. 1, Abbey Road. Organ: Herbert Dawson
195. 0 du fröhliche, o du selige (Sicilian folksong arr. J. Falk)
OEA 6816-1 DA 1666
196. Stille Nacht, heilige Nacht (Mohr-Gruber)
OEA 6817-1 DA 1666
197. Silent night, holy night (Mohr-Gruber) (E)
OEA 6818-1 DA 1667 2013 IR 283
198. The Coventry Carol (trad.) (E)
-2 DA 1667 2013
10 October 1939: New York. Studio No. 2 (Victor). String quartet with M. Miller (oboe), P. Sklar (dble bass), Yella Pessl (hpschd), cond. Bruno Reibold
CANTATA, BWV 202: Weichet nur betrübte Schatten (Anon-J. S. Bach) - complete
199. Weichet nur, betrübte Schatten (aria) (Part 1)
BS 042927-1 DA 1757 2069
200. Weichet nur (Part 2); Die Welt wird wieder neu (Recit.)
BS 042928-1 DA 1757 2069
201. Das Glück, es ist gefunden (Recit.); Zu freien im Maien (aria) (Part 1)
BS 042931-1 DA 1759 2071
202. Zu freien (Part 2); So sei das Band (Recit.); Sehen in Zufriedenheit - 'Gavotta'
BS 042932-1 DA 1759 2071
22 November 1939: New York. Studio No. 2 (Victor). S. Shulman (vln), A. Shulman ('cello), Yella Pessl (hpschd)
CANTATA, BWV 202 (concluded)
203. Phoebus eilt mit schnellen Pferden (aria)
BS 042929-1 DA 1758 2070
204. Drum sucht auch Amor (Recit.); Wenn die Frühlingslüfte streichen (aria)
BS 042930-1 DA 1758 2070
29 August 1945: Abbey Road Studios. Piano: Gerald Moore
205. In der Frühe (Morike-Wolf)
OEA 10576-1 DA 1862 76 rpm
206. (a) In dem Schatten meiner Locken (Heyse-Wolf)
(b) Mausfallen Sprüchlein (Mörike-Wolf)
OEA 10577-1 DA 1862 76 rpm
207. She never told her love (Shakespeare-Haydn, Hoboken XXVIa: 34) (E)
OEA 10578-1 DA 1850 EC 150 76 rpm
30 August 1945: Abbey Road Studios. Piano: Gerald Moore
208. Abendempfindung (Campe-Mozart, K.523)
2EA 10579-1 77 rpm
209. Das Veilchen (Goethe-Mozart, K.476)
OEA 10580-1 DA 1854 77 rpm
210. The sailor's song (Mrs. Hunter-Haydn, Hoboken XXVIa: 31) (E)
OEA 10581-1 DA 1850 EC 150 77 rpm
211. Dass sie hier gewesen (Rückert-Schubert, D.775)
OEA 10582-1 DA 1854 77 rpm
26 November 1945: Abbey Road Studios. Piano: Gerald Moore
212. ROSAMUNDE VON CYPERN: Der Vollmond strahlt - 'Romanze' (von Chézy-Schubert, D.797, 3b)
OEA 10776-1 DA 1852 EC 152 77 rpm
213. Die Forelle (Schubart-Schubert, D.550)
OEA 10777-1 DA 1852 EC 152 77 rpm
214. Auch kleine Dinge (Heyse-Wolf)
OEA 10778-1 DA 1860 77 rpm
27 November 1945: Abbey Road Studios. Piano: Gerald Moore
(-) Wie glänzt der helle Mond (Keller-Wolf) See Notes
-2 (See 20 October 1947)
215. Die junge Nonne (Craigher-Schubert, D.828)
216. Nimmersatte Liebe (Mörike-Wolf)
OEA 10781 -1 [Previously unpublished, but pressed from the original master and issued as HM 137, a vinyl 78 rpm record in the Historic Masters series, with no. 226, 199?]
17 June 1946: Abbey Road Studios. Piano: Gerald Moore
217. Wie bist du, meine Königin (Daumer-Brahms, Op.32, No.9)
218. Es träumte mir (Daumer-Brahms, Op.57, No.3)
18 June 1946: Abbey Road Studios. Piano: Gerald Moore
219. (a) Therese (Keller-Brahms, Op.86, No.1)
(b) Das Mädchen spricht (Gruppe-Brahms, Op. 107, No.3)
220. Das Mädchen (von Schlegel-Schubert, D.652)
OEA 11075-1 DA 1864
221. Und willst du deinen Liebsten sterben sehen? (Heyse-Wolf)
OEA 11076-1 DA 1860
222. An mein Clavier (Schubart-Schubert, D.342)
OEA 11077-1 DA 1864
9 October 1946: Abbey Road Studios. Piano: Gerald Moore
FRAUENLIEBE UND LEBEN (Chamisso-Schumann, Op.42) - complete
(-) Seit ich ihn gesehen
2EA 11274-1 (See 20 October 1947)
223. (a) Er, der herrlichste von allen
(b Ich kann's nicht fassen, nicht glauben
2EA 11275-1 DB 9568 77 rpm
(a) Du Ring an meinem Finger
(b) Helft mir, ihr Schwestern
-2 (See 20 October 1947) 77 rpm
224. Süsser Freund, du blickest mich verwundert an
2EA 11277-1 DB 9569
225. (a) An meinem Herzen, an meiner Brust
(b) Nun hast du mir den ersten Schmerz getan
2EA 11278-1 DB 9568 77 rpm
20 October 1947: Studio No. 3, Abbey Road. Piano: Gerald Moore
FRAUENLIEBE UND LEBEN (Chamisso-Schumann, Op.42)
(-) Seit ich ihn gesehen
-3 (See 2 October 1948)
(-) (a) Du Ring an meinem Finger
(b) Helft mir, ihr Schwestern
-4 (See 2 October 1948)
(-) Wie glänzt der helle Mond (Keller-Wolf)
OEA 10779-3 (See 2 October, 1948, Discog. No. 226)
2 October 1948: Abbey Road Studios. Piano: Gerald Moore
226. Wie glänzt der helle Mond (Keller-Wolf)
-5 [Previously unpublished, but pressed from the original master and issued as HM 137, a vinyl 78 rpm record in the Historic Masters series, with no. 216, 199?]
-5A, -5B, -5C (Transfers)
FRAUENLIEBE UND LEBEN (Chamisso-Schumann, Op.42) 77 rpm
227. Seit ich ihn gesehen
2EA 11274-4 DBS 9567
(-) (a) Du Ring an meinem Finger
(b) Helft mir, ihr Schwestern
-6 (See 20 June 1949)
20 June 1949: Studio No. 3, Abbey Road. Piano: Gerald Moore
FRAUENLIEBE UND LEBEN (Chamisso-Schumann, Op.42)
228. (a) Du Ring an meinem Finger
(b) Helft mir, ihr Schwestern
2EA 11276-7 DB 9569
13 October 1949; Studio No. 1A, Abbey Road. Piano: Gerald Moore
229. Nur wer die Sehnsucht kennt (Lied der Mignon IV) (Goethe-Schubert, D.877)
230. So lasst mich scheinen (Lied der Mignon III) (Goethe-Schubert, D.877)
231. (a) Schweizerlied (Goethe-Schubert, D.559)
(b) CLAUDINE VON VILLA BELLA: Hin und wieder (Goethe-Schubert, D.239, No.3)
Notes to the HMV Recordings
39. Not issued. No face number was assigned but the title on the recording sheet, Con vezzi e con lusinghe, indicates that the aria was sung in Italian (See No. 48 below). The masters were destroyed on 12 May 1928.
42. The recording date (7 June 1926) given on the leaflet issued with EX 2905413 (The Art of Elisabeth Schumann) is incorrect.
44. The cadenza is by Saint-Saens. The sleeve of HQM 1187 gives the recording date as April 1926, but the published take was made on 7 June.
45. WERM gives EW 34 as 'old version in German', but all Electrola catalogues specify in italienisch gesungen, and the artist never recorded a German version for HMV. [Victor published take 1A as well as take 1. Bill Shaman has a pre-war VTM-RCA 'Scroll' issue of 1431 pressed from take 1A]
46. Not issued. Both the face number 2-053286 and the title on the recording sheet, Ah! lo so, più non m'avanza, denote that the aria was sung in Italian. The matrix was destroyed on 13 July 1944.
47. As with No. 45 above, WERM incorrectly gives EW 34 as the 'old version in German'.
48. Not issued. A remake of No. 39. The masters were destroyed on 16 February 1927.
49. Not passed by the artist and not issued. The master was destroyed on 13 July 1944. Take 2 of the matrix number was used for the unissued piano-accompanied version made on 20 February 1928 (See No. 64 below).
50. The recording date (January 1927) given in the notes to COLH 102 is incorrect. The 1952 RC Discography erroneously gives AB 447 for the Spanish HMV issue.
52. The recording date given in the leaflet issued with EX 2905413 (7 June 1926) refers; to take 2 recorded at Hayes with Byng. Take 3, which was published, was made on 4 February 1927 with Collingwood.
53. Not issued, nor can the contents now be established. Only the title of the motet is shown on the recording sheet. The matrix was destroyed on 13 July 1944.
56. The recording date (3 November) given on the sleeve of HQM 1187 is incorrect.
57. The coupling on E 545 is No. 78. The recording date (20 October) given on the sleeve of HQM 1187 is incorrect.
61. The coupling on D 1951 is No. 83.
63. Not issued. All five takes were destroyed between 4 January 1928 and 20 December 1934.
64. Not issued. The matrix was destroyed on 21 February 1928.
65-68. The recording speed is 78 rpm, but in Vienna at the time a high A was in use so that 77 rpm is about right for A = 440 c/sec. EX 2905413 gives the Musikvereinsaal as the venue for the artist's Vienna recordings, but the recording sheets show the Mittlerer Saal.
69-70. Neither issued. All takes were faulty.
71-75. Issued complete on 1/2 November 1929 on 34 sides on C 1710-1726 (auto couplings: C 7355-7371), Album Series 87, and by Victor in set M-104 on 9955-9971, and auto coupling sets AM 104 on 9972-9988, and DM 104 on 13394-13410. The catalogue numbers given in the 1952 RC Discography for the DM 104 set are incorrect. The leaflet issued with EX 2905413 transposes the recording dates and matrix numbers for Nos. 71/72 and 74/75.
76. Not issued in the UK, nor issued on E 554 as the leaflet included with EX 2905413 implies. See the comment on No. 84 below.
77. Not issued though take 1 was passed. The face number was transferred to the re-recording on Bb 18667 made at the Kingsway Hall on 17 February 1930. See No. 86 below.
78. The recording date (9 September 1929) given in the leaflet issued with EX 2905413 is incorrect.
79. Not issued. The masters were faulty.
80-82. Not issued. The masters were damaged in transit. The titles were remade on 17 February 1930 in London.
83. The notes issued with COLH 102 give the recording venue as London instead of Vienna.
84. In the operetta this aria is sung by the tenor, Martin, and Schumann transposes it up from E flat to F. Coupled with No. 76. it was scheduled for issue on E 554 but the record never went into production and the number remained unused. [In fact it was issued in Switzerland, later replaced by DA 6032.] The coupling was issued, however, on EW 83 in Germany and on ER 338 in Austria and Eastern Europe. A fragment is included on DB 2455, part of a two-record set DB 2454/5), issued in May 1935 as a Cavalcade of Famous Artists 1910-1935, to celebrate the Silver Jubilee of King George V. The label of the 45 rpm reissue (7ER 5108) names Alwin as the conductor instead of Collingwood. The recording date given on the sleeve of Perennial, PER 1001, is wrong.
85. The notes issued with COLH 154 give a non-existent recording date (21 January 1930) for this title.
86. Sung by Adam, the tenor lead, in the operetta and transposed down from C to B flat by Schumann. The name of the operetta is omitted from the label of the 78 rpm issue. Of the artist's four recordings of Zeller's 'Nightingale Song' only two seem now to be extant: the version under discussion, sung in English, and recorded in London under Collingwood, and the version sung in German and made in Vienna under Alwin (No. 76). The sleeve note for HQM 1187 gives correct recording details for the English sung version (but omits the name of the operetta) while transferring No. 76, the German sung version. No. 76 is also transferred on EX 2905413, but the information leaflet shows Collingwood as the conductor instead of Alwin, of a recording date of 9 September 1929 instead of 6 September. WERM gives the correct catalogue number, E 552, but follows it without comment with EW 83 which is the version sung in German. Volume 6 of Voices of the Past (Book 2, 'DA series'), page 159, gives E 552 after the title for the entry under 6037, but this Swiss issue contains the German sung version as the 1952 RC Discography suggests (reading DA 6037 for DA 6075, a non-existent number).
The coupling on B 32 is La donna è mobile (Rigoletto) sung by Gigli from DA 1372. This low-numbered B series are understood to be ten-inch records supplied to special order, usually issued with yellow labels, though some were black. A few, e.g. B 15 and B 16, were single-sided. A similar twelve-inch series existed. By whom and for whom B 32 was ordered is not known, nor has a copy of the record been traced.
89. Both sleeve and notes for COLH 154 give the recording date for Warnung incorrectly as 7 October 1930. The label of E 555 misprints das Liedlein for dies Liedlein.
90. Takes 1 and 1A were rejected because the vocal balance was faulty. The coupling is Aha! da streicht die Lene schon um's Haus, sung by Friedrich Schorr, which leads into the Quintet.
91. Not issued. Remade on 4 April 1932.
92. Not issued, piano too distant. The masters for Nos. 91 and 92 were destroyed on 27 January 1944 and both titles were remade.
100-110. Issued in January 1934 on twenty-six sides on DB 2060-2072 (auto: DB 7547-7559) in Album Series 192, and by Victor in March 1934 in Album Set M 196 on 7917-7929 (auto: AM 196, 7930-7942, DM 196, 17119-17131), on assigned matrix numbers CVS 81418-81443 (the added 'V' identifies a European recording). The speeds are mainly 78 rpm but see the remark for Nos. 65-68 above. The background to this legendary recording is outlined by Alan Jefferson in his Discography of Richard Strauss's Operas (Utica, New York, 1975). Richard Strauss was approached to conduct this recording but demanded an impossibly high fee, and as Bruno Walter was not available his protégé, Robert Heger, was engaged instead. The casting of the Marschallin, Sophie and Ochs gave no difficulty, but as the reigning Octavians Delia Reinhardt and Tiana Lemnitz, were non-HMV artists the part fell to Maria Olszewska. Recording began on Wednesday afternoon, 20 September 1933 (not Thursday as Alan Jefferson has it) and ended on Sunday 24th (not Monday). Two cutting machines were used, working simultaneously and the completed recording of 58 takes ran to 95 waxes. All were shipped to Hayes where HMV selectors decided which takes were to be used for publication.
Lotte Lehmann was fond of recounting the often repeated tale how she left the Mittlerer Saal after recording the Trio on Side 24, having completely forgotten that she had still to sing Ja, ja to Faninal's Sind halt aso, die jungen leut'l on Side 26 , and how Elisabeth Schumann sang the two words for her, imitating her voice. The recording sheets, however, tell a different story as Alan Jefferson points out. Side 26 was not recorded after the Trio but before it. It was the first recording scheduled for 21 September, when Schumann did indeed deputise for the absent Marschallin, not because she had left the hall but because she had not yet arrived - she was late.
113. Not issued. The matrix was destroyed on 7 September 1942.
116. The coupling on DA 4435 is Schlafe mein Prinzchen (No. 85) Under this number in Voices of the Past (Vol. 6,'DA' series), page 124, the matrix numbers are transposed: OWX 764 is the matrix number for Sphärenklänge, Bb 18666 for the Flies. In the same work, page 72, under DA 1395, the matrix prefixes have been misprinted DWX for OWX. The 1952 RC Discography lists a Victor issue on 1837, but Victor seems not to have made this title available in the USA, and 1837 couples Nos. 117 and 156. The recording speeds for this session are mainly 78 rpm but see the remarks under Nos. 65-68 above.
117. The Victor issue on 1837 is coupled with No. 156.
119. A manuscript copy of this well-known song exists in the Berlin Singakadamie attributed to Gottfried Heinrich Stölzel (1690-1740), a composer whose vocal works J. S. Bach almost certainly performed at Leipzig.
121. Entitled 'Pastorale' on the recording sheet and record label.
127. The sleeve of HQM 1187, and the booklet issued with RLS 1547003, give the recording date as 26 February, but take 5 made on 19 November went into production.
128-129. Neither issued on 78 rpm. First issued in 1981 on SH 398 by The World Record Club.
130. Not issued on 78 rpm. Both titles were first issued on COLH 130 in 1926 [no: 1962]. Références 2903593 gives 1933 for 1935 as the recording date on the sleeve.
131. Rejected because of a crackly surface. The second title was remade on 7 September 1936 (See No. 141). The first title, which was not remade, is probably lost as the master seems no longer to be at Hayes.
137. Never issued on 78 rpm in the UK though the entry in WERM suggests otherwise. Issued by Victor on 1932 in Album Set M 497, coupled with No. 138 in 1938. Reissued on microgroove by EMI on EX 2903593, Elisabeth Schumann sings Favourite Schubert Lieder, and by Pathé-Marconi on References 2903593 in 1986.
140. The artist omits the second verse.
141. Not issued on 78 rpm in the UK though, as with An die Musik (No.137) WERM suggests it was, as does the booklet issued with RLS 1547003, Schumann & Brahms Lieder on Record. First issued by Victor on 1838 in Album Set M 383 coupled with No. 140 in 1937.
160-161. Recorded live, with Palestrina's Stabat Mater, from the second of two gala performances, on consecutive evenings and with identical programmes, by Pathé-Marconi acting on instructions from Hayes, on twenty-five sides, matrix numbers 2LA 2001-2025. On 26 August the shells were flown from Paris to Hayes and between 10 September and 12 November transfers were made on to 2EA masters. The Mozart was transferred twice, from 2LA 2005-19 to 2EA 5649-5665 (take 1) on 10 September, and with an increase of one side (2EA 5666) on 10 and 12 November (take 2). The Bruckner was transferred from 2LA 2020-25 to 2EA 5677-81 and the Palestrina from 2LA 2001-4 to 2EA 5673-76. None of the recordings was issued and the 2EA masters were destroyed in September 1942.
An overseas collector, now deceased, during a post-war visit to the EMI Archive at Hayes, managed to obtain test pressings of the Mozart Requiem (the 2EA transfers), three of which were broken. A microgroove dubbing was issued by Unique 0pera Record Corporation (an Ed. Smith label) on UORC 251 with Nos. 6 and 7 of the score (the Recordare and Confutatis) omitted. The label, a characteristic flight of fancy, dates the performance as 'August 1937', with Bruno Walter conducting the 'BBC Chorus and the London Symphony Orchestra'. EMI issued the Requiem on microgroove in 1986 from the French masters (2LA 2005-19), which had escaped destruction and had been overlooked and forgotten since 1937 in the EMI Archive until discovered by a visiting researcher late in 1984. A partial reminder of the Bruckner Te Deum is preserved by the National Sound Archive in London on a short tape of the Te Deum laudemus and the Te ergo (See Part IV, 'Live Performances on Tape').
[It has been pointed out that the microgroove issue on EMI EG 290781 of the Requiem seems not to have taken account of the fact that the Vienna Philharmonic would have played at Vienna pitch (A=440 HZ). To obtain the correct performance pitch, therefore, the recording speed should be increased between 2.5 per cent and 4 per cent (i.e. the equivalent of 80 or 81 rpm.]
162-163. The matrix numbers though discrepant are correct (the recording of Brahms' Sonata in E flat for 'cello and piano by William Primrose and Gerald Moore in Berlin on 16 September 1937, takes up most of the intermediate numbers). The matrix number given for side two in the 1952 RC Discography is wrong, and so is the recording date (20 September 1937) given by both EX 2903593 and Références 2903593. [Some cuts are made.]
164. The coupling on DB 3641 is No. 184.
167. Not issued. Rejected on 1 December and destroyed on 31 August 1938. Remade on 11 June 1938.
171. Schubert attributed the text of his Wiegenlied to Matthias Claudius in error. The author has not been traced.
172. Although assigned to DB 3598 the recording was not issued until May 1953 under a new catalogue number, DB 21572.
173. Also assigned to DB 3598 but not issued until May 1953 on DB 21572, with a reissue on COLH 131 in 1962. The notes to COLH 131 which suggest that DB 3598 was issued are incorrect. The sleeve notes to Référence 2903593 which states that both titles were inédits overlooks the issue on DB 21572.
174. Not issued and re-recorded during the same session on a twelve inch side. The matrix was destroyed on 25 February 1939.
175. The words of the first verse, as sung by the artist are a conflation of verses one and two of Benatsky's text.
177. The artist recorded only takes I and 2; take 3 is a transfer made by the recording engineers on 4 July 1938. The reason for the transfer is not known.
179. Not issued on 78 rpm although assigned to DA 1662. Take 2, a transfer made on 16 August to correct blasting on take 1, was probably used for the 45 rpm issue on 7ER 5132 in March 1959.
180. Not issued.
183. The coupling on DB 3599 is No. 186. Neither title was issued on 78 rpm but both were included on RLS 1547003 published in December 1983.
185. The coupling on DA 1668 is No. 194.
189-190. Neither issued on 78 rpm. DA 1652 was assigned but not used. In stiller Nacht (No. 190) was published on RLS 1547003. in December 1983.
191. DB 3597 was never issued and the titles first appeared on DB 21605 in December 1953.
192. The coupling for the unissued DB 3597 above, first published on DB 21605 in December 1953. Schwesterlein was reissued on RLS 1547003 in December 1983.
193. Not issued on 78 rpm. First issued on COLH 102, the notes for which give the recording date incorrectly as 8 May 1938.
194. The reissue on 45 rpm 7ER 5132 has been transferred at the equivalent of 76 rpm. The key of the song is B flat.
195-196. DA 1666 was listed in the German HMV catalogue published by EMI Hayes, and not in the UK catalogue.
199-204. Auto couplings on DA 7035-7. Issued by Victor as Set M 664, auto couplings Set AM 664, 2072-2074, and Set DM 664, 2075-77. The 1952 RC Discography lists the matrix numbers with OA prefixes used by Hayes for ten-inch Victor recordings. The artist used Breitkopf und Härtel's edition of the cantata, which gives variant readings for parts of the text, e.g. zu Freien im Maien for the now more usual Sich üben im Lieben. The masters are filed in the EMI Archive.
205-207. The tape transfers for the microgroove reissues have been made at 78 rpm, so the speeds remain at the equivalent of 76 rpm.
208. Not issued on 78 rpm. First issued on COL 154 in July 1965.
213. Of the two HMV recordings of Die Forelle only this version was issued on 78 rpm. It was reissued on 7P 290 in December 1961.
215. Not issued on 78 rpm. First issued on EX 2903593 and on Référence 2903593 in 1986.
216. Not issued on 78 rpm. First issued on COLH 102 in March 1958. The recording speed cannot be determined for lack of a test pressing, but the microgroove reissue suggests it was 76 rpm.
217. Not issued.
218. Not issued on 78 rpm. Issued in Germany by Electrola on 45 rpm, E 40069, in 1959. Take 1 was probably used though take 2 was not destroyed until 11 May 1962.
219. Not issued
220. Both EX 2903593 and Référence 2903593 give a wrong recording date (17 June) for this title and for No. 222.
223-4-5., 227-8. Not passed by the artist. Assigned DBS 21220, DB 21221/2 but issued in January 1951 in automatic couplings only, and deleted in 1953.
226. Not passed by the artist and not issued on 78 rpm. The three transfers were made on 2 April 1953 to obtain an effective copy for the microgroove issue on COLH 102. Take 5A, which was used for the LP issue, is a composite of two takes, one of which is probably take 4.
229. Not issued on 78 rpm. First issued on COLH 131 (using take 1) in November 1962.
230. Not issued on 78 rpm. First issued on COLH 131.
231. Not issued. The Schweizerlied was earmarked for issue on COLH 131 but lack of space on the record prevented publication. It was also scheduled for the two 2903593 issues but the matrix could no longer be traced.
HMV Numerical Listing and Issue Dates
NOTES: N/i denotes an assigned catalogue number which was not issued or used for another title. The titles on DB 3597 were issued later on DB 21605, and those on DB 3598 on DB 21572. The Schumann song cycle was assigned DB 2122OS-1-2 but issued only in automatic couplings on DB 9567S-8-9. The date for DA 1666 is that of issue in Germany. EW 83, issued only in Germany and the Balkans, contains the 'Nightingale Song' from Der Vogelhändler sung in German. The dates for DA 1666 and EW 83 are taken from the monthly listings of new issues published by Electrola.
Part 3: Allegro Microgroove Recordings
25 cm and 30 cm.
Seven-inch extended-play, 45 rpm
233 a, b, f, g.
ROY EP 226 (USA)
Twelve-inch LP 33 rpm
232-233 (Complete) (Coupling: Purcell songs sung by John Brownlee) ROY 1404 (USA)
The Art of Elisabeth Schumann
232-233 (complete), 234 a, b, d, i, J, 1, n, o.
LEG 9024 (USA), ALL 746 (UK). The UK record was issued in 1964 entitled 'Elisabeth Schumann Recital'.
The Artistry of Elisabeth Schumann
232-233 (complete), 234 a, b, c, d, e, f, g, h.
Everest SBR 3268 (USA)
Notes to the Allegro Recordings
232-234 Recorded on tape in the artist's flat at 2 East 75th Street, New York, by Allegro Music Inc., permission to record having been obtained from the Gramophone Company with whom she was still under contract. The five songs by Mendelssohn and the eight by Franz were completed in three sessions on 6 and 27 February and 3 April 1950. The Wolf songs were recorded on 7, 8 and 18 December 1950 after a couple of rehearsals with George Reeves who replaced George Schick as pianist. There are no unissued recordings and the sheet of paper on which the artist noted down the titles of the sixteen Wolf songs is still extant. The Franz and Mendelssohn songs were issued in mid-1950, the Wolf songs in early 1951.
Mendelssohn composed five Frühlingslieder and mistakes are rife on both issues and reissues. Supplements I and III of WERM show the third Spring Song, Op.47, No.3 as sung on AL 51, ROY 1404 and LEG 9024. The labels and sleeves for ALL 746 and for Everest SBR 3268 list the second song, Op. 19A, No. 1. In fact the artist sings the first song, Op.8, No.6, Jetzt kommt der Frühling.
The use of a tape recorder by the Allegro Company resulted in speed divergencies and none of the sides runs at the correct speed. The Mendelssohn and Franz sides (Nos. 232/233) were recorded 2.5 per cent too fast giving a speed equivalent to 76 rpm, and the Wolf disc (No. 234) is 1.3 per cent too fast, a speed equivalent to 77 rpm.
Part 4: Live Performances on Record
The Golden Age of Opera (USA)
She never told her love (Haydn) (E) (1947)
L'amerò, sarò costante (II Re Pastore - Mozart) (I) (1942)
EJS 328: Two
Includes Das Veilchen (Mozart), Lachen und Weinen (Schubert), Mausfallen Sprüchlein (Wolf), Vergebliches Ständchen (Brahms) (1951); Morgen (R. Strauss), Die Forelle (Schubert), In dem Schatten meiner Locken (Wolf) (1952).
EJS 332: Der
Rosenkavalier (R. Strauss)
EJS 444: Wagner
Woodbird Scene (Siegfried - Wagner) (1937)
Soprano Potpourri No. 23
An den Sonnenschein (Schumann), Therese (Brahms), Ich atmet einen linden Duft (Mahler) (1945)
Unique Opera Record Corporation (USA)
The Curtis Institute Recordings (USA)
1513, 1514 (1939)
L'amerò, sarò costante (Mozart) (vln obb. Frederick Vogelsang); Der Hirt auf dem Felsen (Schubert) (clt. obb. William McCormick); An den Sonnenschein; Röselein, Röselein; Marienwürmchen; Er ist's (Schumann); Nachtigall; Der Gang zum Liebchen; Lerchengesang; Blinde Kuh' (Brahms)
1916, 1917 (1940)
Ridente la calma; Oiseaux, si tous les ans; Das Veilchen; Meine Wünsche (Mozart); An Sylvia; Der Schmetterling; Erlafsee; Fischerweise (Schubert); Auch kleine Dinge; Frage und Antwort; Frühling übers Jahr; Du denkst mit einem Fädchen (Wolf); Ich atmet' einen linden Duft; Wer hat dies Liedlein erdacht? (Mahler) Frieden; Gretel (Pfitzner)
Rain come down; Mariposa; One, two, three (Zimbalist)
© Elisabeth Schumann Website, 18 December 03