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 Extracts from an unpublished biography of the artist by Alfred Mathis appeared in Opera for August, September, November 1973 and January 1974 (Vol. 24, Nos. 8, 9 and 11, and Vol. 25, No.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