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 Extracts from an unpublished biography of the artist by Alfred Mathis appeared in Opera for August, September, November 1973 and January 1974 (Vol. 24, Nos. 8, 9 and 11, and Vol. 25, No.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).]


The Discography

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]

3. (3078-b+)

[LE NOZZE DI FIGARO: Ihr, die ihr Triebe des Herzens kennt (Voi che sapete) (Act 2) (Mozart) (G) 1-16232]

4. (3079-b+)

[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 

1919

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

1922

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 

1923

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.

HMV
HMV
Victor
Other

Discography Number

Matrix-take

S/face Cat. No.
D/face Cat. No.
D/face Cat. No.
Cat. Nos.
Speeds (rpm)
30 April 1926: Studio A, Hayes. Orchestra cond. George W. Byng

(-) LE NOZZE DI FIGARO: Voi che sapete (Act 2) (Mozart) (1)

Cc 8377-1

-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)

Cc 8379-1

-2

(-) IL RE PASTORE: L'amerò, sarò costante (Act 2) (Mozart) (1)

Cc 8380-1

-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

-2

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)

Cc 8380-3

-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

-2

(-) 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)

Cc 8404-2

-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]

-2A

-3

46. DIE ZAUBERFLÖTE: Ach, ich fühl's (Act 2) (Mozart) (I)

Cc 9872 -1

-2 (2-053286)

47. LE NOZZE DI FIGARO: Venite, inginocchiatevi (Act 2) Mozart) (I)

Bb 9873 -1 7-53110 DA 844 1431 EW 34, AA 142

-2

48. DIE ENTFÜHRUNG AUS DEM SERAIL: Durch Zärtlichkeit (Act 2) (Mozart) (1)

Cc 9874-1

-2

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)

Cc 9857-1

-2 2-043062 DB 1010 7210 AB 423, JD 386 75 rpm

51. Morgen (Mackay-R. Strauss, Op.27, No.4) (Violin, Isolde Menges)

Cc 9888-1

-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

-2

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

-2

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

-2

(-) DIE FLEDERMAUS: Spiel' ich die Unschuld vom Lande (Act 3) (Johann Strauss 11)

Bb 12012-1

-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

-2

62. Bird song imitations whistled by the artist

Bb 12015-1

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)

Bb 12012-3

-4

-5

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

CW 1909-1

-2 2-043108 D 1632 7209 EJ 432, ES 555

-3

66. Muttertändelei (Bürger-R. Strauss, Op.43, No.2)

BW 1910-1 7-43115 E 532 1661 ER 304

-2

67. Marienlied (Novalis-Marx)

BW 1911-1

-2 7-43116 E 532 1661 ER 304

68. JOSHUA: Oh! had I Jubal's lyre (Handel) (G)

CW 1912-1

-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)

BW 2482-1

-2

70. Schlafe mein Prinzchen (Gotter-Flies, attrib. Mozart, K.350)

BW 2483 -1

-2 

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

-1A

-2

-2A

-3 2-054315 C 1711 9956 EH 434, AN 357

-3A

72. Christie eleison (Part 2) (w. Margaret Balfour, contralto) (L)

Cc 16644 -1

-1A

-2 2-054316 C 1712 9957 EH 435, AN 358

-2A

73. Et in unum (w. Margaret Balfour, contralto) (L)

Cc 16645-1A

-2

-2A

-3

-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

-1A

-2

-2A

75. Domine Deus (Part 2) (w. Walter Widdop, ten.) (L)

Cc 16648-1 2-054314 C 1716 9961 EH 439, AN 362

-2A

-3

-3A

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

-2

-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)

-2

78. DIE FLEDERMAUS: Spiel' ich die Unschuld vom Lande (Act 3) (J. Strauss 11)

BV 614-1

-2

-3 30-1473 E 545 EW 82, ER 319, P853

79. Schlafe mein Prinzchen (Gotter-Flies, attrib. Mozart, K.350)

BV 615 -1

-2

-3

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)

BW 3104-1

-2

81. DER OBERSTEIGER: Sei nicht bös' (Act 2) (Zeller)

BW 3105-1

-2

-3

82. Schlafe mein Prinzchen (Gotter-Flies attrib. Mozart, K.350)

BW 3106-1

-2

-3 

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)

CW 3110-1

-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)

Bb 18665-1

-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)

Bb 18666-1

-2 30-2819 E 555 EW 80, ER 339, DA 4435, DA 6006, JE 555, JE 259

-3

86. DER VOGELHÄNDLER: Wie mein Ahn'l zwanzig Jahr (Act 3) (Zeller) (E) 'Nightingale Song'

Bb 18667-1

-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)

Cc 18857-1

-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

-2

-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)

Bb 18859-1

-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])

2B 543-1

-1A

-2

-2A

-3

-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

-2

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

-2

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

-2

-3

94. Was i'hab (Bavarian folksong arr. Bohm, Op. 326, No. 12)

OB 3061 -1

-2

-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)

2B 4472-1

-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

-2

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

-1A

-2

-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)

-2A

21 September 1933: DER ROSENKAVALIER (continued)

101. Sind halt aso (w. M. 0lszewska, alto, V. Madin, bar.) (Act 3)

2WX 584-1

-1A

-2

-2A 32-4123 DB 2072 7929 (Side 26)

Sind halt aso (w. L. Lehmann, sop., M. 0lszewska, alto, V. Madin, bar.)

-3

-3A

102. Heut' oder morgen (w. L. Lehmann, sop., M. 0lszewska, alto) (Act 3)

2WX 585 -1

-1A

-2

-2A

-3

-3A 32-4120 DB 2071 7928 (Side 23)

103. Marie Theres'! Hab' mir's gelobt (w. L. Lehmann, sop., M. 0lszewska, alto) (Act 3)

2WX 586-1

-1A

-2

-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)

2WX 597-1

-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

-2

-3

-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)

-1A

-2

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)

2WX 583-3

-3A

-4

-4A 32-4112 DB 2066 7923 (Side 13)

(-) Ist ein Traurn (w. M. Olszewska, alto) (Act 3)

2WX 584-4

-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

-1A

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)

OB 5472-1

-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)

OB 5474-1

-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)

OWX 764-1

-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)

2WX 766-1

-2 32-4807 DB 2291 8423 JD 49

-3

119. Bist du bei mir (Stölzel, attrib. J. S. Bach, BWV 508)

2WX 767 -1

-2 32-4808 DB 2291 8423 JD 49

-3  

HMV
Victor
Other

Discography Number

Matrix-take

.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

-2

-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)

OEA 1296-1

-2 (See 19 November 1935, Discog. No.127)

-3

26 August 1935: No. 3 Studio, Abbey Road. Piano: E. Lush

123. Schlafendes Jesuskind (Mörike-Wolf)

OEA 2195-1

-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)

OEA 2197-1

-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

-2

126. Nun wandre, Maria (Heyse-Wolf)

OEA 2199-1 DA 1438 1840

-2

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)

OEA 1296-4

-5 DA 1417 1756 JE 61

128. (a) Du denkst mit einem Fädchen (Heyse-Wolf)

(b) Mausfallen Sprüchlein (Mörike-Woff)

(c ) Elfenlied (Mörike-Wolf)

2EA 2555-1

129. (a) Ach, des Knaben Augen (Heyse-Wolf)

(b) Bedeckt mich mit Blumen (Geibel-Wolf)

2EA 2556-1

130. (a) FrühIingsglaube (Uhland-Schubert, D.686)

(b) Die Forelle (Schubart-Schubert, D.550)

2EA 2557-1

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)

2EA 2558-1

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)

OEA 2804-1

-2

-3 DA 1455

133. Vogellied (Mörike-von Weingartner, Op.41, No.4)

OEA 2805-1

-2 DA 1455

-3

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

-2

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

-2

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)

OEA 3931-1

-1A DA 1541

-2

143. Wien du Stadt meiner Träume (Sieczynski)

OEA 3932-1

-1A DA 1541

-2

-2A

144. THE KISS (HUBICKA): Schlafe mein Kindlein - 'Wiegenlied' (Act 1) (Smetana) (G)

OEA 3933-1

-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)

OEA 3934-1

-1A DA 1544 1839 JE 148, NF 4040

-2A

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

-2

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

-2

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

-2

153. (a) Nacht und Träume (von Collin-Schubert, D.837)

(b) Seligkeit (Hölty-Schubert, D.433)

2EA 4850-1 DB 3184 15167

-2

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)

OEA 4681-1A

-2A DA 1562 1837

157. Wiegenlied (Trad. ed. C. Scherer-Brahms, Op.49, No.4)

OEA 4682-1A

-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

-2

22 November 1937: Studio No. 1, Abbey Road. Orchestra cond. Lawrance Collingwood

164. Still wie die Nacht (C. Bohm, Op.326, No.27)

2EA 5899-1

-2

-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)

2EA 5902-1

-2

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

-2

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

-2

173. (a) Nachtviolen (Mayerhofer-Schubert, D.752)

(b) An die Geliebte (Stoll-Schubert, D.303)

2EA 6653-1 (DB 3598) DB 21572

-2

8 June 1938: Studio No. 1A, Abbey Road. Orchestra cond. Walter Goehr

174. Dors, mon enfant (Wiegenlied) (Anon-Wagner) (G)

OEA 6353 -1

-2

175. Ich muss wieder einmal in Grinzing sein (Benatzky)

OEA 6354 -1 DA 1651

-2

(-) CONTES D'HOFFMANN: Night of Stars - 'Barcarolle' (Act 3) (Offenbach arr. Walter) (E)

2EA 6355-1

-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)

2EA 6361-1

-2

-3 DB 3654

178. DER OPERNBALL: Im chambre séparée (Act 2) (Heuberger)

OEA 6362 -1 DA 1651

-2

179. Orpheus with his lute (Shakespeare-Sullivan) (E)

OEA 6363-1

-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

-2

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

-2

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

-2

193. Heimkehr (Schack-R. Strauss, Op. 15, No. 5)

OEA 6689-1

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

-2

196. Stille Nacht, heilige Nacht (Mohr-Gruber)

OEA 6817-1 DA 1666

-2

197. Silent night, holy night (Mohr-Gruber) (E)

OEA 6818-1 DA 1667 2013 IR 283

198. The Coventry Carol (trad.) (E)

OEA 6819-1

-2 DA 1667 2013

-3

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

-1A

200. Weichet nur (Part 2); Die Welt wird wieder neu (Recit.)

BS 042928-1 DA 1757 2069

-1A

201. Das Glück, es ist gefunden (Recit.); Zu freien im Maien (aria) (Part 1)

BS 042931-1 DA 1759 2071

-1A

202. Zu freien (Part 2); So sei das Band (Recit.); Sehen in Zufriedenheit - 'Gavotta'

BS 042932-1 DA 1759 2071

-1A

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

-2

-2A

204. Drum sucht auch Amor (Recit.); Wenn die Frühlingslüfte streichen (aria)

BS 042930-1 DA 1758 2070

-2

-2A

29 August 1945: Abbey Road Studios. Piano: Gerald Moore

205. In der Frühe (Morike-Wolf)

OEA 10576-1 DA 1862 76 rpm

-2

206. (a) In dem Schatten meiner Locken (Heyse-Wolf)

(b) Mausfallen Sprüchlein (Mörike-Wolf)

OEA 10577-1 DA 1862 76 rpm

-2

207. She never told her love (Shakespeare-Haydn, Hoboken XXVIa: 34) (E)

OEA 10578-1 DA 1850 EC 150 76 rpm

-2

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

-2

210. The sailor's song (Mrs. Hunter-Haydn, Hoboken XXVIa: 31) (E)

OEA 10581-1 DA 1850 EC 150 77 rpm

-2

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

-2

213. Die Forelle (Schubart-Schubert, D.550)

OEA 10777-1 DA 1852 EC 152 77 rpm

-2

214. Auch kleine Dinge (Heyse-Wolf)

OEA 10778-1 DA 1860 77 rpm

-2

27 November 1945: Abbey Road Studios. Piano: Gerald Moore

(-) Wie glänzt der helle Mond (Keller-Wolf) See Notes

OEA 10779-1

-2 (See 20 October 1947)

215. Die junge Nonne (Craigher-Schubert, D.828)

2EA 10780-1

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)

2EA 11072-1

-2

218. Es träumte mir (Daumer-Brahms, Op.57, No.3)

OEA 11073-1

-2

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)

OEA 11074-1

-2

220. Das Mädchen (von Schlegel-Schubert, D.652)

OEA 11075-1 DA 1864

-2

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

2EA 11276-1

-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

2EA 11274-2

-3 (See 2 October 1948)

(-) (a) Du Ring an meinem Finger

(b) Helft mir, ihr Schwestern

2EA 11276-3

-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)

OEA 10779-4

-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

-5

(-) (a) Du Ring an meinem Finger

(b) Helft mir, ihr Schwestern

2EA 11276-5

-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

-8

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)

OEA 14255-1

-2

230. So lasst mich scheinen (Lied der Mignon III) (Goethe-Schubert, D.877)

OEA 14256-1

231. (a) Schweizerlied (Goethe-Schubert, D.559)

(b) CLAUDINE VON VILLA BELLA: Hin und wieder (Goethe-Schubert, D.239, No.3)

OEA 14257-1

 

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 

Ten-inch Records

DA 844 May 1927
DA 845 Feb 1928
DA 1274 Sep 1932
DA 1355 Mar 1934
DA 1357 Jun 1934
DA 1395 Nov 1937
DA 1416 Aug 1935
DA 1417 Jun 1936
DA 1438 Dec 1939
DA 1439 Nov 1935
DA 1455 Apr 1936
DA 1457 Mar 1936
DA 1521 Nov 1936
DA 1525 N/i
DA 1526 Dec 1936
DA 1541 Jan 1937
DA 1544 Jul 1937
DA 1545 Mar 1937
DA 1546 Apr 1937
DA 1547 Feb 1937
DA 1557 May 1937
DA 1562 Jun 1937
DA 1619 Mar 1938
DA 1620 Aug 1938
DA 1651 Sep 1938
DA 1652 N/i
DA 1662 N/i
DA 1663 Jun 1939
DA 1666 Dec 1938
DA 1667 Dec 1939
DA 1668 Feb 1939
DA 1757-9 Apr 1941
DA 1850 Oct 1945
DA 1852 Feb 1946
DA 1854 Apr 1946
DA 1860 Sep 1946
DA 1862 Oct 1947
DA 1864 Nov 1946
 
E 532 Oct 1931
E 545 May 1930
E 552 May 1930
E 554 [see note on 84.]
E 555 Aug 1930
 
EW 83 Dec 1930

Twelve-inch Records 

C 1711-2 Nov 1929
C 1715-6 Nov 1929
C 1720 Nov 1929
D 1410 Apr 1928
D 1411 May 1928
D 1632 Dec 1929
D 1824 Oct 1931
D 1951 Oct 1931
D 2002 Jan 1932
DB 946 Sep 1926
DB 1010 Jul 1927
DB 1011 Apr 1927
DB 1065 Nov 1927
DB 1844 Jul 1933
DB 1845 May 1933
DB 2065-66 Jan 1934
DB 2069-72 Jan 1934
DB 2291 Feb 1935
DB 3184 Sep 1937
DB 3185 Oct 1937
DB 3317 Dec 1937
DB 3426 May 1938
DB 3641 Dec 1938
DB 3654 Apr 1939
DB 3597 W/i
DB 3598 N/i
DB 3599 N/i
DB 3600 Nov 1938
DB 9567S-8-9 Jan 1951
 
DB 2122OS-1-2 N/i
DB 21572 May 1953
DB 21605 Dec 1953

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.

 
232. Songs by Mendelssohn (piano: George Schick)
 
a) Bei der Wiege (Klingemann), Op.47, No.6
b) Das erste Veilchen (Ebert), Op.19a, No.2
c) Frühlingslied (Robert), Op.8, No.6
d) Die Liebende schreibt (Goethe), Op.86, No.3
e) Der Mond (Geibel), Op.86, No.5
 
AL 51 (USA), ALY 51 (UK), Festival CFR 10-222 (Australia)
 
233. Songs by Franz (piano: George Schick)
 
a) Aus meinen grossen Schmerzen (Heine), Op.5, No.1
b) Bitte (Lenau), Op.9, No.3
c) Gute Nacht (Eichendorff), Op.5, No.7
d) Liebchen ist da (Schröer), Op.5, No.2
e) Mutter, o sing' mich zur Ruh' (Hemans), Op.10, No.3
f) Stille Sicherheit (Lenau), Op. 10, No.2
g) Vöglein, wohin so schnell? (Geibel), Op. 1, No. 11
h) Widmung (Müller), Op.14, No.1
 
AL 51 (USA), ALY 51 (UK), Festival CFR 10-222 (Australia)
 
234. Songs by Wolf (piano: George Reeves)
 
a) Als ich auf dem Euphrat schiffte (Goethe)
b) Anakreons Grab (Goethe)
c) Bedeckt mich mit Blumen (Span. Liederbuch)
d) Blumengruss (Goethe)
e) Du denkst mit einem Fädchen (Ital. Liederbuch)
f) Gesegnet sei das Grün (Ital. Liederbuch)
g) Ihr jungen Leute (Ital. Liederbuch)
h)In der Frühe (Mörike)
i) Nimmersatte Liebe (Mörike)
j) Nun wandre Maria (Span. Liederbuch)
k) 0 wär' dein Haus durchsichtig (Ital. Liederbuch)
1) Phänomen (Goethe)
m) Sie blasen zum Abmarsch (Span. Liederbuch)
n) Ein Ständchen Euch zu bringen (Ital. Liederbuch)
o) Verborgenheit (Mörike)
p) Wie glänzt der helle Mond (Keller)
 
AL 98 (USA)

Reissues

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)

EJS 172: Potpourri No.7
She never told her love (Haydn) (E) (1947)

EJS 213: Potpourri No.12
L'amerò, sarò costante (II Re Pastore - Mozart) (I) (1942)

EJS 328: Two Lecture Recitals
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)
Excerpts (1936/37)

EJS 444: Wagner Recital
Woodbird Scene (Siegfried - Wagner) (1937)

EJS 532: Soprano Potpourri No. 23
An den Sonnenschein (Schumann), Therese (Brahms), Ich atmet einen linden Duft (Mahler) (1945)

Unique Opera Record Corporation (USA)

 
UORC 251: Requiem Mass, K.626 (Mozart)
An incomplete performance (L) (1937)
 
Discocorp (USA)
 
IGI 274: Two Lecture Recitals
Contents as EJS 328 above with the addition of, L'amerò, sarò costante (II Re Pastore - Mozart) (I), and Alleluia (Exsultate, jubilate, K.165 Mozart) (L) (1936)
 
Perennial Records (USA)
 
PER 1001: Elisabeth Schumann, Soprano
Includes Ihr habt nun Trauerigkeit (Ein deutsches Requiem - Brahms) w. Chorus (E) (1944); Buss und Reu
[no: Blute nur] (St. Matthew Passion - J. S. Bach) (E) (1945)
 
Legendary Recordings (USA)
 
LR 136: An Operatic Christmas
The Coventry Carol (trad.) (E) (1951)
 
Rubini Records (UK)
 
SJG 009 (BEV 1158/9): Elisabeth Schumann Recital
0 Wien, mein liebes Wien (Der Fremdenführer - Ziehrer) (1947). Ruhe, Süssliebchen im Schatten; Der Jäger; Therese; Das Mädchen spricht; Vergebliches Ständchen (Brahms) (1949). Freundliche Vision (R. Strauss); Das Veilchen (Mozart); Glockenton; Der Vogel (Kienzl); Frieden; Gretel (Pfitzner) (1936/37). Der Gang zum Liebchen (Brahms); An den Sonnenschein (Schumann); Ich atmet einen linden Duft (Mahler); Nachtigall (Brahms) (1945) Mausfallen Sprüchlein (1951)
 
Nippon Columbia (Japan)
 
0W-7225-6-BS: Lieder Recital (Bruno Walter Society) (1950)
Das Veilchen (Mozart); Wonne der Wehmut (Beethoven); Lied der Mignon IV (Schubert); Gefunden (R. Strauss); Singet nicht in Trauertönen Schumann); Die Liebende schreibt (Mendelssohn); Mit einem gemalten Bande (Beethoven); Geheimes; Lied der Mignon III, Wanderers Nachtlied; Hin und wieder fliegen Pfeile; Liebe schwärmt auf allen Wegen; Liebhaber in allen Gestalten; Schweizerlied (Schubert); Phänomen; Anakreons Grab; Als ich auf dem Euphrat schiffte; Blumengruss; In dem Schatten meiner Locken (Wolf)
 
Voce Records
 
VOCE 117: Das Veilchen (Mozart), Die Liebende schreibt (Mendelssohn), Wonne der Wehmut, Mit einem gemalten Bande (Beethoven), Geheimes, Lied der Mignon, op. 63,3 (So lasst mich scheinen), Nachtlied (Der du von dem Himmel bist), Hin und wieder fliegen Pfeile, Lied der Mignon, op. 63, 4 (Nur wer die Sehsucht kennt), Liebe schwärmt auf allen Wegen, Schweizerlied, Liebhaber in allen Gestalten (Schubert), Phänomen, Anacreons Grab, Als ich auf dem Euphrat schiffte, Blumengruss (Wolf), Gefunden (Strauss) Singet nicht in Trauertönen (Schumann), In dem Schatten meiner Locken (Wolf) (4 February 1950), An den Sonnenschein (Schumann), An die Nachtigall (Brahms) (14 October 1944), Ruhe Süßliebchen, Der Jäger, Therese, Das Mädchen spricht (Brahms) (2 September 1949), Ich atmet' einen linden Duft (Mahler) (14 October 1945), Der Vogel (Kienzl), Gretel (Pfitzner) (6 September 1936)
 
Private Recording (South Africa)
 
T.90-T.95: Lieder Recital (1951)
Ruhe, Süssliebchen im Schatten (Brahms); Mausfallen Sprüchlein (Wolf); Wie bist du meine Königin (Brahms); In dem Schatten meiner Locken (Wolf); Bei der Wiege (Mendelssohn); Der Jüngling an der Quelle (Schubert); Wie glänzt der helle Mond (Wolf); Meine Wünsche (Mozart); Wiegenlied (Schubert); Nacht und Träume (Schubert); Auf FIügeln des Gesanges (Mendelssohn); Der Mond (Mendelssohn)

The Curtis Institute Recordings (USA)

Acetates Nos. 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)

Acetates Nos. 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)

Acetate No. 1397 (1941)
Rain come down; Mariposa; One, two, three (Zimbalist)

 
Notes to the Live Performances On Record
 
EJS 172: Probably taken from the BBC Third Programme broadcast of 31 August 1947. The accompanist is Frederick Stone. [no: Recorded from the 'Friday Concert' broadcast on the BBC Light Programme on 23 May 1947, with the BBC Theatre Orchestra and Chorus conducted by Walter Goehr.]
 
EJS 213: The label give the recording date as 1944, but the extract is taken from the radio show 'America Preferred', with orchestra conducted by Alfred Wallenstein, broadcast on 28 February 1942.
 
EJS 328: The first lecture was pre-recorded on 13 October 1950 and broadcast on 22 February 1951 on the BBC Third Programme. The second lecture was pre-recorded on 16 November 1951 and broadcast on the same programme on 31 January 1952. Ernest Lush accompanied both recitals. The tapes are retained in the BBC Archives.
 
EJS 332: According to the label these excerpts were taken from a performance given at the Vienna State Opera in 1936, conducted by Richard Strauss and with Lotte Lehmann as the Marschallin. In fact, they are a composite of two performances, both conducted by Knappertsbush, the first on 22 April 1936 with Lotte Lehmann, Jarmila Novotna [no: Eva Hadrabova] and Schumann, the second on 13 June 1937 with Hilde Konetzni, Margit Bokor and Schumann. As none of Lehmann's music is included from the earlier performance her voice is not heard on the record. [no: Lotte Lehmann is heard only in the trio.] Konetzni sings the role of the Marschallin, Novotna [no: Hadrabova] and Bokor share the Octavian and Schumann is the Sophie throughout. The excerpts include a fragment of Act 1, the 'Presentation of the Silver Rose' scene (with cuts) from Act 2, and the trio and final duet from Act 3. The excerpts derive from recordings made by a staff member of the Vienna State Opera called May, who recorded numerous extracts, mostly fragmentary, in the opera house during the 1930s. These are now stored on tape in the archives of the Vienna State Opera. Further details about this recording are given by Peter Morse in his discography of Richard Strauss (Utica, New York, 1977, p.57).
 
EJS 444: The label states that the extracts were taken from a performance of Siegfried given at the Vienna State Opera on 16 June 1937, and no doubt May was again responsible for the recording, though this has not been confirmed. The Woodbird's song, which terminates Scene 2, Act 2 is omitted. The second and third songs are complete. The Siegfried is Max Lorenz.
 
EJS 532: From the BBC broadcast of 14 October 1945. The accompanist is John Wills.
 
UORC 251: For the source of this recording see the Notes to the HMV section in Part 2 under Discography No. 160.
 
IGI 274: The two arias precede the lecture on side one and are mentioned on the label but not on the sleeve. Both were recorded from the Promenade Concert given in the Queen's Hall, London, on 8 September 1936 and broadcast by the BBC on the National Programme. The BBC Symphony Orchestra was conducted by Henry J. Wood. For the lectures see the note to EJS 328 above.
 
PER 1001: The source of these arias has not been located, nor can the broadcasts be dated, but it is likely that both were 'Invitation to Music' programmes with Bernard Herrmann conducting the CBS Symphony Orchestra. [no: The aria 'Blute nur' from the St. Matthew Passion was recorded from the 'Invitation to Music' programme broadcast on 28 March 1945, with the CBS Radio Symphony conducted by Bernard Herrmann. The Brahms aria is still untraced.]
 
LR 136: Presumably from an untraced American broadcast.
 
SJG 009: The entire contents are taken from BBC transmissions. The operetta aria was sung in 'The Friday Concert' of 23 May 1947, broadcast on the Light Programme. Walter Goehr conducted the BBC Theatre Orchestra and Chorus. The five Brahms songs were recorded from the Third Programme recital of 2 September 1949. The accompanist is Ernest Lush. The Strauss, Kienzl and Pfitzner songs are part of the recital broadcast on 6 September 1936 on the Regional Programme. The accompanist was probably Berkeley Mason. The Mozart 'Das Veilchen' (not included in that recital) was probably taken from the Regional Programme broadcast of 19 September 1937. The unnamed accompanist could, again, have been Berkeley Mason. The final group of Lieder was sung during a Home Service recital given on 14 October 1945. The accompanist is John Wills. The 'Mausfallen Sprüchlein' is taken from the BBC Television programme, 'Speaking Personally', transmitted at 8.15 p.m. on 18 November 1951. The song is sung twice and the accompanist is Clifton Helliwell.
 
OW-7225-6-BS: From a tape supplied by the Bruno Walter Society of a recital given in Washington D.C. on 2 April 1950 [however the documentation in Japanese refers to a recital in New York on 2 April 1950. The date is almost certainly a mistake (due to the difference in British and American date orders) and should be 4 February 1950]. The accompanist is Bruno Walter. One of a two-record set, the other record containing solo piano works played by Walter and four songs sung by Lotte Lehmann.
 
VOCE-117: Recital given on 4 February 1950. The accompanist is Bruno Walter. Other live recordings are accompanied by John Willis (14 October 1944, 14 October 1945), Ernest Lush (2 September 1949), and Berkeley Mason (6 September 1936).
 
T.90-T.95: From an undated broadcast of a recital given during a concert tour of South Africa in February/March 1951. The accompanist is Hubert Greenslade.
 
The Curtis Institute Recordings: The artist was a member of the faculty of The Curtis Institute of Music in Philadelphia from 1937 to 1947, during which time she gave six Lieder recitals there. Those given on 27 April 1939 and on 15 February 1940 were recorded on 16-inch acetate discs, Nos. 1513-4 and 1916-7 respectively, now stored in the archives of The Library of Congress. Acetate No. 1397 is a single 12-inch disc of settings of three poems by Edna St. Vincent Millay by the violinist, Efrem Zimbalist, who was also a faculty member during this period. The recording was not made by the Curtis Institute but the contents suggest it was taken from the recital given on 17 April 1941. All the recitals took place in the Casimir Hall at the institute and the accompanist was Leo Rosenek.
 
Live Performances on Tape
 
Almost all performances now stored on tape date from the 1940s and 1950s. Earlier recordings include a tape of the Te Deum laudemus and Te ergo from Bruckner's Te Deum (See Discog. No. 161 and Note) held by the National Sound Archive, London, taken from a 78 rpm dubbing owned by Gerhard Puritz. This was made from an HMV test pressing given by the artist to H. Goddard Owen, Dean of Rutgers University (See Record Collector, May 1953, p. 119). The National Sound Archive also has a tape, recorded direct from acetates owned by Richard Bebb, of six songs, Freundliche Vision (R. Strauss), Glockenton, Der Vogel (Kienzl), Frieden, Gretel (Pfitzner) and Das Veilchen (Mozart). See Note to Rubini SJG 009 in 'Live Performances on Record' for further details.
 
The Rodgers & Hammerstein Archive of Recorded Sound, New York Public Library, hold a tape of L'amerò, sarò costante (Il Re Pastore - Mozart), Die heiligen drei Könige, Morgen and Ständchen (R. Strauss) taken from a concert broadcast on 24 April 1939, with the National Orchestral Association conducted by Leon Barzin.
 
The BBC London retain a tape of a recital broadcast in the Third Programme on 2 September 1949 of six songs by Brahms: Ruhe Süssliebchen im Schatten, Der Jäger, Wie bist du, meine Königin, Therese, Das Mädchen spricht and Vergebliches Ständchen. The accompanist is Ernest Lush.
 
The following tapes are held by Library of Congress, Washington, D.C., USA:
 
A recital given in the New York Town Hall, accompanied by Bruno Walter, on 4 February 1950, taken from acetate recordings made by Voice of America, in which were sung Mit einem gemalten Bande (Beethoven), Singet nicht in Trauertönen (Schumann), Gefunden (R. Strauss), Als ich auf dem Euphrat schiffte, Blumengruss, In dem Schatten meiner Locken (Wolf), Geheimes, Lied der Mignon III (D.876), Wanderers Nachtlied, Hin und wieder, Lied der Mignon IV (D.877), Schweizerlied, Liebesbotschaft [?], Liebhaber in allem [no: allen] Gestalten (Schubert). The first half of the recital (i.e. excluding the Schubert songs) was broadcast by the BBC on 31 December 1981, and a tape of this is held by the National Sound Archive, London. The complete recital has been issued on a 12-inch LP in Japan by Nippon Columbia. [This is OW-7225-6-BS listed above.]
 
An 'Invitation to Music' broadcast of 19 December 1945 includes unspecified arias from the Messiah (Handel), selections from L'Enfance du Christ (Berlioz), Auf ein altes Bild (Wolf), and the Weihnachtslieder (Christmas Songs) of Cornelius. The CBS Symphony Orchestra is conducted by Bernard Herrmann.
 
A complete performance of Ein deutsches Requiem (Brahms) with R. Nicholson (baritone), the CBS Symphony Orchestra and Chorus conducted by Robert [no: Bernard] Herrmann. Undated. Taken from acetates made by Voice of America.
Among tapes presently circulating in America are a complete performance of the Wedding Cantata by Bach, No.202, broadcast on 13 October 1943, the aria 'Ich folge dir' (in English) from Bach's St. John Passion, broadcast on 28 March, 1945, and two songs by Wolf, 'Nun wandre Maria', and 'Ach, des Knaben Augen', and Richard Strauss's 'Die heiligen drei Könige', broadcast on 20 December 1944.
 
Recordings Not Located
 
Of the various reports in the musical press over the years of recordings made by Elisabeth Schumann accompanied by Richard Strauss only one is authenticated, that referred to by the artist herself in a diary entry written on board the steamship Olympic during the evening of Saturday, 31 December 1921: 'At long last we have made records together .....two hours before my departure!' She adds that her boat sailed at noon, that she caught it with only fifteen minutes to spare, and that Strauss - who returned on the America with Franz Schick on 4 January, 1922 - was highly delighted with their achievement.
 
She does not say what they recorded and the recordings were never issued. Peter Morse in his Richard Strauss discography (Utica, N.Y. 1977) nominated Vocalion as the company most likely to have made the recordings on the grounds that Victor made no recordings on that day, no references are made in the matrix files of Columbia stored in the Library of Congress, and Brunswick were then recording only in Chicago. Vocalion were bought by Brunswick in 1923, who, in turn, were bought by Decca in the 1930s, the latter becoming a composite company called MCA in the 1970s. From this Morse concluded that recording sheets and/or matrices, if any still exist, would be 'buried deep in the files of the MCA'. Whether any attempt to dig them out has ever been made is not known. A request asking the Richard Strauss Archive at Garmisch to search their files for documentary evidence, in the form of correspondence or contracts, concerning these recordings drew a negative reply.
 
Evidence for one other lost recording is to be found in Schallaufnahmen (Sound Recordings), a two-volume catalogue of wax recordings made between 1932 and 1939 issued by the Reichs-Rundfunk-Gesellschaft, Berlin, for broadcasting over the German radio network. This is a studio performance of Mozart's Cosi fan tutte, sung in German and relayed from Munich on 17 August 1932, in which Schumann sang the Despina. Richard Strauss conducted the Bavarian State Theatre Orchestra and the cast included Julius Patzak (Ferrando), Heinrich Rehkemper (Guglielmo), Berthold Sterneck (Alfonso), Elisabeth Feuge-Friedrich (Fiordiligi) and Luise Willer Dorabella). Seven excerpts were recorded, the overture and Nos. 2, 11, 12, 13 and 14 of the score from Act 1, and No. 21 from Act 2. Schumann sang in No. 12 (In uomini, in soldati), in the recitative Che silenzio with Sterneck, and in No. 13, the sextet (AlIa bella Despinetta) with all the above-mentioned singers. The performance is listed in Schallaufnahmen under No. 3303 Mchn 233/Z42. Full details were published in the Record Collector for August 1975, pp. 284-5, the Rehkemper Discography (where the date of performance is given incorrectly as 17 July 1932). Although Telefunken made shellac pressings of many of the waxes, most, if not all, are said to have been destroyed at the end of World War II.
 

 
Part 5: Reissues on Microgroove
 
EMI reissues (30 cm)
 
Great Recordings of the Century
 
COLH 102 Hugo Wolf & Richard Strauss Lieder
(GR 2024) 205, 206a, 206b, 214, 221, 123, 126, 226, 216: 51, 50, 55, 54, 83a, 83b, 61a, 193 (3/1958)
 
COLH 110-111 Der Rosenkavalier (abridged)
100-110 (2/1961). Further reissues on SH 181-2 (11/1973), RLS 7704 (12/1982), SLS 7704 (1983), all remastered.
 
COLH 130 Schubert Songs, Vol. 1.
(GR 2151) 59a, 59b, 60a, 60b, 99,98a, 98b, 115a, 115b, 130a, 130b, 118:136, 139a, 139b, 138, 146, 147, 150, 151, 149, 148 (10/1962)
 
COLH 131 Schubert Songs, Vol. 2.
(GR 2152) 153a,153b,151a,152b,155,154,173a,173b,171a,171b,170: 181, 182a, 182b, 182c, 211, 212, 220, 222, 229, 230 (11/1962)
 
COLH 137 Friedrich Schorr: excerpts from Die Meistersinger 90 (10/1963)
 
COLH 154 Aria and Song Recital
(GR 2137) 44, 45, 42, 47, 52, 41, 43, 40: 208, 209, 89a, 85, 66, 65, 95a, 95b, 61b (7/1965)
 
Miscellaneous reissues
 
HQM 1072 Gerald Moore: Supreme Accompanist
210 (2/1967)
 
HQM 1187 Elisabeth Schumann (Golden Voice Series, No. 15)
HLM 7036 56,119, 57, 68, 40, 44, 117, 144:184,162-163, 178, 166 ,76, 84,
(GR 2203) 89b,127a (5/1969)
 
H102 Songs by Wolf & Strauss (1970)
(Contents as for COLH 102)
 
HQM 1240 Elisabeth Schumann sings Schubert
59b, 60a, 60b, 99, 115a, 130b, 136, 139a, 138, 151, 149, 148,153a, 154, 152a, 152b, 171a, 171b, 173a, 182a, 181, 211, 222, 118 (4/1971)
 
SH 157 Elisabeth Schumann sings German songs by Schumann
223-4-5 & 227-8: 96, 87a, 87b, 168a, 168b, 88a, 88b, 114a, 114b (10/1971)
 
HLM 7026 The Grand Tradition
98a (8/1973)
 
SH 398 Elisabeth Schumann sings R. Strauss & Hugo Wolf
Contents as for COLH 102, plus 95a, 95b, 66, 65, 128a,
128b, 128c, 129a, 129b (1981)
 
RLS 743 A Record of Singing (Vol. 2)
12 (10/1982)
 
RLS 766 Schubert Lieder on Record (Vol. 2)
173a, 173b, 182a, 139a, 115a, 171b (9/1982)
 
RLS 7711 Wagner on Record
90 (4/1983)
 
RLS 1547003 Schumann & Brahms Lieder on Record, 1901-1952
Side 4: 96, 88a, 168a, 168b, 114a, 114b; Side 13, 127a, 127b, 141, 183, 186a, 186b, 192a, 190, 122b (12/1983)
 
EX 290313 [no: EX 2901313] Stars of the Vienna Opera
47, 57 (8/1984)
 
EX 2901693 A Record of Singing (Vol. 3)
67 (9/1985)
 
EX 2905413 The Art of Elisabeth Schumann
119, 58, 71-72, 73, 74-75, 56, 68, 44, 45, 42, 47, 52, 41, 43, 40, 85: 89a, 208, 209, 207, 210,111,112, 125a, 125b, 124, 176, 84, 178, 116, 78, 159, 158, 76, 175, 184 (11/1985)
 
EX 2903593 Elisabeth Schumann sings favourite Schubert Lieder
Contents as for COLH 130-131, plus 137, 162-3, 215 (1986)
 
EG 290781 Mass in D minor (Requiem), K.626 (Mozart)
160 (5/1986) 
 
Seven-inch 45 rpm extended play reissues
 
7ER 5095 Elisabeth Schumann: Mozart Arias
45, 47, 52, 41 (9/1958)
 
7ER 5108 Elisabeth Schumann in Viennese Opera
78, 57, 76, 84 (11/1958)
 
7ER 5132 Elisabeth Schumann sings English Ballads
120, 121, 194, 135, 179 (3/1959)
 
Seven-inch 45 rpm single-play reissues ('Your Kind of Music')
 
7P 290 151, 213 (12/1961) (also on 7QH 198, Holland)
7P 292 118, 55 (9/1962)
 
Victor (USA)
 
Twelve-inch (30 cm) reissues
 
LCT 1003 Golden Age Ensembles
90 (1952) (Also on 45 rpm EP, WCT 4)
 
LCT 6005 Der Rosenkavalier (Abridged)
100-110 (1953) (Also on 45 rpm EP, WCT 6005)
 
LCT 1115 Critic's Choice (Irving Kolodin)
47(1953)
 
LCT 1126 An Elisabeth Schumann Programme
223-4-5 & 227-8: 118, 99, 213, 98a, 98b, 136, 212 (1953)
 
LCT 1158 Critic's Choice (Paul Hume)
58(1955)
 
Pathe-Marconi reissues (France) (30 cm)
 
Voix Illustres
 
FALP 50014-5 Der Rosenkavalier (Extraits)
100-110 (1953) (And on Référence, 1432 943 (1984)
 
FALP 50031 Schubert Lieder (Contents as for COLH I31)
 
FALP 50061 Schubert Lieder (Contents as for COLH 130)
 
Other reissues
 
2902123 Les Introuvables du Chant Wagnérien
90 (1983)
 
290 3593 Schubert: Der Hirt auf dem Felsen et 45 Lieder
Contents as for EX 290 3593 (1985)
 
290 5983 Les Introuvables du Chant Mozartien
[45], 47, 52 (1986)
 
Electrola reissues (Germany) (30 cm)
 
Seven-inch 45 rpm extended play reissues
 
E 40069 Elisabeth Schumann I (Unvergänglich Unvergessen, 7 EGW 8374 Folge 37)
122, 122b, 127a, 127b, 218 (1959)
 
E 40974 Elisabeth Schumann Il (Unvergänglich Unvergessen, 7 EGW 8476 Folge 83)
151, 152a, 152b, 115a, 115b (1960) 
 
Twelve-inch (30 cm) reissues
 
E 80630-1 Der Rosenkavalier (Querschnitt) (Unvergänglich WCLP 697-8 Unvergessen, Folge 120)
100-110
 
IC 187-29 225 Salzburger Festspiele, 1920-1970
52 (1973)
 
IC 147-30 Johann Strauss ewig junger Walzerkönig 226/7
57 (1975)
 
Angel Reissues 30 cm (USA)
 
The following recordings in the Great Recordings of the Century series were issued by Angel: COLH 102 Wolf & Strauss Lieder (1958); COLH 110-111 Der Rosenkavalier (1960), and later on GRB 4001; COLH 130/131 Schubert Lieder (1962); COLH 137 Scenes from Die Meistersinger (4/1964). See EMI Reissues for details. 
 
Seraphim reissues:
 
60044 The Art of Gerald Moore
210 (1967)
 
60113 Great Voices of the Century
153a (1960)
 
60189 Die Meistersinger - Scenes (as COLH 137)
90 (1972)
 
60274 Great Sopranos of the Century
118
 
60320 The Art of Elisabeth Schumann
Contents as for HQM 1187 with 56 omitted (1984)
 
IC 6041 Der Rosenkavalier (abridged)
100-110 (1969). Side 5 contains the eight Strauss songs from
COLH 102. Side 6 contains recordings by Lotte Lehmann.
 
IC 6144 The Art of Elisabeth Schumann
Contents as for EX 290 5413 (1985)
 
IB 6149 Elisabeth Schumann sings favourite Schubert Lieder
Contents as for EX 290 1593 (1986)
 
[IC 6140 contents as for EX2901313 ('Stars of the Vienna Opera')]
 
[IM-6143 contents as for EX2901693 ('A Record of Singing, Vol 3')]
 
Other Microgroove Reissues
 
Rococo (Canada)
 
R6 (5006) Elisabeth Schumann 1
25, 30, 34-35-36: 27, 31, 26, 32, 33 (1958)
 
5333 Elisabeth Schumann Il
57, 78, 84, 158, 159, 142, 143, 178, 116: 94, 93, 117, 86, 121, 185a, 185b, 194 (1970) 
 
Top Artists Platters (USA)
 
T 306 Twenty Great Sopranos
25 (1959)
T 318 Twenty Great German Singers
31 (1959)
 
Perennial (USA)
 
PER 1001 Elisabeth Schumann, Soprano (1885-1952)
28, 29, 38, 37, 186a, 186b, 183, 19, 20, 76, plus two live
performances (see Part IV) (1967/68)
 
Discocorp (USA)
 
SID 722
223-224-225/227-228, 96, 87a, 168a, 168b, 88a, 88b, 114a, 114b: 122a, 127b, 122b, 218, 127a, 186a, 186b, 183 (1974) 
 
[Preiser (Austria)]
 
LV 10 Unvergängliche Stimmen der Wiener Oper
42
 
LV 186 Elisabeth Schumann I
28, 29, 30, 25, 23, 24, 37, 38: 26, 31, 27, 32, 5, 6, 19, 20 (1976)
 
LV 218 Elisabeth Schumann II
45, 42, 47, 52, 41, 43, 58: 85, 89a, 88a, 88b, 87a, 87b, 65, 66, 67 (1977)
 
LV 500 Von der Hofoper zur Staatsoper
31 (Record 3).
 
Pearl (UK)
 
GEMM 191 Elisabeth Schumann
68, 41, 43, 42, 45, 47, 40: 59a, 59b, 60a, 60b, 65, 83a, 50, 51 (1981)
 
[Penzance (USA)
PR 42
176
 
Danacord (Denmark)
DACO-315/6 'Melchior Anthology'
90
 
Recordings taken from the Archives of the Vienna State Opera.
 
Belevedere/Teletheater (Austria)
 
76.23589: Wiener Staatsoper 1936
Includes excerpts from acts 2 and 3 of Der Rosenkavalier, the 'Presentation of the Silver Rose' and the 'Trio' from the performance of 22 April 1936, and the departure of Ochs, from the performance of 14 September 1936. Lotte Lehmann is the Marschallin, Eva Hadrabova the Oktavian, Schumann the Sophie, Berlhold Sterneck the Ochs and Bella Paalen the Annina. See note to EJS 332 in the discography, and the corrections given above.
 
76.23596/97: Wiener Staatsoper 1937
Includes the 'Ballata' (Stridono lassù), or 'Vogellied' (Wie die Vöglein schweben) from Act 1, Scene 2 of I Pagliacci, sung in German, from the performance of 10 May 1937, with the Vienna State Opera Orchestra conducted by Karl Alwin. Schumann sang Nedda at Hamburg and included Nedda's aria, under the title of 'Ballatella', at a Metropolitan Opera concert given on 7 February 1915.]
 
Acknowledgements
 
For providing information essential to the preparation of this discography we are particularly indebted to Gerhard Puritz, the artist's son, Ruth Edge, Manager, EMI Archive, Horst Wahl, Freiburg-im-Breisgau, Desmond Shawe-Taylor, Syd Gray, John R. Gibbs, Librarian, University of Washington Libraries, Seattle, Elisabeth Walker, Librarian, Curtis Institute of Music, Philadelphia, Derek Lewis, Gramophone Librarian, B.B.C., London, Richard Warren, Curator, Historical Sound Recordings, Yale University, Don McCormick, Curator, Rodgers & Hammerstein Archives, New York Public Library, Susan Stinson, Syracuse University Audio Archive, and Frank Andrews, City of London Phonograph & Gramophone Society.
 
Grateful thanks for valuable assistance are due also to Harold Barnes, Paris, Richard Bebb, Sidney Bland, Richmond, Surrey, Sam Brylawski, Reference Librarian, Library of Congress, Washington, D.C., Peter Burgis, Curator, Canberra Archive, Australia, Jürgen Gründheber, Munich, Eric Hughes, Alan Jefferson, Alfred Kaine, Deutsche Grammophon Productions, Hamburg, Alan Kelly, Eliot Levin, Frederick Maroth, Berkeley, California, William Moran, La Canada, California, Peter Morse, Honolulu, Hawaii, Christopher Norton-Welsh, Vienna, Jim Pearse, Jürgen Schmidt, Vienna, members of the staff of the National Sound Archive, London, for unfailingly friendly assistance, in particular, David Grenfell, former Librarian, John Westmancoat, Librarian, Mavis Hammond-Brake, and Chris Mobbs and Liz Wells of the Listening Service.
 

 
Title Index
 
Abendempfindung 208
Ach, des Knaben Augen 129a
All' mein gedanken 83a
Alleluia 40
Als ich auf dem Euphrat schiffte 234a
Anakreons Grab 234b
An die Geliebte 173b
An die Musik 137
An die Nachtigall 115a
An eine Äolsharfe 183
An mein Klavier 222
Auch kleine Dinge 214
Auf dem Wasser zu singen 138
Auf Flügeln des Gesanges 117
Aufträge 88b
Aus Liebe will mein Heiland sterben 58
Aus meinem grossen Schmerzen 233a
Ave Maria 118
 
(Des) Baches Wiegenlied 170
Barcarolle 184
Bedeckt mich mit Blumen 129b, 234c
Bei der Wiege 232a
Bird whistling 62
Bist du bei mir 119
Bitte 233b
Bitteres zu sagen 186a
Blauer Sommer 22
Blinde Kuh 186b
Blumengruss 234d
 
Caprice Viennois 132
Carmen: Je dis que rien ne m'épouvante 11, Ich sprach dass ich furchtlos 13
Claudine von Villabella: Hin und wieder fliegen Pfeile 182b, 231, Liebe schwärmt auf allen Wegen 182c
Les Contes d'Hoffmann: Barcarolle 184
The Country Lovers: The Early Morning 185a
Coventry Carol 198
 
Dass Sie hier gewesen 211
Da unten im Tale 191b
Don Giovanni: Schmäle, schmäle, lieber Junge 16, 30, Batti, batti, o bel Masetto 41, Wenn du fein fromm bist 17, 25, Vedrai carino 43
Down in the Forest 135
Das Dreimäderlhaus: Lied aus Wien 142
Du bist die Ruh' 49, 64, 99
Du denkst mit einem Fädchen 128a, 234e
 
(The) Early Morning 185a
(Der) Einsame 154
Elfenlied 128c
(Der) Entführung aus dem Serail: Durch Zärtlichkeit und schmeicheln 28, 39, 48, Welch Wonne, welche Lust 29
Er ist's 88a
Erlaube mir, fein's Mädchen 189a
(Das) erste Veilchen 232b
Es ist vollbracht 56
Es träumte mir 218
Exsultate Jubilate: Complete 34-36, Alleluia 40, Unidentified 53
 
Faust: Juwelenarie 27
Fidelio: Ach, war ich schon mit dir vereint 8, 14
(Des) Fischers Liebesglück 146
Fischerweise 150
(Der) Fledermaus: Mein Herr Marquis 57, Spiel ich die Unschuld 63, 78
(Die) Forelle 21, 130b, 213
Fra Diavolo: Welches Glück 31
Frage und Antwort 20
Frauenliebe und Leben 223-4-5/227-8
(Der) Freischütz: Kommt ein schlanker Bursch' 7, Trübe Augen, Liebchen taugen 12
(Der) Fremdenführer: 0 Wien, mein liebes Wien 159
Freundliche Vision 54
Frühlingsglaube 130a
Frühlingslied 232c
Frühlingstraum 155
 
(Der) Gang zum Liebchen 131a
Geheimes 139b
Gesegnet sei das Grün 234f
Gretchen am Spinnrade 151
Gute Nacht 233c
 
Hänsel und Gretel: Wo bin ich? Wach ich? 15, 32, Ein Männlein steht im Walde 125a, Der kleine Sandmann bin ich 125b, Abends will ich schlafen gehen 124
Hat gesagt, bleibt nicht dabei 83b
Heidenröslein 98a
(Die) heiligen drei Könige 33, 65
Heimkehr 193
(Das) Heimweh 182a
Hin und wieder 182b, 231
(Der) Hirt auf dem Felsen 162-3
Horch! horch! die Lerch' 136
 
Ich muss wieder einmal im Grinzing sein 175
Ich schwebe 95b
Ihr jungen Leute 234g
Im Abendroth 60a
Im chambre séparée 178
Immer leiser wird mein Schlummer 156
In dem Schatten meiner Locken 206a
In der Frühe 205, 234h
In stiller Nacht 190
 
(Der) Jäger 127b
Joshua: Oh! had I Jubal's Lyre 68
(Die) junger Nonne 215
(Der) Jüngling an der Quelle 139a
(Der) Jüngling und der Tod 181
 
The Kiss: Wiegenlied 144
 
Lachen und Weinen 152b
(Der) Landstreicher: Sei gepriesen du lauschige Nacht 158
Last Night 134
Lehn deine Wang' 187
Liebchen ist da 233d
(Die) Liebende schreibt 232d
Liebe schwärmt auf allen Wegen 182c
Liebesbotschaft 149
Liebhaber in allen Gestalten 92b, 115b
Lied aus Wien 142
(Das) Lied im Grünen 98b
Litanei 148
Loreley 144a [no: 114a]
(Die) Lotosblume 97a
 
(Das) Mädchen 220
(Das) Mädchen spricht 169, 219b
Mariae Wiegenlied 166
Marienlied 67
Mass in B minor: Christe eleison 71-72. Et in unum 73, Domine Deus 74-75
Mass in D minor (Requiem): Complete 160
Mausfallen Sprüchlein 128b, 206b
Mein Mädel hat einen Rosenmund 191a
Die Meistersinger: Selig wie die Sonne 90
(A) Memory 180
Mignon: Kam ein armes Kind 5,9, Kennst du das Land? 6, 10
Mit einem gemalten Bande 112
(Der) Mond 232e
Mondnacht 96
Morgen 19,51
(Der) Musensohn 147
Mutter o sing mich zur Ruh' 233e
Müttertändelei 66
My lovely Celia 120
 
Nachtigall 127a
Nacht und Träume 153a
Nachtviolen 173a
Nähe des Geliebten 152a
Nightingale Song 77, 86
Nimmersatte Liebe 216, 234i
(Le) Nozze di Figaro: Non so più 1 [4], 23, 45, Voi che sapete 2 [3], 24, 42, Deh vieni, non tardar 37, 52, Venite inginocchiatevi 47
Nun wandre Maria 126, 234j
Nur wer die Sehnsucht kennt 229
(Der) Nussbaum 87b
 
(Der) Obersteiger: Sei nicht bös' 81, 84
Och moder, ich well ein Ding han 192b
0 du fröhliche 195
0 ihr Herren 168a
Oh! had I Jubal's Lyre 68
(Der) Opernball: Im chambre séparée 178
Oh, quand je dors 167, 177
Orpheus with his Lute 179
0 wär dein Haus 234k
0 Wien mein liebes Wien 159
 
(A) Pastoral 121
Peer Gynt: Solveig's Song 145
Phänomen 234l
(Die) Post 59a
 
(II) Re Pastore: L'amerò, sarò costante 44
Requiem Mass (complete) 160
Rosamund von Cypern: Der Vollmond strahlt 212
Der Rosenkavalier: Extracts 100-110
Röselein, Röselein 168b
Ruhe Süssliebchen im Schatten 172
 
(The) Sailor's Song 210
St. Matthew Passion: Aus Liebe will mein Heiland sterben 58
Sandmännchen 140
Schlafe, schlafe, holder süsser Knabe 171a
Schlafe mein Prinzchen 70, 79, 82, 85
Schlafendes Jesuskind 123
Schlechtes Wetter 61a
(Der) Schmetterling 171b
Schneeglöckchen 87a
(Die) schöne Müllerin: Des Baches Wiegenlied 170, Wohin? 59b
(Das) Schwanengesang: Liebesbotschaft 149
Schweizerlied 92a, 231a
Schwesterlein 192a
Sei nicht bös' 84
Sei gepriesen du lauschige Nacht 158
Seligkeit 153b
The She-Gallants: So well Corinna likes the joy 185b
She never told her love 207
Sie blasen zum Abmarsch 234m
Silent Night, Holy Night 197
Sissy: Caprice Viennois 132
So lässt mich scheinen 230
Solveig's Song 145
So well Corinna likes the joy 185b
Sphärenklänge 116
Ständchen (Brahms Op.106/1) 169b
Ständchen (Schubert) 136
Ständchen (Schumann) 114b
Ständchen IR. Strauss) 50, 61b
(Ein) Ständchen euch zu bringen 234n
Still wie die Nacht 164
Stille Nacht, heilige Nacht 196
Stille Sicherheit 233f
 
Te Deum in C: Complete 161
Therese 219a
(Der) Tod das ist die kühle Nacht 131b, 141
Traum durch die Dämmerung 95a
 
Über den Wellen 97b
Und willst du deinen Liebsten sterben sehen 221
 
(Das) Veilchen 69, 113, 209
Verborgenheit 234o
Vergebliches Ständchen 69 [no: 122b]
(Die) Vögel 60b
(Der) Vogelhändler: Wie mein Ahn'l zwanzig Jahr 76, 80, The Nightingale Song 77, 86
Der Vogel im Walde 91, 93
Vöglein wohin? 233g
Vogellied 133
(Der) Vollmond strahlt 212
 
Warnung 89a
Was i' hab' 94
Weichet nur betrübte Schatten 199-204
Wer hat dies Liedlein erdacht 89b
Where the bee sucks 194
Widmung 233h
Wie bist du, meine Königin 217
Wiegenlied (Brahms) 122a, 157
Wiegenlied (Flies/Mozart) 85
Wiegenlied (Schubert) 171a
Wiegenlied (Smetana) 144
Wiegenlied (R. Strauss) 55
Wiegenlied (Wagner) 174, 176
Wie glänzt der helle Mond 226, 234p
Wie komm' ich denn 189b
Wien du Stadt meiner Träume 143
Der Wildschütz: Auf des Lebens raschen Wogen 26
Winterreise: Frühlingstraum 155, Die Post 59a
Wo du hingehst 188
Wohin? 59b
Wonne der Wehmut 111
 
(Die) Zauberflöte: Ach, ich fühl's 18, 38, 46
Zum Schlafen 165


 

© Elisabeth Schumann Website, 18 December 03