ACOUSTIC CHAMBER

 MUSIC SETS (1899-1926):

A DISCOGRAPHY

by Frank Forman

First Web Version, 2003 August 9

PLACEMENT OF THIS DISCOGRAPHY INTO THE PUBLIC DOMAIN

       This discography was submitted to the Journal of the Association for Recorded Sound Collections on 2000 January 24 and appeared in the Journal in three parts: Volume 31, No. 1 (2000 Spring, received by me 2000.5.26; Volume 31, No. 2, received 2000.12.2; and Volume 32, No. 1, received 2001.5.26. I turned a copy of this original submission into a booklet and gave it to Jane Penner, head of the music library at the University of Virginia. She assigned it the catalog number ML156.4.C4 F67 2000.

       A number of corrections and additions were made during the course of publication and also the addition of the Purcell set, which I added at the end so as not to disturb the numbering. By agreement with the Journal, the work was to become freely available to researchers one year after the final publication of the third part. Accordingly, it entered the public domain on 2002.5.26. The world is now free to appropriate and copy the work and even litter with errors and misrepresent the intentions of the author. This edition, prepared for the World-Wide Web, but available from the author in WordPerfect 5.1 for DOS, adds a number of minor corrections and reissues on compact disc.

RECAPITULATION OF THE MAIN ENTRIES

The scope of the discograhy is expansive and includes two-disc sets with a filler, incomplete and abridged recordings, solo piano works, reductions to chamber music forces, and chamber (including solo piano) music played by larger ensembles. But in this recapitulation, only the principle performer on complete, unabridged recordings (except that repeats may have been omitted) of a chamber music work in the strict sense of excluding piano works is given in parentheses.

ARENSKY: Quartet 2.

BACH: Chromatic Fantasy and Fugue; Concerto for Two Violins; Chaconne from Partita 2 for Violin Alone (Menges; Tertis (viola)); Partita 3 for Violin Alone (Marteau); Cello Sonata 2 (Howard Bliss); Violin Sonata 2 (Primrose); Cello Suite 3: "Suite No. 6 for Full Orchestra" (plus a listing of all other Bach sets).

BEETHOVEN: German Dances; Quartets 1 (Catterall), 2 (Catterall), 3, 5-6, 7 (Spencer Dyke), 8 (Virtuoso; London), 10 (Spencer Dyke; Léner), 14 (Léner; London; Gewandhaus), 15 (Léner); Serenades, Opp. 8 and 25; Sonatas 8, 12, 14, 17-8, 21, 23, 26-8; Violin Sonatas 5 (Zeiler; Lorand), 9 (Zeiler; Huberman); Trio in C, Op. 87 (Gewandhaus Quintet); Archduke Trio, Op. 97.

BERIOT: Violin Concerto 7.

BLISS: Conversations (The Composer, directing).

BRAHMS: Quartets 1 (Catterall), 2 (Leo Abkov; Léner)); Clarinet Quintet (Thurston + Spencer Dyke SQ); Sextet 1 (Spencer Dyke SQ + Lockyer + Robinson); Viola Sonata 1 (Tertis); Violin Sonatas 2 (Lorand) and 3 (Catterall); Clarinet Trio (H.P. Draper + Squire + Harty); Paganini Variations.

BRIDGE: Three Idylls (Virtuoso Q).

BYRD: Fantasia (Byrd SQ) plus Harpsichord Pieces.

CHAMINADE: Three collections of piano pieces.

CHOPIN: Chopiniana-Potpourri; Nocturne 2.

COLERIDGE-TAYLOR: Violin Sonata (Sammons; Catterall).

CORELLI: La Folia Variations (Příhoda).

DEBUSSY: Children's Corner Suite; Petite Suite; Quartet (Spencer Dyke; Leo Abkov).

DELIUS: Violin Sonata 2.

DVOŘÁK: Bagatelles; Quartet 12 (Old No. 6) (Spencer Dyke; Leo Abkov; Bohemian), Dumky Trio.

ELGAR: String Quartet, Piano Quintet (Ethel Hobday + Spencer Dyke SQ); Violin Sonata.

FAURÉ: Piano Quartet 1.

FRANCK: Quartet (Virtuoso); Sonata (Thibaud; Catterall).

GRANADOS: Spanish Dances.

GRIEG: Holberg Suite; Lyric Suite; Piano Works; Peer Gynt Suite 1; Piano Sonata; Violin Sonatas 2 (Sammons), 3 (Tertis, viola).

HANDEL: Violin Sonata in D, Op. 1, No. 13 (Menges); Trio Sonata in g, Op. 2, No. 7 (Fachiri + d'Arányi).

HAYDN: Quartets, Op. 3, No. 5 (Busch;, Léner); Op. 64, Nos. 3 (London), 5 (Spencer Dyke), 6; Op. 76, Nos. 2 (Léner), 3 (London), 5 (Léner).

HINDEMITH: Kleine Kammermusik, Op. 24, No. 2 (Gewandhaus Wind Quintet); Quartet 3 (Amar).

HUGUENIN: Woodwind Trio 2 (Lefebvre + Bas + Vizentini).

INDY: Quartet 2 (Barbillion); Tableaux de Voyage.

IRELAND: Violin Sonata 2.

KLUGHARDT: Wind Quintet (Gewandhaus Wind Quintet).

KREISLER: Quartet.

LALO: Symphonie Espagnol.

LAURISCHKUS: Lethonia (Gewandhaus Wind Quintet).

LISZT: Consolations; Hungarian Rhapsodies 2, 14.

MENDELSSOHN: Violin Concerto; Quartet 1; Songs without Words; Piano Trio 1.

MOUSSORGSKY: Pictures at an Exhibition.

MOZART: Violin Concerto 6; Quartets 13 (Kutcher), 14-5, 17 (Léner), 18 (Leo Abkov), 19 (Léner), 21; Oboe Quartet (Goossens + Spencer Dyke SQ members); Clarinet Quintet (Charles Draper + Spencer Dyke SQ); Quintet 4 in g, K. 516; Serenades 11 (Kleiber, cond. Berlin State Opera Wind Octet), 12 (Szell, cond. Berlin State Opera Wind Octet); Musical Joke; Violin Sonata 34 in A, K. 526 (Catterall); Clarinet Trio; Piano Trios 4-5.

PAGANINI: Violin Concerto 1.

PURCELL: Fantasias (4).

RAVEL: Introduction and Allegro (supervised by the Composer); Le Tombeau de Couperin.

SAINT-SAENS: Two sets of piano and piano/violin works.

SCARLATTI: The Good-Humored Ladies.

SCHÖNBERG: Verklärte Nacht (Spencer Dyke SQ + Lockyer + Robinson).

SCHUBERT: Quartets 13, 14 (Leo Abkov; Edith Lorand); Trout Quintet (Ethel Hobday + London SQ members + Claude Hobday); String Quintet (Cobbett SQ + Charles Crabbe); Piano Trios 1, 2 (Craxton + Dyke + Parker).

SCHUMANN: Carnival; Études Symphoniques; Quartet 1; Piano Quintet; Violin Sonata 1.

SMETANA: Quartet 1 (Leo Abkov).

STAMITZ: Trio 3 in F, Op. 1, No. 3.

TARTINI: Didone abbandonata Sonata (Chemet); Devil's Trill Sonata (Wolfstahl; Rostal).

TCHAIKOVSKY: Quartet 1 (Virtuoso); Rococo Variations (Piatigorsky); The Seasons; Piano Trio.

THUILLE: Sextet in Bb for Piano and Winds, Op. 6.

VAUGHAN WILLIAMS: On Wenlock Edge (Elwes + London SQ); Phantasy Quintet (Music Society Q + Pougnet).

VIDAL: Danses Anciennes.

VITALI: Chaconne (Příhoda; Sammons).

VIVALDI: Concerto in A, Op. 3, No. 6.

VOLKMANN: Cello Concerto.

WAGNER: Siegfried Idyll.

WARNER, H. Waldo: Quartet (London).

WIENIAWSKI: Fantasia Brillante.

TABLE OF CONTENTS

I. Scope

II. Importance

III. Symbols and Notes

IV. A Word on Proof-Reading This Discography

V. Order of Entries

VI. Labels (19)

VII. Summary Statistics and Superlatives

VIII. Main Entries

IX. Addenda

      1. A New Set, Overlooked in the Main Discography (Purcell)

      2. New Data on the National Gramophonic Society Recordings

      3. A Note on Music Boxes

X. Fillers to the Sets (52)

XI. Exclusions from This Discography

XII. Appendices

      1. Acknowledgments

      2. Artists: Groups

      3. Artists: Individuals

      4. Artists by Instrument

      5. Dates of Recordings and Issues

      6. Bibliography

      7. Index of Recordings by Label and Matrix

SCOPE

W.W. Cobbett defines chamber music as "music suitable for private rooms performed by not more than one instrument per part" (Cobbett: I:238). A set is defined here as anything more than one record. No sets of piano rolls were considered, and I found no sets of cylinders or plates for music boxes. This discography uses a more expansive definition than Cobbett's and includes, not just chamber music in stricto sensu, but (more than doubling this discography) also:

1. Three-sided works in two-disc sets with fillers or even three-disc sets with two fillers.

2. Abridged recordings. Recordings with repeats omitted are not treated as incomplete, though information about repeats is rarely available.

3. Incomplete recordings.

4. Solo instrumental [only harpsichord, piano, violin, viola, and cello found. There are many single acoustic discs of organs but, alas, no sets. However, organs are represented as accompaniment to a violin in two entries, Corelli and Vitali].

5. Non-chamber music played in chamber music transcriptions.

6. Chamber (including solo instrumental) music played by larger ensembles.

Exclusions: Cobbett also calls chamber music, "winged sounds finding their way to the earth's lovely places" (Cobbett I:495). The definition is, of course, too broad: much other music satisfies the description. It may also be too narrow, in that perhaps some of the recordings in this discography do not meet this description, but rather than exercise editorial judgment, all such disputable works are included. Excluded from this discography are numerous individual discs of Chopin, sometimes in numerical sequence. But none of these recordings appear to be anything more than single discs issued at the same time. The same is true of the many cello compositions of David Popper. (On the other hand, the three discs of Mendelssohn Songs without Words do appear to constitute an intended sequence.) Also excluded are recordings of performers, known primarily as instrumentalists, playing their own compositions, such as Pablo de Sarasate, violin; Franz Drdla, violin; Alfred Grünfeld, piano; and the forgotten Rudolph Kronegger, piano. From here we shade into non-classical music, e.g., perhaps Rafaele Calace playing his own compositions on the lute, Michel Haling on the accordion, and certainly Segis Luvaun on the Hawaiian guitar. The line had to be drawn somewhere!

IMPORTANCE

Chamber music playing has changed more than that of any other kind of classical music. So these old acoustics represent a real window on the past. But, although chamber music is the most serious of all music (if not all art), these acoustics are rarely collected. Half of all collectors of classical music (itself a tiny minority of record collectors) collect vocal recordings, which are at the opposite end of the spectrum from chamber music. Of the rest, half collect conductors; then come collectors of violinists and pianists. It is unlikely that even five percent of classical collectors concentrate on chamber music or more than one in a thousand makes a serious effort to collect acoustic recordings of chamber music.

So the sets listed in this discography are largely unknown: fewer then half of them are to be found in the eleven-volume Voices of the Past series. While not likely to be expensive if ever encountered, they are very unlikely to be encountered in the first place. Many of the discographers whose works were consulted very often did not have access to the discs and so could not record the matrix numbers. Perhaps fewer than 100 copies of many of the sets were ever made.

My hope is to get cassette tapes of as many of these acoustic chamber music sets from collectors around the world as I can. I shall then make duplicates at my own expense for universities that offer courses in the history of music performance. Courses in the history of music itself abound, but much rarer are courses in the history of the performance of music. This state of affairs is strange, since music is, above all, a performing art. See the pioneering book by Robert Philip, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance (Cambridge: Cambridge University Press, 1992).

This discography, now that Claude Arnold's A Discography of the Orchestra of acoustic recordings has been published, documents perhaps the largest single gap in our knowledge of the recordings of classical music, as far as sets go. There are, of course, tens of thousands of single discs of all sorts of classical music recorded by the acoustical process, but a cursory run-through of the eleven volumes of Voices of the Past leads me to think that there are fewer sets of vocal music than there are of chamber music. I have counted a couple of dozen sets of excerpts from operas (and perhaps a dozen that are allegedly "complete"), a Franz Naval recording of Schubert's Die schöne Müllerin, a Thom Denijs recording of Schumann's Dichterliebe, some anthologies of early vocal works by many composers, but not very much more. But I have used in this discography a very expansive definition of set, which means that three Caruso discs from the same opera might qualify as a "set." Accordingly, there may be in fact as many vocal sets as there are chamber music sets. I leave the challenge of compiling an acoustic vocal sets discography to those qualified to do so.

SYMBOLS AND NOTES

LP = long-playing 33 1/3 r.p.m. disc.

CD = compact disc.

Dates are given by year.month.day, the system used by physicists, French Canadians, and Japanese. There were no sets of acoustic chamber music recordings made after 1926, though Marilyn Horne, for example, made a recording by the acoustical process in the 1970s.

All discs are 12" 78 r.p.m. (of course, speeds were far from standardized in those days and may vary anywhere from 60 to 90 r.p.m.), unless specified otherwise.

The only use of a harpsichord by principal artists on any of these 215 recordings of 158 works by 54 composers on 19 labels (or their fillers) is the Violet Gordon Woodhouse recording of four Byrd pieces.

This discography uses the opportunity to correct the entries in many of the discographic sources that were used in its compilation. This does not entail anything less than the highest respect for the work of these discographers, whose broader scope forbade them to spend as much effort on this narrow subset of the field as the present discographer. Enthusiasts who scour some of the source discographies and other reference books may therefore be spared the efforts here to resolve discrepancies.

Nearly all the reissues on LP and CD are devoted to performers.

Compton Mackenzie was the founder and, for many years, the editor of The Gramophone. His observations are quoted many times throughout this discography, as are those of Walter Willson Cobbett, an indefatigable promoter of chamber music and the author of Cobbett's Cyclopedic Guide to Chamber Music. Mackenzie's life is covered in the recent book by Patrick Allitt, Catholic Converts: British and American Intellectuals Turn to Rome (Ithaca: Cornell University Press, 1997), reviewed in The Times Literary Supplement, 1998.1.30.

A few reference works are repeatedly used throughout this discography and are given in italics. Besides Cobbett, they are Claude Arnold's The Orchestra on Record, James Creighton's Discopaedia of the Violin, R.D. Darrell's The Gramophone Shop Encyclopedia of Recorded Music [GSE], Ronald Taylor's Columbia Twelve-Inch Recordings in the United Kingdom, the various volumes of the Voices of the Past series, and F.F. Clough and C.G. Cuming, The World's Encyclopedia of Recorded Music [WERM]. References to names in the discography are to authors whose works are cited in full in the bibliography.

A WORD ON PROOF-READING THIS DISCOGRAPHY

"The American Mercury is prepared to pay an infallible proof-reader an honorarium of $1,000,000 cash a year, if and when he is discovered in this world. The proofs of the magazine are scrutinized every month with a degree of care approaching the furious, and yet errors--and some of them appalling ones--constantly creep in, as they do in all other magazines. The proof-readers on the staff of the printer are men of the utmost skill in their profession: one of them holds the Police Gazette diamond belt as the champion of the United States, and another has been invited to lecture at Oxford. Moreover, the editorial staff is loaded with very gifted comma-hounds, and between them they read the proofs of each issue thirty-eight times. Nevertheless, blunders of the worst sort continue to elude them.... If the super-proof-reader advertized for above can be found, they will cease--and he will earn his $19,230.77 a week. But if all the candidates for the post turn out to be merely human, as the present proof-readers are and the editors with them, then the series of imbecilities will continue."

This passage was written by H.L. Mencken for The American Mercury for 1928 July. Mr. Mencken, the great newspaperman from Baltimore, Maryland, was also a life-long music lover and amateur piano secundo in his Saturday night get-togethers with fellow amateurs. Many of his enthusiastic writings have been collected in H.L. Mencken on Music: A Selection of his Writings on Music together with an Account of H.L. Mencken's Musical Life and a History of the Saturday Night Club, edited by Louis Cheslock (New York: Alfred A. Knopf, 1961).

Mr. Mencken's remarks on the idiocy of the phonograph were partly responsible for stimulating this discography. He first made such remarks in the acoustic era and had in mind, of course, the popular music of that time. (Very little jazz, which he thought even worse, was recorded acoustically.) I wondered, therefore, what chamber music recordings he might have been able to listen to on the phonograph.

ORDER OF ENTRIES

The entries in this discography follow the general principles, if not quite always the specific guidelines, proposed by Jerome F. Weber, "Formulating Guidelines for Discographies," Association for Recorded Sound Collections Journal 28.2 (1997 Fall): 198-208.

1. COMPOSER in ALL-CAPS BOLD. The composers are numbered and indicated by Cnn>>>.

2. Work and catalog number (in small caps), date of composition, and (if there are only incomplete recordings) the parts thereof on the recording. These are usually designated by "n, tempo (or other name)," where n is the number of the movement. The works are numbered and indicated by Wnnn>>.

3. Recordings are indicated and numbered by nnn>. Recordings are listed chronologically by recording date, as far as can be done accurately. There are many conjectures. All recordings appear to have been made in recording studios.

4. The number of sides of the principal work of a set (that is, excluding the fillers) is placed in [brackets in small caps].

5. Recording date or dates, often approximated. For notes on methods for dating, see appendix. These dates are indented two spaces.

6. Matrix numbers and takes (preceded by mx and in italics). When recorded on several dates, the dates and matrix numbers are intermingled. In the early days, repeated takes were more often required due to complications in the recording process than to dissatisfaction by the artists. Matrix numbers are indented three spaces.

7. Record label and catalog numbers, with dates of release and (often) deletion in parentheses ( ). LP and CD reissues are included. (No 45s reissues were traced, not even the Kreisler/Zimbalist Bach Double Concerto. Nor were any cassettes or 8-track tapes found. There was a phoney stereo reissue, of a filler to the incomplete Casals recording of Bach: Cello Suite 3, but no quadraphonic reprocessing.) The Gramophone Company continued to carry single-sided disc side numbers even when it joined two sides together to make a double-faced disc. Issues under the same label are separated by colons (:); issues under different labels are placed on separate rows. All are indented four spaces.

8. Details about fillers to various 78 r.p.m. issues and other information are included as warranted. Filler information is indented five spaces.

9. Information about later recordings, especially by all or some of the artists participating in the acoustic recordings. Most of these works were recorded again, by some group or other, during the electrical 78 r.p.m. era. This will be the case unless specified otherwise. I did not search the universe and its attics in all cases for possible later recordings and consequently may have missed some. That some works were never rerecorded shows how adventuresome--or perhaps commercially naïve--recording companies were, even in the early days. This information is also indented five spaces. When the same performers recorded parts of a work on one or two sides before the recording entered in this discography, information on the earlier recordings is also included.

LABELS (19)

Berliner: United States.

Brunswick: United States.

Columbia: England.

Columbia: United States.

Edison Diamond Disc: United States.

Gramophone (a/k/a His Master's Voice): England, unless otherwise specified. Forerunners of the Gramophone Company, Ltd., such as Gramophone and Typewriter, are generally not distinguished.

Homochord: England.

National Gramophonic Society of London: England (a subscription series).

Odeon: Germany.

Parlophon: Germany (Parlophone in England).

Pathé: France.

Polydor: Germany.

Regal: Spain.

Velvet Face: England.

Victor: United States.

Vocalion: England, plus one American issue.

Vox: all Germany in this discography.

World: England (See Brahms: Quartet 2 for information about this label.).

Zonophone: all France in this discography.

I believe electrical recordings appeared on all these labels, except Berliner, World, and perhaps Velvet Face, which lasted until 1927.

SUMMARY STATISTICS AND SUPERLATIVES

55 Composers (plus 15 more on the fillers)

159 Works (plus 42 more on the fillers)

216 Recordings (with 52 fillers)

19 Labels

Note: The superlatives are those determined by the data known to this discographer.

Oldest set: Chopin: Nocturne 3. Bronisláw Huberman, violin, with piano. 1899.

Second oldest set: Chaminade playing her own works. 1901.

First unabridged recording of a string quartet: Haydn (Hofstetter): Quartet in F, Op. 3, No. 5. Busch Quartet. 1922.

First discs played by Compton MacKenzie on his first phonograph: Schumann: Piano Quintet. Last disc of the set issued 1922.2 and first played by MacKenzie on 1922.3.

Most belated issues: Recorded 1917 and issued 1921: Coleridge-Taylor: Violin Sonata (Sammons and Murdoch). Recorded 1917 and issued 1920: Beethoven: Quartet 1 (London String Quartet) and Mozart: Quintet 4 in g, K. 516 (London String Quartet with Alfred Hobday). All of these works may have been recorded later, though. See the individual entries.

First chamber music group, apparently, that was organized for the purpose of making recordings: Virtuoso Quartet. Founded by the Gramophone Company in 1924.

Last issued sets: Haydn: Quartet in d, Op. 76, No. 2. Léner Quartet and Ravel: Le Tombeau de Couperin, played in an orchestral version. Stanley Chapple and Cuthbert Whitemore, Aeolian Orchestra. 1926.5.

First born composer: William Byrd: 1543.

First composition: one of Byrd's.

Last born composer: Paul Hindemith: 1895.

Last composition: Delius: Violin Sonata 2. 1923.

Composer with the most entries: Beethoven: 26 entries. Brahms has 8, Haydn 7, Mozart 18, Schubert 5, and Schumann 5.

Works with the most entries: Beethoven: Kreutzer Sonata and Franck: Sonata: five each.

Most recorded work listed in this discography: Dvořák: Humoreske. This is the most recorded work on the violin, with over a hundred recordings listed by Creighton. Short works like this one, fine for fillers and singles, are not recorded as nearly so often as they were during the 78 r.p.m. era. By this time, the number of recordings of Beethoven's Fifth Symphony must number over two hundred. The Fifth Symphony very likely remains the most recorded "set" (or rather, a work that would take up a 78 r.p.m. set) of all time, as it was during the 78 r.p.m. era and in current CD catalogs. Some things never change.

First born artist: Camille Saint-Saëns: 1835.10.9.

Last born artist: Jean Pougnet: 1907.7.20.

First died artist: Gervaise Elwes: 1921.1.12.

Last died artist: Max Rostal: 1991.8.6. (Wilhelm Kempff died 1991.5.21.)

Longest lived artist: Pablo Casals: 97 years.

Shortest livied artist: Renée Chemet: 44 year, if she died shortly after she vanished in the Far East.

Perhaps one of these artists is still living in 2003.

MAIN ENTRIES

(The Discography Proper)

C01>>>                                                                                                                                           ARENSKY, Anton Stepanovich

1861 July 12 Russia-1906 February 25

W001>>   Quartet 2 in a, Op. 35 (1894). Abridged recording.

001>Catterall Quartet, [3 sides].

1920/21.

Gramophone.D 560B (1920) plus D 606 (1921).

Note: The identification of the very first entry in this discography is tentative. Voices of the Past lists D 560B as "Quartet Op. 35a-Variations" and D 606 as "Quartet Pt. 1 and Pt. 2." Arensky wrote two string quartets, No. 1 in G, Op. 11 (1888) and No. 2 in a (1894). Originally, the second quartet was written for violin, viola, and two cellos and published as Op. 35. Arensky published it as an ordinary quartet for two violins, viola, and cello as Op. 35a.

Filler: D 560A contains, according to Voices of the Past, "Quartet G major, Allegro--Mozart," presumably Quartet 14 in G, K. 387: 1, Allegro vivace assai. GSE identifies D 560 by "*", meaning an acoustic and does not list D 606 at all. WERM lists neither disc, nor any electrical recording of the music. Both Arensky quartets are available on CD. The orchestral version of the variations [on Tchaikovsky: Legend (song, 'When Jesus Christ was but a child'), Op. 54, No. 5] received no acoustic but three electric recordings, all taking up three or four sides.

C02>>>                                                                                                                                                BACH, Johann Sebastian

1685 March 21 Germany-1750 July 28

W002>>   Chromatic Fantasy and Fugue in d, Schmieder 903, Chwiałkowski 6.307 (ca. 1720, revised. ca. 1730)

002>Harold Samuel, piano, [3 sides].

1923.10.

mx Cc 3610-2/11-1/09-2/13-1.

Gramophone.D 782/3A (1923). Reviewed in The Gramophone 1924.2.

LP: Pearl [England].GEMM 147, "Harold Samuel."

CD: Koch Legacy [U.S.].3-7137-2 K2 (1992), "The Art of Harold Samuel," a two-disc set.

Filler: English Suite No. 2 in a, S. 807: 5, Bourrée I (Chwiałkowski 6.59) and 6, Bourrée II (Chwiałkowski 6.60). Included in both reissues.

W003>>   Concerto for Two Violins in d, Schmieder 1043, Chwiałkowski 3.3 (ca. 1718-23). Abridged recording.

003>Fritz Kreisler and Efrem Zimbalist, violins; with String Quartet (Rattay, Bianculli, Fruncillo, Rosario Bourdin). Conducted by Walter B. Rogers. Transcribed for two violins and string quartet by an unknown hands, or perhaps by all four hands of The Violinists in cooperation, [3 sides].

1915.1.14 (thus Arnold. Creighton II has 1915.1.4 under Kreisler but 1915.1.14 under Zimbalist).

mx C 15560-4/1-3/2-2.

Gramophone.2-07918/20/22 (single-faced) (1915.3): DB 587/8A (1924).

Victor.76028/30 (single-faced) (1916): 8040/1A (1934/5).

LP: Victor.LM 6099 [U.S.], "The Art of Fritz Kreisler," a 2-disc set: A 430569 [France]: RB 6525 [England].

LP: Rococo [Canada].2005.

LP: Melodiya [U.S.S.R.].Д 26323 (1969), "Fritz Kreisler."

LP: Pearl [England].GEM 101

LP: Pearl [England].GEM 132.

LP: The Strad [England].LB 4 (filler on LB 3).

CD: Biddulph [England].LAB 021/2, a two-disc set, "Fritz Kreisler: The Complete Acoustic Victor Recordings with Orchestra."

CD: RCA Victor Gold [U.S.].09026-6149-2, all of Kreisler's Victor acoustics (includes the filler).

Filler: DB 858B and Victor.8041B is Tchaikovsky: Quartet 1 in D, Op. 11: 2, Andante cantabile, played by the Kreisler Quartet on mx C 17671-1, 1916.5.10. The filler first appeared in 1916 on single-faced Victor.74487 and was later doubled with the Largo from Handel's Serse on mx 14342-8, Fritz Kreisler, violin; Carl Lamson, piano, on Victor.6184 (1923), the Handel having appeared originally on single-faced Victor.74384 (1913). I presume the filler has had several reissues but am uncertain which are coupled with the concerto.

W004>>   Partita 2 in b for Violin Alone, Schmieder 1004 (ca. 1718-23). Incomplete recording: 5, Chaconne (Chwiałkowski 4.49)

004>Isolde Menges, violin, [4 sides].

1923.

mx Cc 4451-1/2-1/3-2/4-2.

Gramophone.D 875/6 (1923) (reviewed in The Gramophone 1924.9): AW 4252 plus AW 4254 [Italy].

005>Lionel Tertis, viola. Transcribed for the viola by the Performer, [also 4 sides].

1924.11.25.

mx AX 755/8, all take 2.

English Columbia.L 1644/5(25.7-28.2), advertised in The Gramophone 1925.6.

American Columbia.67071/2-D = discs 6 and 7 in set M 13 [14 sides].

CD: Pearl [England].GEMM CD 99184, "Lionel Tertis."

The Columbia Bach Album, set M 13, containing this Tertis Chaconne, is a seven-disc set that was the largest gathering of the works of the great Lutheran master up to that time. The album consists of:

Discs 1-3A: Concerto for two violins in d, Schmieder 1043, Chwiałkowski 3.3 (ca. 1718-23), [5 sides]

Arthur Catterall and John S. Bridge, violins; Hamilton Harty, Orchestra.

1924.4.10.

mx AX 395-1/6-1/7-2/8-2/9-2.

Single discs: (American Columbia) 67066/8A-D.

Disc 3B: Suite (Orchestral) No. 3 in D, Schmieder 1068, Chwiałkowski 1.3 (1729/30): 2, Air, [1 side]

Hamilton Harty, Symphony Orchestra. Conductor's name given only on the American issues.

1924.3.4.

mx AX 356-2.

Single disc: (American Columbia) 67068B-D. Filler to the Concerto. The Air was released in England as the first side of English Columbia.980(24.7-30.8, reviewed in The Gramophone 1924.7), as "Celebrated Air (air for G string)" (so-called owing to August Wilhelmj's 1871 arrangement for solo violin to be played on a single string), recorded by the "Court Symphony Orchestra," and has on side B, mx AX 359-1, also recorded on 24.3.4, Rimsky-Korsakov: The Tale of Tsar (Czar) of Sultan, of His Son the Famous and Mighty Hero Prince Gvidon Saltanovich, and of the Beautiful Princess, Chwiałkowski 1.12: Flight of the Bumblebee plus Liadov: Musical Box, Op. 32. This disc, however, gave "Court Symphony Orchestra" instead of "Symphony Orchestra." Now the Rimsky-Korsakov plus Liadov were issued in the United States under 67096-D, which had as its reverse side Bach: Partita 3 in E, S. 1006: 3, Gavotte, conducted and arranged by Sir Henry J. Wood, members of the New Queen's Hall Orchestra, on mx AX 4-2, 23.5.16. And the Gavotte appeared in England under L 1515(24.1-28.2). Side B of L 1515 has Beethoven: Rondino in Eb for wind octet, Grove 146, Kinsky 25, Chwiałkowski 7.2, again arranged and recorded by Wood and NQHO, on mx AX 5-2, also 23.5.16. Such tracking down of these details is among the delights and travails of the discographer, recalling Dr. Johnson's definition of a lexicographer: "a writer of dictionaries, a harmless drudge."

Discs 4-5: Suite (orchestral) 2 in b, Schmieder 1067, Chwiałkowski 1.2 (1729/30), [4 sides]

Robert Murchie, flute; Hamilton Harty, Symphony Orchestra.

1924.1.20.

mx AX 319-1/20-2/21-2/22-1.

Single discs: (American Columbia) 67069/70-D.

Discs 6-7: Chaconne, transcribed for the Viola by the Performer, [4 sides] (listed above).

Lionel Tertis, viola.

1924.11.25.

mx AX 755/8, all take 2.

Single discs: (American Columbia) 67071/2-D.

The main works were issued on English Columbia and not in any sequence: the Double Concerto on L 1613/5A(25.3-28.2, reviewed in The Gramophone 1925.3); the Suite No. 2 on L 1557/8(24.6-28.2, reviewed in The Gramophone 1924.6); and the Chaconne on L 1644/5(25.7-28.2, advertised in The Gramophone 1925.6). But the filler to the English Columbia issue of the Concerto is different: Spohr: Duet 10 in D, Op. 67, No. 2: 3, Larghetto. (Arthur Catterall and John S. Bridge, violins with no accompaniment). Recorded on 24.4.10, mx AX 408-1. The Spohr got coupled in America as the filler to the Schubert Trout Quintet on set M 18 = 67113/7A-D. The English Columbia release of the Schubert, L 1698/1702, had as its filler Glazounov: Interludium in Modo Antico, 25.9.8, London String Quartet, mx AX 1088-1. Whether the Glazounov was issued on an American Columbia record, I do not know, for American Columbias are not nearly as popular among collectors as the Victors and are far less well documented. Creighton lists only the six John S. Bridge sides mentioned here. Bridge was also the second violin of the Catterall Quartet until 1925 and is further represented in this discography. He is nearly as forgotten as Huguenin, below, though his performances have more personality than most contemporary ones.

W005>>   Partita 3 in E for Violin Alone, Schmieder 1006, Chwiałkowski 4.54-4.60 (ca. 1818-23)

006>Henri Marteau, violin, [5 sides].

12.11.26 and 13.2.14.

mx 2479ah (12.11.26), 15038L (13.2.14), 2480ah (12.11.26), 15039L (13.2.14), 15040L (13.2.14) (Sarabande and Jig; one movement per side otherwise).

German Gramophon [Gramophone and Typewriter].49773/7 (double-faced discs cataloged by side numbers).

LP: Masters of the Bow [Canada].MB 1020, "Henri Marteau: Complete Recordings (1912/1929-32); Göran Olsson-Föllinger; Florizel von Reuter; Ferenc Arányi," a two-disc set.

The filler, 49778, is Boccherini-Marteau: Quintet in E, Op. 13, No. 5: 3, Minuet (Bull), mx 2481ah, recorded 12.11.26, played by Marteau and an anonymous pianist. Included in the LP reissue.

W006>>   Sonata (Cello) 2 in D, Schmieder 1028, Chwiałkowski 4.124 (ca. 1717-23)

007>Howard Bliss (brother of Arthur), cello; Stanley Chapple, piano, [4 sides].

probably late 1925/early 1926.

Vocalion.K 05218/9(26.3).

W007>>   Sonata (Violin) 2 in a, Schmieder 1015, Chwiałkowski 4.108 (ca. 1718-23)

008>William Primrose, violin; H.Y. Templeman, piano, [4 sides].

Probably late 1923/early 1924.

mx Cc 3915-3/6-3/7-2/8-1.

Gramophone.D 939/40 (1924). Reviewed in The Gramophone 1925.1.

LP: Masters of the Bow [Canada].MB 1030, "William Primrose" (his complete recordings on the violin).

CD: Pearl [England].in set BVA II.

W008>>   Suite 3 in C for cello alone, Schmieder 1009 (ca. 1718-23): Incomplete recording: 1, Prélude (Chwiałkowski 4.75); 4, Sarabande (Chwiałkowski 4.78); 5, Bourrée I (Chwiałkowski 4.79); 6, Bourrée II (Chwiałkowski 4.80) [with the first Bourrée repeated after the second]; 7, Jig (Chwiałkowski 4.81).

009>Pablo Casals, cello, [4 sides].

1915.4.23 and 1916.4.15 New York City.

mx 37 257-1/9-1/8-1 on 15.4.23 (1, Prélude; 4, Sarabande; 5 and 6, Bourrées) plus 48 697 on 16.4.15 (7, Jig).

American Columbia.A 5782 (1, Prélude and 4, Sarabande) (one side each) plus A 5697B (5 and 6, Bourrées, labeled just (single) Bourree on the record) plus A 5875A (7, Jig).

LP: American Columbia.bonus disc (side nos. XLP 14783/4) to SL 185, "Prades Festival," a ten-disc set of the music of Bach recorded in 1950. Contains 1, Prélude and 4, Sarabande only.

LP: Musicians Foundation [U.S.].TF 1001. Contains 1, Prélude and 4, Sarabande only.

CD: Wing [Japan].WCD 35 (ca. 1994), "The Early Recordings of Pablo Casals".

CD: Biddulph [England].LAB 141 (1997), "Pablo Casals: the complete acoustic recordings, volume I (1915-16)".

Fillers: Columbia.A 5697A (called side A here only because of the matrix numbers) has Popper: Mazurka in g, Op. 11, No. 3, with Charles A. Baker, piano. mx 37 256-1, 15.4.23. Reissued on American Columbia.7358; LP: Pearl [England].GEM 106; LP: Everest [U.S.].SBDR 3323 (phoney stereo); CD: Wing [Japan].WCD 35 (ca. 1994), "The Early Recordings of Pablo Casals"; CD: Biddulph [England].LAB 141 (1997), "Pablo Casals: the complete acoustic recordings, volume I (1915-16)".

Columbia.A 5875B (called side B here only because of the matrix numbers) has Haydn: Concerto (cello) in D, Op. 101, arranged by François Gevaërt: 2, Adagio, with anonymous conductor and orchestra. mx 48 695 on 16.4.14. Reissued on CD: Wing [Japan].WCD 35 (ca. 1994), "The Early Recordings of Pablo Casals"; CD: Biddulph [England].LAB 142 (1997), "Pablo Casals: the complete acoustic recordings, volume II (1916-20)".

W009>>   "Suite No. 6 for Full Orchestra," selected and arranged by The Conductor

010>Sir Henry J. Wood, New Queen's Hall Orchestra, [4 sides].

1925.2.5.

mx AX 909-2/910-2/911-1/912-1.

English Columbia.L 1684/5(26.1-28.2).

American Columbia.67172/3-D.

The six numbers are as follows: No. 1, "Prelude" (Well-Tempered Clavier 3 in C#, Schmieder 848, Chwiałkowski 6.246 (1722): 1, Prelude. No. 2, "Lament" (Departing Brother Caprice in Bb, Schmieder 992, Chwiałkowski 6.400 (1703/6): 3, E'un generale lamento deglia amici (Adagissimo)). No. 3, "Scherzo" (Partita 3 in a for Clavier, Schmieder 827 (1726/31): 6, Scherzo (Chwiałkowski 6.189)). No. 4, "Gavotte and Musette" (English Suite 3 in g, Schmieder 808 (by 1724/5): 5, Gavotte I (Chwiałkowski 6.67); 6, Gavotte II (ou la musette) (Chwiałkowski 6.68)). No. 5, "Andante Mistico" (Well-Tempered Clavier 22 in bb, Schmieder 867, Chwiałkowski 6.266 (1722): 1, Prelude). No. 6, "Finale" (Cantata 29, "Wir danken dir, Gott" (first performance 1731.8.27 for the inauguration of town council), Chwiałkowski 7.29: 1, Prelude). Layout: side 1: nos. 1, 2; side 2: nos. 3,4; side 3: no. 5; side 4: no. 6.

Wolfgang Schmieder, in his monumental Thematisch-systematisches Verzeichnis der musikalisches Werke Johann Sebastian Bachs (B.W.V.) (Leipzig: Breitkopf und Härtel, 1950) has a Suite No. 5 (Schmieder 1070, Chwiałkowski 1.5 (in italics, designating a lost, spurious, or doubtful work), but says its authenticity is doubtful. It is also not regarded as authentic in Grove, and, having heard its first recording, a stereophonic LP conducted by Jean-François Paillard, I don't see how Schmieder ever thought it could possibly have been written by Bach. (Yet there are those who question Bach's authorship of his perhaps best known piece, the organ Toccata and Fugue in d, B.W.V. 565!) The "fifth suite" was, however, published in Bach-Gesellschaft, ed., J.S. Bach Werke, 47 vol., Leipzig: 1851-99, in volume 45 (published 1897), one of several appendix volumes. Coming this late in the series, I suspect the work was put into an appendix because the editors themselves were dubious about its authenticity. Other possibilities for "Suite No. 6": WERM lists a "Suite in G" arranged by Eugene Goossens from various Bach works and "The Wise Virgins Ballet" Suite, compiled by Constant Lambert and arranged by William Walton from yet other Bach works. Perhaps one of these compilations was regarded as the fifth suite in the acoustic days, but as they were both first recorded electrically, they may not have been compiled by the time Wood's "Suite No. 6" was issued. But either is a possibility, making there some 8 orchestral suites in all, only the first 4 genuine.

Later recordings: The clavier works were all recorded electrically on keyboard, and the sinfonia to Cantata 29 has electric recordings in arrangements for piano, two pianos, and organ. The first recording in its orchestral version was on a monaural LP. I do not know what sort of arranging Sir Henry did for his acoustic recording of this last. I trace no further orchestral arrangement of any keyboard works in this "Suite No. 6," though WERM lists many, many orchestrations of other Bach works.

Non-chamber acoustic Bach sets:

Besides innumerable recordings of the Air on the G String and other violin showpieces, there was very little Bach recorded during the acoustic era. Of the vocal music, I have found several sides sung in the original languages, two arias from Cantatas and one from the St. Matthew Passion sung in English, and several recordings of the Bach-Gounod Ave Maria. The only works recorded that occupied more than a single disc are the 8 sets covered in this discography, the 2 other sets of orchestral works in the American Columbia Bach album detailed above, and 5 other concerto recordings and 1 recording of a suite. Since there are only these 6 other acoustics sets of the great Lutheran master, they may as well be listed here, for a total of 16 sets:

Brandenburg Concerto 3 in G, Schmieder 1048, Chwiałkowski 3.9 (1711/3)

Eugene Goossens, Royal Albert Hall Orchestra, [3 sides].

1922.10.5.

mx Cc 1935-3/6-2/7-2.

Gramophone.D 683/4A (side nos. 3-0826/8) (1923.4): W 550/1A [France].

Filler: Bach: Suite 3 in d, Schmieder 1068 (ca. 1729/30): 2, Air. Same forces. 1922.12. mx Cc 2215-4. D 684B (side no. 3-0829): W 551B.

Georg Hoeberg-Copenhagen, Berlin State Opera Orchestra, [3 sides].

probably late 1924.

mx 1629½/30½/31½ as.

Polydor.66014/5A (side nos. B 20480/2) (1925.1).

Filler: Rimsky-Korsakov: The Golden Cockerel (1909): Bridal March. Same forces and date. mx 1637as. Polydor.66015B (side no. B 20483).

Concerto 1 (Klavier) in d, Schmieder 1052, Chwiałkowski 3.14 (1730/3, arranged by the Composer from a lost violin concerto, which I believe has been found and recorded, though not possibly as vibrantly as the recording Joseph Szigeti made in 1940 of a reconstruction by Reitz)

Harriet Cohen, piano; Sir Henry J. Wood, Orchestra, [6 sides].

1924.9.24.

mx AX 601-1/2-1/3-1/4-2/5-1/6-2.

English Columbia.L 1624/6(25.4-28.2, reviewed in The Gramophone 1925.4).

Concerto 2 (violin) in E, Schmieder 1042, Chwiałkowski 3.2 (1717-23)

Jacques Thibaud, R. Ortmans, Orchestra, [5 sides].

24.10.21&31 and 23.11.1.

mx Cc5267-2/5268-2/5269-3/5312-1/5313-2.

Gramophone.DB 789/91A (side nos. 4-07924/8) (1925.9). Reviewed in The Gramophone 1925.9.

LP: Rococo [private Japanese label].OZ 7513.

CD: Biddulph [England].LAB 024 (1990), "Jacques Thibaud: the 1924-27 HMV Recordings."

Filler (side no. 4-07929) is Jean-Antoine Desplanes (geb. Giovanni Antonio Piani or Piana or Piano) (1678-after 1757) (noted for the extremely thorough instructions in his scores regarding dynamics, fingering, bowing, ornamentation, and indications of tempo and character): Intrada (Adagio) for violin and continuo, arr. by Tividár Nachèz (1859-1930) for violin and piano. Jacques Thibaud, violin; Harold Craxton, piano, mx Cc 5314-2. Filler included on the LP and CD.

Concerto for Two Violins in d, Schmieder 1043, Chwiałkowski 3.3 (ca. 1718-23)

Jelly d'Arányi and Adila Fachiri, violins and sisters; Stanley Chapple, String Orchestra, [4 sides].

late 1925/early 1926.

          mx 04244x/45/46/47x.

Vocalion.A 0252/3 (1926.2).

Suite (orchestral) 3 in d, Schmieder 1068, Chwiałkowski 1.3 (1729/30)

Josef Pasternack, Victor Concert Orchestra, [4 sides].

1917.8.2, 11.7, and 11.14.

No. 1, Overture on mx C 21083-4, 17.11.14. Nos. 2, Air, and 3, Gavotte I and II on mx C 20480-1/82-2, 17.8.2. Nos. 4, Bourrée, and 5, Jig on mx C 21062-2, 17.11.7.

Victor.35669 (Nos. 1, 4, and 5) and 35656 (Nos. 2 and 3).

Neither the Chromatic Fantasy and Fugue (Harold Samuel) nor the second violin concerto (Jacques Thibaud) have ever received a recording their equal. It is amazing how often the very first recording of a work is never surpassed.

C03>>>                                                                                                                                              BEETHOVEN, Ludwig van

1770 December 16 Germany-1827 March 26

W010>>   (12) German Dances, Grove 140, Kinsky 8, Chwiałkowski 4.14-25 (1795)

011>Frieder Weismann, Berlin State Opera Orchestra, [4 sides].

1925.5.27 and 6.10.

mx 8196/7 on 25.5.27 plus 8198-2 on 25.6.10 plus 8199 on 25.5.27.

Parlophon.P 1191/2 (1925.10).

Nos. 1-7 only: English Parlophone.E 10446(26.6).

The work was first published by [Carlo and Francesco] Artaria in 1795 for piano, but it is unclear whether this was a reduction of the orchestral score or vice-versa, in which case this recording does not belong in this discography. The orchestral version was published posthumously. Both versions appear to have done by Beethoven. The next recording of any of these dances was no. 12, conducted by Erich Kleiber. Nos. 11 and 12 were recorded by Fritz Lehmann and the entire set by Hermann Scherchen, all on electrical 78s. The piano version has been recorded by Rudolph Buchbinder in a six-disc stereo LP set of miscellaneous Beethoven piano pieces. The piano version is not in the 87-CD "complete" Beethoven Edition on Deutsche Gramophone.

Note: Mention should be made of two acoustic recordings of several of the so-called "Mödlinger Tänze," Kinsky 17, Chwiałkowski 4.41 (in italics, designating a lost, spurious, or dubious work). There being no piano version extant, they cannot qualify, even dubiously, as an orchestral arrangement of chamber (and solo instrumental) music for purposes of this discography. Barry Cooper says this about them: "Spurious. According to the extrememly unreliable Schindler, Beethoven wrote a set of waltzes for a local ban at an inn near Mödling during summer 1819. In 1905 Hugo Riemann found in Leipzig a set of parts for eleven dances and concluded that as they were well written they must be those referred to by Schindler. Since the set shows several differences from genuine Beethoven sets of dances (for example, in having a much less satisfactory key sequence), it can be dismissed on both internal and external grounds" (Cooper, p. 224f).

W011>>   Quartet 1 in F, Op. 18, No. 1, Chwiałkowski 6.3 (1798-1800)

012>London String Quartet. Abridged recording, [4 sides].

1919.7.

mx 75451-2/2-4/3-2/4-2.

English Columbia.L 1350 (20.3-27.4) plus L 1351 (20.5-27.4). The specific recording year and month is due to Taylor. Had these been first takes, the matrix numbers would definitely suggest 1917. It is possible that Taylor is in error and that the second (issued) takes were recorded in 1917 and waited for release during this period, but English Columbia had generally gotten out of issuing abridged recordings after 1917, exceptions being a 1918 recording of Mozart's Quartet 15 and the 1923 Catterall remakes of the 1918 Sammons Beethoven Spring Sonata and the 1917 Kreutzer Sonata. (See Coleridge-Taylor for another recording possibly issued long after it was made.) Mentioned in The Gramophone 1923.4.

013>Catterall Quartet, [7 sides].

1921, 1922, and 1923.

mx Cc 1299-1 (1922), for movement 3, plus Cc 2909-1/10-4/11-4/12-4/13-3/14-2 (1923, for movements 1, 2, and 4, two sides each). Brian Bishop speculates that the scherzo was initially recorded as an isolated movement, as was still customary in 1922, and only later was the rest of the work added. Creighton I lists only Cc 2909, 2910, 2913, and 1299, with correct takes. Creighton II has no matrix data.

Gramophone.D 947/50A (belated issue, 1924, mentioned in The Gramophone 1925.1).

Filler: Tchaikovsky: Quartet 2 in F, Op. 22: Scherzo, mx Cc 679-1 (1921). Previously issued on Gramophone.D 597, with Schumann: Quartet 2 in F, Op. 41, No. 2: Andante, on the first side, listed in Voices of the Past, as "Quartet Op. 71/2 - Andante Mendelssohn." Thanks to Brian Bishop for this information and for a tape of the recording.

014>The Lyric String Quartet. Abridged recording: sixty bars cut from the end of movement 2, [6 sides].

probably late 1923.

Velvet Face.571/3 (1923). Reviewed in The Gramophone 1924.1.

"In the string quartet for two violins, viola, and 'cello we have the purest and highest revelation of chamber music and perhaps of all music" (Donald F. Tovey in Cobbett, I: 252).

W012>>   Quartet 2 in G, Op. 18, No. 2, Chwiałkowski 6.4 (Compliments) (1798-1800)

015>London String Quartet. Abridged recording, [4 sides].

1916.5.

mx 6758-1-2/59-2 (L 1056) plus mx 6760-2/1-1 (L 1068).

English Columbia.L 1056(16.9-27.7) plus L 1068(16.10-23.11.19). Mentioned in The Gramophone 1923.4.

The London String Quartet recorded the first movement earlier. Here is the entry in Taylor for English Columbia.531, issued 1915.5 and deleted by 1915.8: "Quartet in D, op. 20-Andante and Minuet (Haydn); Quartet in g minor [sic], Op. 18-Allegro (Beethoven)."

016>Catterall Quartet, [6 sides].

Probably late 1924.

Gramophone.D 997/9 (1925). Reviewed in The Gramophone 1925.7.

W013>>   Quartet 3 in D, Op. 18, No. 3, Chwiałkowski 6.5 (1798-1800)

017>London String Quartet. Abridged recording, [4 sides].

mx 01355/8.

Vocalion.D 02004(21.2) plus D 02008(21.3). Mentioned in The Gramophone 1923.4.

W014>>   Quartet 5 in A, Op. 18, No. 5, Chwiałkowski 6.7 (1798-1800): Incomplete recording: 3, Variations and 2, Menuett only.

018>Klingler Quartet [Karl Klingler, Josef Rywkind, Fridolin Klingler, Arthur Williams], [3 sides].

1911.

mx xxB 5547/9, numbers supplied by Hansfried Sieben.

Odeon.76274/6 (double-faced discs cataloged by side numbers). Movement 3 also issued on Odeon.79166/7 (also a double-faced disc). (76274/5 appeared in an auction list of Gunter Meyer in Germany in 1998.)

Filler, mx xxB 5550 on Odeon.76277, is an abridged recording of Haydn: Quartet in D, Op. 64, No. 5 ("Lark"): 3, Menuett (Allegretto) and 4, Finale (Vivace). Matrix and catalog information about the filler is missing in Sieben's matrix sequence and comes instead from a reissue of most of the Klingler Quartet recordings on CD: Testament [England].SBT 2136 (1998), a two-disc set, "The Klingler Quartet, 1905-1936, the Joachim Tradition." This CD set omits the two movements from Quartet 5, alas, and claims that the Haydn has the second and third movements of the Lark Quartet instead of the third and fourth.

019>Klingler Quartet [Karl Klingler, Josef Rywkind, Fridolin Klingler, Arthur Williams], [3 sides].

1912.

mx xxb 5667/9, numbers supplied by Hansfried Sieben.

Odeon.79166/8 (double-faced discs cataloged by side numbers): O-6069 plus O-6211A.

Filler, mx xxB 5670 on Odeon.79169: O-6211B, is Beethoven: Quartet 13 in B, Op. 135: 4, Alla danza tedesca. Filler only reissued on CD: Testament [England].SBT 2136 (1998), a two-disc set, "The Klingler Quartet, 1905-1936, the Joachim Tradition." Odeon.79169/70 appeared in an auction list of Gunter Meyer in Germany in 1998.

Reissue of one of these two recordings: LP: Odeon [German EMI].F 669.424/6 A/M, a 3-disc set, "Die Karl Klingler-Stiftung präsentiert: Klingler-Quartett, 1906-1936," supposedly their complete recordings, though new recordings have a habit of turning up. It is surprising to find the same work recorded twice by the same artists in these very early years. Had not matrix numbers been supplied by Sieben, this discographer would have conflated the performances. To further confuse matters, note that Sieben lists the third movement (Variations) as issued on the same catalog number Odeon.79166/7 for both the 1911 and 1912 recordings! Sieben also gives Odeon.76282 for the dance movement from the Thirteenth Quartet as a filler. Donald Hodgman owns a copy of double-faced Odeon.76278/76282, which consists of the Menuet from Quartet 5 and All danza tedesca from Quartet 13. It may be of some help to list all the acoustic recordings of the Klingler Quartet:

1911:

mx xxB 5547 on 76274: 79166. Beethoven: Q. 5: 3, Var., part 1.

mx xxB 5548 on 76275: 79167. Beethoven: Q. 5: 3, Var., part 2.

mx xxB 5549 on 76267. Beethoven: Q. 5: 2, Menuett.

mx xxB 5550 on 76277. Haydn: Lark Q.: 3 and 4. Not in Sieben's matrix list.

mx xxB 5551 on 76278. Mozart: Q. 15 in d: 3, Menuett.

mx xxB 5552 on 76279. Schubert Q. 14 in d: 3, Scherzo.

1912:

mx xxB 5667 on 79166: O-6069. Beethoven: Q. 5: 3, Var., part 1.

mx xxB 5668 on 79167: O-6069. Beethoven: Q. 5: 3, Var., part 2.

mx xxB 5669 on 79168: O-6211. Beethoven: Q. 5: 2, Menuett.

mx xxB 5670 on 76282: 79169: O-6211. Beethoven: Q. 13: 4.

The CD reissue lists mx xxB 5669.

mx unlisted on 76283. Mozart: Q. 16 in Eb: 3, Menuett. Not in Sieben's matrix list. The CD reissue lists mx xxB 5670.

1922/23, according to the CD reissue:

mx unlisted on Vox.06094. Mendelssohn: Q. 1 in D: 2, Canzonetta.

mx unlisted on Vox.06094. Mozart: Q. 19 in C: 3, Menuett.

Unknown matrix, label, issue, and date:

mx unlisted. Issue unlisted. Schumann: Q. 3: 2, Variations (two-sides).

The CD reissue lacks the Beethoven: Quartet 5 movements and the Schubert. The Klingler Quartet's most magnificent recording is Beethoven: Quartet 12, an electric of 1934.

W015>>   Quartet 6 in Bb, Op. 18, No. 6, Chwiałkowski 6.8 (1798-1800)

020>London String Quartet. Abridged recording, [4 sides].

mx 01798, 01799, 01800, 01802.

Vocalion.D 02141(24.1) plus D 02142(24.2). First disc reviewed in The Gramophone 1924.2; second disc reviewed in The Gramophone 1924.3.

Who Invented Jazz? "A correspondent sent us a cutting from an American paper with the above heading. This is the charming style of it:--'One hundred and twenty-five years ago, it occurred to a deaf, ugly, pock-marked grouch in Vienna to write the first piece of jazz as a scherzo for his sixth string quartet.... You need only substitute for the first violin a saxophone with an effective caterwaul; add a myriad-minded drummer equipped with one-half the items listed in the catalog of a mail-order house; daub the classical beauty of Beethoven with a vermilion splutch or two of cave-man stuff; stop abruptly in the middle of the third measure from the end--and you will have music worthy of the loftiest and latest traditions of Paul Whiteman'" --The Gramophone 1925.3, p. 391.

W016>>   Quartet 7 in F, Op. 59, No. 1, Chwiałkowski 6.9 (Razumovsky No. 1) (1805-6)

021>The Spencer Dyke String Quartet, [10 sides].

1925.

National Gramophonic Society of London.T,V,W,X,Y (U skipped over and never issued. So were J and II.) (19/23). Noted in The Gramophone 1925.6 as having been recorded. An advertisement in The Gramophone 1926.10 noted that the recording was out of print.

W017>>   Quartet 8 in e, Op. 59, No. 2, Chwiałkowski 6.10 (Razumovsky No. 2) (Hero) (1805-6)

022>Virtuoso String Quartet, [8 sides].

Probably late 1924.

mx Cc 4540-5/4614-6/4615-1/4616-1/4617-2/4690-2/4691-3/4692-3. Creighton I had 4690-3 and 4691-2.

Gramophone.D 953/6 (1924). Reviewed in The Gramophone 1925.2.

023>London String Quartet, [also 8 sides].

1924.10.3 and 1925.9.8.

mx AX 628-6/29-4/30-3/31-3 on 25.9.8 plus mx AX 632-1/33-1/34-2/35-1 on 24.10.3, i.e., AX 628-35, inclusive.

English Columbia.L 1724/7(26.4-27.6). Issued belatedly. Reviewed in The Gramophone 1926.4.

W018>>   Quartet 10 in Eb, Op. 74, Chwiałkowski 6.12 (Harp) (1809)

024>The Spencer Dyke String Quartet, [6 sides].

National Gramophonic Society of London.A-C (1/3). Mentioned in The Gramophone 1924.10. An advertisement in The Gramophone 1926.10 noted that the recording was out of print.

"It was a problem to get this quartet on three records. The Scherzo was as usually played just too long for one side. At the rehearsal I asked Mr. Spencer Dyke if they couldn't knock 25 seconds off it in the playing. He agreed to try, and I timed them. The result is a triumphant success." -- Compton Mackenzie, in The Gramophone 1925.4.

025>Léner Quartet, [8 sides].

1924.11.20.

mx AX 737-1/738-2/739-2/740-2/741-1/742-2/743-1/744-2, i.e., AX 737-44, inclusive.

English Columbia.L 1657/60(25.9-28.2). Reviewed in The Gramophone 1925.9.

American Columbia.set M 26 = 67118/21-D.

1932 electric remake on English Columbia.LX 319/22; American Columbia.set M 202 = 68230/3-D [also 8 sides].

W019>>   Quartet 14 in c#, Op. 131, Chwiałkowski 6.16 (1826)

When we hear what a César Franck with the vision of a Van Eyck can do in music, we look, but in vain, for a composer who might be set beside Dante. Not even to Beethoven can we grant that eminence of the human mind. When I hear the later quartets occasionally I used to think that Beethoven had passed beyond the reach of a mortal, but now that I have been able to play these quartets over and over again [on the gramophone], and listen to the ninth symphony over and over again, I have realized that he never for an instant transcended mortality as in the Paradiso Dante transcended it. The finale of the ninth symphony is a descent to earth from those flutterings in the first movement on the brink of life's secret. Not that I would have Beethoven shed one trace of his common humanity with ourselves. I glory in his sublime failure to voice the ineffable, and I love him as I could never love Dante; but there are moments when I long for him to be able to soar undismayed and never to groan, as he inevitably will somewhere in his greatest compositions, that life is after all naught but a wry joke. Prometheus bound was a greater poetic conception than Prometheus unbound, and it is significant that since Shelley we have had no cosmic great poet. Prometheus was unbound and poetry died. And now, though we know that it was nothing but a titanic delusion from which Shelley and Beethoven suffered, and though we have proved its falsity on many battle-fields, poetry does not come to life again, and even music gasps. This is one of the pleasures of the gramophone, this continual company of music which enables one to speculate upon it in various moods, which makes one independent of other people's programmes, and which turns half one's library into records of music.

--Compton Mackenzie in Cobbett, I:492.

026>Léner Quartet, [10 sides].

1924.2.11, 2.21, and 8.25.

mx AX 300-1/301-1 on 24.2.11 plus mx AX 302-4 on 24.8.25 plus mx AX 323-3/324-2/325-2/326-1/327-2/328-2/332-2 on 24.2.21.

English Columbia.L 1581/5(24.11-28.2). Mentioned in The Gramophone 1924.4.

American Columbia.set M 6 = 67021/5-D.

1932 electric remake on English Columbia.LX 294/8; American Columbia.set M 175 = 68059/63-D [also 10 sides].

027>London String Quartet, [8 sides].

probably 1924.

Vocalion.K 05138/41(25.1).

Electric remake (unabridged) on English Columbia.LX 463/7; American Columbia.set M 193 = 68194/8-D [10 sides]. Taylor lists an earlier LSQ recording on English Columbia.L 1038 (16.6-27.7), consisting of "Quartet in c minor, Op. 131-Allegro (Beethoven)" on mx 6437-5 and "Quartet in F-unspecified movement (Ravel)" on mx 6634-2. The identification of the works is the same as in Voices of the Past, which gives the matrix numbers but without take information.

Compton Mackenzie, who carefully compared recordings against scores, said the recording is complete in The Gramophone 1925.4.

028>Gewandhaus String Quartet, Leipzig, [10 sides].

Polydor.66205/9. Issued after 1924.9 but by 1926.7.

W020>>   Quartet 15 in a, Op. 132, Chwiałkowski 6.18 (Heiliger Dankgesang, though strictly this applies to the third movement only) ([Nikolai Borisovich] Galitzin (1794.12.19-1860.11.3) No. 2) (1825)

029>Léner Quartet, [10 sides].

1924.11.20&21.

mx AX 745-2/746-1 on 24.11.20 plus mx AX 747-1/748-2/749-2/750-2/751-1/752-2/753-1/754-2 on 24.11.21, i.e. AX 745-54, inclusive.

English Columbia.L 1672/6(25.11-28.2) (in an Art Album). Reviewed in The Gramophone 1925.11.

American Columbia.set M 27 = 67122/6-D.

1935 electric remake on English Columbia.LX 463/7; American Columbia.set M 273 = 68761/5-D [also 10 sides].

W021>>   Serenade in D, for violin, viola, and cello, Op. 8, Chwiałkowski 7.25 (1796-7). Abridged and incomplete recording: Side 1: [1,] Marche. Side 2: [5,] Allegretto alla polacca. Side 3: [6, part 1:] Thème et Variations de violon. Side 4: [6, part 2:] Variations de violoncelle et alto. (Some of these sides may be complete sections rather than abridgements as such. Numbers in brackets are those of the movements of the score.)

030>Pierre Sechiari, violin; Maurice Vieux, viola; M.J. Marneff, cello, [4-10" sides].

1907.

mx 6588/90/91/92o.

French Gramophone.38079/82 (double-faced discs cataloged by side numbers, but may have had a single-faced issue as well). Not in Creighton.

Second issue under that catalog number. The first issue was (single-faced) discs 6-9 of a ten-7" disc sequence 38075-84, entitled "Trompes de Chasse," for hunting horns and recorded in 1903. The matrices of the four discs are 2085F/86F/87F/99F. Each disc consists of two selections: Le sanglier, Le loup; Le louvart, Le renard; Le blaireau, Le chevreuil; Le daim, La biche.

W022>>   Serenade in D, for Flute, Violin, and Viola, Op. 25, Chwiałkowski 7.31 (1801). Abridged and incomplete recording (movements as given in Alan Kelly's discography; the digits in brackets referring to the movements in the score are mine): Side 1: [1,] Entrata. Side 2: [2,] Allegro molto. Side 3: [4,] Andante et Variations (violin and viola) (in fact contains the andante, the first variation (played by violin and viola alone), some further variations, and the last variation). Side 4: [5,] Scherzando. Side 5: [4,] Andante et Variations de flûte [must be some other variations in the fourth movement]. Side 6: [7,] Finale.

031>Adolphe Hennebains, flute; Pierre Sechiari, violin; Maurice Vieux, viola, [6-10" sides].

1907.3.

mx 6524/26/28/29/27/30o.

Gramophone.38069/74 (double-faced discs cataloged by side numbers, but may have had a single-faced issue as well). Sides 2 and 3 also issued on Gramophone.P 319 (10"). All issues are French. Not in Creighton.

Sides 2 and 3 (labeled, according to the accompanying booklet for the CD reissue, Allegro molto (1'54") and Andante con variazionie (fragment) (2'19") and taken from 38070 & 38071) were reissued on CD (England): Pearl.GEMM CDS 9148, "The Recorded Viola, Vol. 1," a two-disc set.

The original 78 r.p.m. issue was the second issue under that catalog number. The first issue was discs 6-11 of an eleven-10" single-faced sequence 38064-74, entitled "La Cercle du 'Bien Aller,'" for hunting horns and recorded in 1905.

The first of the six discs, 38064, mx 9036u, was reissued on Zonophone.X-88018, and contains: "Le renard; Le loup; Le sanglier; Le chevreuil d'Orléans; Le chevreuil de Bourgongne; and Le daim.

The second disc, 38070, mx 9018u, reissued on Zonophone.X-88014, has Sonbrun's Le Moulin de la Vièrge.

The third disc, 38071, mx 9019u, reissued on Zonophone.X-88014, has Laugé's Souvenir de Rouen.

The fourth disc, 38072, mx 9020u, reissued on Zonophone.X-88005, has Laugé's Le Chabrillant.

The fifth disc, 38073, mx 9021u, reissued on Zonophone.X-88012, has Laugé's Le Marche des Cerfs and Caneua's La Rallye des Charmes.

The sixth disc, 38074, mx 9023u, reissued on Zonophone.X-88017, has D'Uzès's Le Rallye-Bonnelles, de Pontchartrain's La Pontchartrain, and Roger-Laurent's La Roger-Laurent. I have no idea who these composers are, nor why two of them entitled works after themselves, if indeed that was what happened.

W023>>   Sonata 8 in C, Op. 13, Chwiałkowski 9.13 (Pathétique) (?1797-8)

032>Frederic Lamond, piano, [4 sides].

1925.3.30.

mx Cc 5956/9. Two takes laid down for each side.

Gramophone.unissued.

Lamond also laid down two takes for each side on mx Cc 7404/7 on 25.11.26 early in the electric era, but nothing was issued. His third attempt, on 26.10.20, mx Cc9334-1/5-1/6-1A/7-1, was a success and was issued on Gramophone.D 1188/9 (27.3). Reissued on CD: Biddulph [England].LHW 042 (1998), "Frederic Lamond plays Beethoven (Vol. 1)."

033>Wilhelm Kempff, piano, [4 sides].

probably middle 1925.

mx 1712/5-as.

Polydor.66176/7 (side nos. B 27090/3) (1925.12, according to a letter in The Gramophone 1925.12 that referred to the release "this month" of five Kempff Beethoven sonatas, though this discographer counts only four, namely Nos. 8, 14, 26, and 28 of the sequence 66172-9) (reviewed in The Gramophone 1926.3).

By my count, Kempff made eight further recordings of the work: 66676/7 (1927); 90184/6: 47009/11 (1931, 10"); 57051/2: 67113/4 (1936); 67682/3 (1940) (recording dates of these and other Kempff rerecordings may not be accurate, as Polydor dates are hard to come by, due to Allied bombing of the Polydor factory in World War II [a term invented by Time magazine]); 2 monaural LPs; 2 stereo LPs. Nine recordings of a single work by a single artist may be a record, excluding a disc of fourteen recordings on as many organs of the toccata of Bach's Toccata and Fugue in d, Schmieder 565, for organ by E. Power Biggs on a monaural Columbia LP. Biggs made several other recordings of this most famous of Bach organ works also.

W024>>   Sonata 12 in Ab, Op. 26, Chwiałkowski 9.17 (Funeral March) (1800-1)

034>Wilhelm Kempff, piano, [6 sides].

probably late 1924.

mx 1737½/38/39/40/41/42-as

Polydor.66041/3. Issued after 1924.9 but before 1925.12.

Five further recordings by Kempff: 66684/6 (1927); 95465/7 (1932); 67824/6 (1940); monaural and stereo LPs.

W025>>   Sonata 14 in c#, Op. 27, No. 2, Chwiałkowski 9.19 (Moonshine) (1801)

035>Frederic Lamond, piano, [3 sides].

1922.4.3 and 6.16.

mx Cc 1179-3/80-3 on 22.6.16 and mx Cc 1181-1 on 22.4.3.

Gramophone.D 718/9A (side nos. 05730/1/2) (1922). Reviewed in The Gramophone 1923.9.

Filler: Liszt: Concert Study 3 in Db, Chwiałkowski 9.32 (Rondo, Un sospiro) (mx Cc 644-1, side no. 05685, on 21.11.7).

Lamond laid down two takes each on mx Cc 7355/59/60 on 25.11.23 as his first attempt at an electric recording of the work, but nothing was issued. His 26.10.20 sessions were successful and the first takes of mx 9330/2 were issued on D 1140A/41 (27.1). The filler, 1140B, also Un sospiro, came from the 25.11.23 session on mxCc 7361-2. The attempted filler from the 26.10.20 session, Beethoven: Sonata 18: 2, Scherzo, on mx Cc9333-1,1A, went unissued. Lamond attempted the work once again for the Decca Company on 41.5.15 and 12.17, this time on four sides, mx AR 5746-1,2,3,4/47-1,2,3,4/48-1,2,3/49-1,2,3,4, but they remain unissued. The 1926 remake was reissued on CD: Biddulph [England].LHW 042 (1998), "Frederic Lamond plays Beethoven (Vol. 1)."

Note: the commas in the take data indicate separate takes recorded in the studio, whether or not issued.

036>Wilhelm Kempff, piano, [4 sides].

probably middle 1925.

mx 1700/01/06/07-as.

Polydor.66172/3 (side nos. B 27082/5) (25.12, according to a letter in The Gramophone 1925.12 that referred to the release "this month" of five Kempff Beethoven sonatas, though this discographer counts only four, namely Nos. 8, 14, 26, and 28 of the sequence 66172-9). Reviewed in The Gramophone 1926.3. Seven further recordings by Kempff: 66674/5 (1928); 90191/2: 47012/302 (1932, 10"); 67856/7 (1941); 2 monaural LPs; 2 stereo LPs.

037>Marie Novello, piano, [probably 4 sides].

Velvet Face.[catalog numbers unknown to the present discographer]. Mentioned in The Gramophone.

W026>>   Sonata 17 in d, Op. 31, No. 2, Chwiałkowski 9.22 (Tempest) (1802)

038>Frederic Lamond, piano, [6 sides], unissued.

25.3.30 and 4.1.

mx Cc 5960/3 on 25.3.30 plus mx Cc 5976/7 on 25.4.1, two takes each.

Gramophone.unissued.

Lamond was back in the studio on 27.12.14 to record the work electrically, but on mixed 10" and 12" sides. mx Bb 12134/5 was supposed to be the first movement and mx Bb 12136 to be the first part of the second movement. These were 10" recordings, and two takes of each side were taken down. What happened was that two 12" sides were recorded on 28.3.8 on mx Cc 12825/6, the first takes from which were issued as mvt.1, part 1 on Gramophone.D 1644A and as mvt. 1, part 2 and mvt. 2, part 1 on D 1644B. Back to the 27.12.14 session and to 12" matrices: mx Cc 12137-1T1 became mvt. 2, part 2 on D 1645A, and mx Cc 12138-2T1 became mvt. 3, part 1 on D 1645B. But the attempted mvt. 3, part 2 on the 10" mx Bb 12139-1,2 was not issued, while the 28.3.8 session produced a successful 12" mx Cc 12827-1, which was issued on D 1646A. So what began as two-12" and 4-10" sides resulted in five-12" sides. The filler, Brahms: Capriccio in b, Op. 76, No. 2, was most drolly recorded during the 28.3.8 session on mx 12828-2 and constituted D 1646B. The electric sonata has been reissued on CD: Biddulph [England].LHW 043 (1998), "Frederic Lamond plays Beethoven (Vol. 2)," and the droll Capriccio, one of the great Brahms recordings of all time, on CD: Pearl [England].GEMM CD 9911, "Frederic Lamond: Liszt's last pupil." The original D 1164/6 was belatedly issued in 1930 and, probably in the late 1940s, as Victor set.M 957, though issued only in Chile.

W027>>   Sonata 18 in Eb, Op. 31, No. 3, Chwiałkowski 9.23 (The Hunt) (1802)

039>Josef Weiss, piano, [5 sides].

1924.5.7 and 10.1.

mx 7579/80 (mvt. 1, recorded on 24.10.1, remake of the 24.5.7 session) plus mx 6866/8 (mvts. 2-4, 24.5.7).

Parlophon.P 2038/40A.

Filler is Chopin: Berceuse (1924.3.24 on mx 6767).

W028>>   Sonata 21 in C, Op. 53, Chwiałkowski 9.26 (Waldstein) (1803-4)

040>Frederic Lamond, piano, [5 sides].

1922.6.16 and 9.7 plus 1923.9.18.

mx Cc 1479-1 on 1922.6.16, mx Cc 1480-3 (so claim James Methuen-Campbell and Alan Vicat; Voices of the Past says take 2) on 1922.9.7, mx Cc 1907-3/8-3/9-3 on 1923.9.18.

Gramophone.D 960/2A (side nos. 05826/30). Mentioned in The Gramophone 1923.9; mentioned again as having been finally and belatedly issued, 1925.3; reviewed 1925.4.

Filler: Sonata 18 in Eb, Op. 31.3: 2, Scherzo (mx Cc 3460-1), recorded on 23.9.18. Methuen-Campbell reports this as side no. 05683, but he attributes this same side no. to the same work on mx Ho 3936af, recorded 19.9 (Vicat gives 19.9.5) on one side of Gramophone.D 600. The side no. attribution to the earlier disc is consistent with those reported by Methuen-Campbell at or about the same time. Vicat, however, identifies the work on D 600 as "Scherzo (probably from Op. 31 No. 3)." Neither Methuen-Campbell nor Vicat identify the other side of D 600, and Voices of the Past leaves the entire disc blank.

Again, Lamond attempted an early electric, on the same day as his attempt at Sonata 14, namely 25.11.23, on mx Cc 7350/4. A 1930.3.5 session, on mx Cc 18630-4/1-3/2-4/3-3/4-4, was successful and the results appeared on Gramophone.D 1983/5A (1931.4); Victor.11144/a (1936): set M 956 (the last released in Chile only probably in the late 1940s) [same filler, mx Cc 18635-4; also 5 sides]. Reissued on CD: Biddulph [England].LHW 043 (1988), "Frederic Lamond plays Beethoven (Vol. 2)."

041>Wilhelm Kempff, piano, [6 sides].

probably late 1924.

mx 1694/9-as.

Polydor.66036/8 (side nos. B 27052/7) (after 1924.9 but before 1925.12).

Five further recordings by Kempff: 66678/80 (1927); 95474/6 (1932); 68276/8 (1943); monaural and stereo LPs.

W029>>   Sonata 23 in f, Op. 57, Chwiałkowski 9.28 (Appassionata) (1804-5)

042>Frederic Lamond, piano. Quite hurried recording, [4 sides].

1922.9.7 (possibly) and 1923.9.18.

mx Cc 1910-3 (so claim Alan Vicat and Voices of the Past; James Methuen-Campbell says take 2 and gives a recording date of 22.9.7) on 22.9.7 or 23.9.18 (Vicat reports four takes covering both dates) plus mx Cc 1911-4/3458-1/3459-1 on 23.9.18. Voices of the Past lists matrix and take information only for the first disc and claims a 1923 recording date.

Gramophone.D 773/4 (side nos. 05741/4) (1923).

Two attempts at electric remakes (as though his acoustic recording were not more electrifying than many made since) on 25.11.26 on mx Cc 7408/11-1,2 and on mx Cc 9346-1,2,3,4/7-1,2,3/8-1,1A,2,3/9-1,1A,2,2A,3,4 on 26.10.22 and 27.1.4. Successful remake on 27.3.29 on mx CR 1255/8-2, issued on D 1278/9 (1927), reissued on CD: Biddulph [England].LHW 043 (1998), "Frederic Lamond plays Beethoven (Vol. 2)."

043>Josef Weiss, piano, [6 sides].

1924.5.7 and 10.1.

mx 6869/70 (mvt. 1 on 24.5.7) plus mx 7581/4 (mvts. 2 and 3 on 24.10.1, remake of 24.5.7 session, which tried to squeeze the second and third movements onto three sides).

Parlophon.P 2041/3.

044>Wilhelm Kempff, piano, [6 sides].

probably late 1924.

mx 1688/93-as.

Polydor.66033/5 (side nos. B 27046/51) (after 1924.9 but before 1925.12).

Seven further recordings by Kempff: 66681/3A (1927); 95471/3: 57012/4 (1932); 68270/2 (1943); 2 monaural LPs; 2 stereo LPs.

W030>>   Sonata 26 in Eb, Op. 81a, Chwiałkowski 9.31 (Farewell) (1809-10)

045>Wilhelm Kempff, piano, [4 sides].

probably middle 1925.

mx 1708/11-as.

Polydor.66174/5 (side nos. B 27086/9) (1925.12, according to a letter in The Gramophone 1925.12 that referred to the release "this month" of five Kempff Beethoven sonatas, though this discographer counts only four, namely Nos. 8, 14, 26, and 28 of the sequence 66172/9). The 1926/27 English language Polydor export catalog lists the second record as 65175, but this is probably an error.

Three further recordings by Kempff: 66687/8 (1927); monaural and stereo LPs.

W031>>   Sonata 27 in e, Op. 90, Chwiałkowski 9.32 (1814)

046>Wilhelm Kempff, piano, [4 sides = 2-12" + 2-10" sides].

probably late 1924.

mx 3311/2-ar for the 10" disc; mx 1719/20-as for the 12" disc.

Polydor.62491 (10") (side nos. B 7012/3) (first movement) plus 66039 (12") (side nos. B 27058/9) (second movement). Issued after 1924.9 but before 1925.12.

Three further recordings by Kempff: 62639 (10") plus 66712 (12") (1928); monaural and stereo LPs.

W032>>   Sonata 28 in A, Op. 101, Chwiałkowski 9.33 (1816)

047>Wilhelm Kempff, piano, [4 sides].

probably middle 1925.

Polydor.66178/9 (1925.12, according to a letter in The Gramophone 1925.12 that referred to the release "this month" of five Kempff Beethoven sonatas, though this discographer counts only four, namely Nos. 8, 14, 26, and 28 of the sequence 66172/9). The 1926/27 English language Polydor export catalog gives the second disc as 65179, but these catalogs have more than a few errors.

Only two further recordings by Kempff (for the complete monaural and stereo LP cycles).

W033>>   Sonata (Violin) 5 in F, Op. 24, Chwiałkowski 8.35 (Spring) (1800-1)

048>Albert Sammons, violin; William Murdoch, piano. Abridged recording, [4 sides].

Probably 1918.

mx 76012/5, all take 1.

English Columbia.L 1231/2 (first issue under that catalog number). The first disc was in the catalog between 18.11 and 23.8. The second disc was scheduled for issue in 18.11 but (according to Taylor) apparently issued in 19.6. The second disc was also deleted in 23.8. Creighton I lists both Catterall and Sammons and gives Catterall matrices, mx AX 65/8, but without take numbers in the case of Sammons, for both. Listed in Voices of the Past, but with the Catterall matrix numbers and no takes and only for the second disc, i.e., mx AX 67/8. Creighton II remarks, "Confusion remains regarding this release. Catterall was also assigned Columbia L 1231/2, however the matrices differ. They are AX 65/9." This discographer is very pleased to clear up the confusion, and, thanks to Claude Arnold, he has a tape of both recordings.

049>Arthur Catterall, violin; William Murdoch, piano. Abridged recording, [4 sides]

1923.6.6.

mx AX 65/8, all take 1.

English Columbia.L 1231/2(23.8-28.2) (second issue under that catalog number).

American Columbia.67161/2-D.

Not in Voices of the Past, but correctly listed in Creighton with correct matrix and take numbers both. Creighton lists both American and English Columbia issues.

050>Robert Zeiler, violin; Bruno Seidler-Winkler, piano, [5 sides].

Polydor.65764/6A (side nos. B 29016/21). Issued by 1924.9.

Filler is "Trio in c minor, Op. 12: Minuet" (whatever that is!). The 1924/25 English language Polydor export catalog gives: 65764A: movement 1, part 1. 65764B: movement 1, part 2. 65764A: [again] movement 2. 65764B [again]: movement 3. 65765A: movement 2. 65765B: movement 3. The 1926/27 catalog gets it right, or at least plausibly so: 65764A: movement 1, part 1. 65764B: movement 1, part 2. 65765A: movement 2. 65765B: movement 3, movement 4, part 1. 65766A: movement 4, part 2. 65766B: mysterious filler.

One would THINK that the source for catalog numbers would be the catalog, but this is by no means always the case. To further complicate matters, The Gramophone, 1925 October, refers to "a mysterious duplication of the adagio [movement 2]"! The resolution of this matter is left, as they say, "as an exercise for the reader," resolvable perhaps by claiming that The Gramophone writer had not actually seen the discs. See also Sonatas 26 and 28 for other cases where the catalogs seem to be in error.

051>Edith Lorand, violin; Michael Raucheisen, piano, [6 sides].

1925.9.25.

mx 8311/6.

Parlophon.P 2060/2; reissued on Parlophone [England].E 10414/6. Reviewed in The Gramophone 1926.3. Creighton lists the English reissue only.

W034>>   Sonata (Violin) 9 in A, Op. 47, Chwiałkowski 8.39 (Kreutzer) (1802-3)

052>Albert Sammons, violin; William Murdoch, piano. Abridged recording, [4 sides].

1917 (recordings with higher matrix numbers were in the 1917.6 catalog).

mx 75488/91, all take 1.

English Columbia.L 1210/1(17.11-23.8) (first issue under that catalog number). Creighton I does not list a Sammons recording of this abridged acoustic, while it does list the Catterall remake. Voices of the Past does list the Sammons, but without matrix numbers, and does not list the Catterall at all. Creighton II remarks, "Confusion remains regarding this release. Catterall was also assigned Columbia L 1210/1, however the matrices differ. They are AX 71/4." This discographer is very pleased to clear up the confusion, and, thanks to Claude Arnold, he has a tape of both recordings.

1926.12.15 electric remake of the sonata (unabridged) on English Columbia.L 1884/8 (27.3-28.2): 9352/6 (28.2.14-40.1); American Columbia.set M 53 = 67261/5-D [10 sides]; Japanese Columbia.J 7151/5; LP: Pearl.GEMM 238, "Albert Sammons; Isolde Menges."

053>Marjorie Hayward, violin; Una Bourne, piano. Abridged recording, [4 sides].

Probably 1918.

mx Ho 3092/4/6/7 af. Creighton II reports an ef suffix, but af's are found in other Gramophone recordings in this discography.

Gramophone.C 844 (18.5) plus C 854 (18.7) (side nos. 08057/60) (reported withdrawn in The Gramophone 1925.1): L 558/9 [France]: Z 78/9 [Scandinavia].

Victor.35754/5 (1925).

054>Arthur Catterall, William Murdoch. Abridged recording, [4 sides].

1923.6.7.

mx AX 71/4, all take 1.

English Columbia.L 1210/1(23.8-27.4) (second issue under that catalog number).

American Columbia.67051/2-D.

Creighton I lists this recording, in both English and American issues, with matrix but without take numbers, but does not list the earlier recording with Sammons above. Only the Sammons recording is listed in Voices of the Past. Creighton does not mention the Sammons at all. See the Sammons recording above.

055>Robert Zeiler, violin; Bruno Seidler-Winkler, piano. Complete recording, [8 sides].

mx 904-av/905-av for the third disc (mvt. 2, parts 2 and 3) and mx 906-av/907½-av for the fourth disc (mvt. 3). Matrices for the first two discs unknown.

Polydor.65760/3 (side nos. B 29008/15). Issued by 1924.9. Mentioned in The Gramophone 1925.2.

056>Bronisláw Huberman, violin; Siegfried Schultze, piano. Complete recording, [6 sides].

1925, according to the Biddulph reissue.

Brunswick.50062/4.

LP: Encore [U.S.].ELP 101.

LP: Rococo [Canada].2026

CD: Biddulph [England].LAB 077/78, "Bronislaw Huberman: The complete Brunswick recordings," a two-disc set.

This recording is listed in WERM but not in the 1936 Gramophone Shop Encyclopedia (which listed only electrics, except when indicated by an asterisk (*)) and is often described as an acoustic. Some experts have told me that the recording is in fact an early "light-ray" electric, but Mark Obert-Thorn, who has effected many, many transfers from 78s to CDs and who has, consequently, listened with the greatest care, is convinced that this recording is a genuine acoustic. Collectors have long wrestled with the problem of distinguishing acoustics from light-ray electrics, and methods involve consulting catalogs, matrix numbers (alas, none on any known copies of the recording in question), diaries of the artists, studio logs, and dealer catalogs (Polydor would indicate an electric with a small line under the catalog number so that the dealer would know, but not the buyer, who might not buy an acoustic). I asked one collector why not just listen to the records, and he said, "Oh, no, that is the least accurate method of all!" Absent developments in digital analysis of sound, I follow this "least accurate method" here, namely the expertise of Mr. Obert-Thorn. In fact, as digital analysis proceeds and a candidate method for distinguishing acoustics and light-ray electrics is proposed, the ears of Mr. Obert-Thorn or one of his fellow "transfer guys," as he calls himself, will be used in evaluating the method. Science usually proceeds by what Darwin called a "triangulation of methods."

Huberman remade the work with Ignacy Friedman on English Columbia.LX 72/5; American Columbia.set M 160 = 67954/7-D; Australian Columbia.LOX 75/8; American Decca.25505/8; LP: Muza [Poland].XL 0148; CD: Biddulph [England].LAB 081/82, "Bronislaw Huberman: The Columbia recordings with piano," a two-disc set.

Brunswick was a Chicago-based label founded in 1918. "The Brunswick catalog for 1927 describes the process [of marking light-ray electrics]. A minute crystal mirror, weighing only .005 milligram, vibrated under sound waves directed at it. A beam of light directed at this mirror would bounce off it and strike a photoelectric cell. The impulses from the cell were fed into an electric amplifier and thence to a recording stylus which engraved a record groove in a wax master. This differed, of course, from the microphone system developed by Western Electric, which used a diaphragm that moved directly under the impact of sound waves and caused a varying electric current which in turn moved the recording stylus. The advantage of the 'Light-Ray' system, it seems to me, was that it was far more sensitive to sounds because of the tiny mass of the moving mirror, compared to the larger mass of a microphone diaphragm. Its great disadvantage was apparently this same super-sensitivity. It registered a great deal of unwanted noise -- moving air, passing automobiles, floor vibrations, and so forth -- along with the music it was intended to capture. In actual fact, the 'Light-Ray' recordings are quite murky compared to contemporary microphone recordings, and the process soon went out of use" (Peter Morse, "Richard Strauss's Recordings: A Complete Discography," Association for Recorded Sound Collections Journal IX (1977): 6-65. Probably the Light-Ray recordings best known to collectors are two made by Willem Mengelberg and the New York Philharmonic on 1926.1.4 in the Chapter Room at Carnegie Hall: Wagner: Ride of the Valkyries and Tchaikovsky: Marche Slav on Brunswick.50161 bzw. 50072, both reissued on CD: Pearl [England].GEMM CDS 9922 (1992), "New York Philharmonic: A Sesquicentennial Celebration, 1842-1992," a 2-disc set.

W035>>   Trio in C, Op. 87, Chwiałkowski 7.32 (1795)

057>Henri Lefebvre, clarinet; Louis Bas, oboe; Ernest Vizentini, bassoon. Incomplete and abridged recording: Allegro; Adagio; Menuet, [3-10" sides].

1907.

mx 7339/40/41o.

Zonophone.X 88032/28/29 (note that the discs are listed in matrix order). Sides 2 and 3 also issued on Gramophone.238014/5 (10"). All issues are French and are double-faced discs cataloged by side number, though there may have been single-faced issues as well. I am unable to figure out from Alan Kelly's catalog what constitutes the fourth side.

058>Gewandhaus Quintet, Leipzig members: Carl Bartuzat, flute; Willi Schreinicke, clarinet; Günther Weigelt, bassoon. Complete recording, [6 sides].

Polydor.66202/4. Issued after 1924.9 but by 1926.7. Two sides each are devoted to mvts. 1 (called Allegro on the disc) and 2 (called Adagio), and one side each to mvts. 3 (Scherzo - Allegro) and 4 (Finale - Presto).

Note: The identification of these two recordings with Op. 87 is tentative, since I (like all but very few others in the last seventy to ninety years) have not heard the discs. Alan Kelly's discography (see bibliography) gives the French recording as merely "Trio" and the 1926/27 English language Polydor export catalog gives the German recording as "Trio in C". The original work is scored for two oboes and English horn, and its movements are given in the score as 1, Allegro (both recordings agree with this appellation); 2, Adagio cantabile (called Adagio on both recordings); 3, Menuetto. Allegro molto. Scherzo (called Menuet on the first recording and Scherzo-Allegro on the second; since the French recording is abridged, perhaps this side has only the beginning of the third movement); and 4, Finale. Presto (in agreement with the second recording). The work was composed in 1795 but first issued in 1806 April. [Nikolaus] Simrock published an arrangement in 1806/7 for two oboes or clarinets and bassoon, which perhaps was also consulted in making the two recordings. The sole electric recording of what is unarguably Op. 87 in WERM uses the original instrumentation and occupies six 12" sides, as does the German acoustic.

W036>>   Trio (Piano) 7 in Bb, Op. 97, Chwiałkowski 8.15 (Archduke) (1810-1)

059>Bruno Seidler-Winkler, piano; Robert Zeiler, violin; Hermann Hopf, cello. Abridged recording, [8 sides = 4-12" + 4-10" sides].

mx 1178/79½/80/81½-as, for the 12" discs. Matrices for the 10" discs unknown.

Polydor.65767/8 (12", side nos. B 29022/5) plus 62417/8 (10", side nos. B 9000/3). The layout is 65767 for mvt. 1; 62417 for mvt. 2; 65768 for mvt. 3, parts 1 and 2; and 62418 for mvt. 3, part 3, and finale [4th mvt]. Issued by 1924.9.

C04>>>                                                                                                                                             BÉRIOT, Charles-August de

1802 February 20 France-1870 April 8

W037>>   Concerto 7 in G, for violin, Op. 76

060>Maud Powell, violin; George Falkenstein (1, Allegro maestoso) and Arthur Loesser (2, Andante tranquillo and 3, Allegro moderato), piano. Abridged recording, [3 sides].

1915.6.18 and 1916.5.5, both in New York City.

mx C 16111-1, recorded 1915.6.18, and mx C 17791-1/2-1, recorded 1916.5.5.

Victor.74446 (1915) plus 74492 (1916) plus 74493 (1916) (single-faced): 6378 (1923) (mvt. 1) and 6257 (1923) (mvt. 3) (double-faced). Movement 2 was not issued on a double-faced Victor record. Creighton gives Loesser as piano throughout. See Ravel: Le Tombeau de Couperin for another recording that mixes performers.

Gramophone.2-07932/4/3 (single-faced): DB 394 (mvts. 1 and 3) plus DB 391B (mvt. 2) (double-faced).

DB 391A (the only "filler" to this recording) has Mendelssohn: Concerto for Violin in e, Op. 64: 3, Allegro non troppo; Allegro molto vivace (George Falkenstein, piano, mx C 1991-3, 1909.5.20 Camden, NJ). This filler is also on Victor.74026 (single-faced, second issue): 6252 (double-faced) and Gramophone.2-07996 (single-faced). (The first issue of 74026 (1906), earlier on 85040 (1904) (also single-faced), comes from mx C 1911-1, 1904.11.8 NYC, with an unnamed pianist (not listed in Creighton; 85040 conflated under Falkenstein).) The other side of Victor.6252 is Wieniawski: Concerto 2 in d, Op. 22: 2, Romance (Arthur Loesser, piano, mx C 9009-4, 16.6.6.) It, in turn, is on Victor.74179 (single-faced, second issue) and Gramophone.DB 656B. (But 74179 was issued also from mx C 9009-3, with George Falkenstein, piano, recorded 1910.5.27. Creighton lists only the Falkenstein. Judging from other listings in Creighton, I conclude that the Falkenstein is represented on the single-faced Gramophone.3-07902 issue. And DB 656A is Bach: Bourrée (mvt. 7 of Partita 1 in b, S. 1006, unaccompanied), plus Gluck: "Menuet," i.e., Orphée et Eurydice: Dance of the Blessed Spirits: Andante (No. 1), George Falkenstein, piano, mx C 13731-1, piano. 13.9.8. The Bach plus Gluck were first issued on single-faced Victor.74357 (1913) and Gramophone.2-07989.

The other side of Victor.6378, which has the first movement, is Antonio Francesco Tenaglia (b. 1650): Have Pity, Sweet Eyes, for voice and piano, arr. for violin and piano as "Aria in f" by Ries, with George Falkenstein, piano, mx C 12397-1, 12.9.27 New York City. It was first issued on single-faced Victor.74325 (1912) and Gramophone.2-07998.

The other side of Victor.6257, which contains the third movement, has Chopin: "Maiden's Wish," i.e. (17) Polish Songs, Op. 74: 1, Zyczenie, arr. by MacMillen plus Massenet: Élégie (song for voice and piano, arr. for violin and piano), both with George Falkenstein, piano, mx C 20024-1,2 (i.e., two issued takes), 17.6.7. These were first issued on single-faced Victor.74548 (1917) and Gramophone.2-07993. They also appeared on Gramophone.DB 642A. DB 642B has "Massenet-Powell: Twilight," i.e., Jenö Hubay: (3) Transcriptions: 2a, Crépuscule (Massenet), arr. for violin and harp by The Violinist, with F.J. Lapitino, harp, plus Sibelius: Musette from King Christian II, Op. 27, arr. by The Violinist, with George Falkenstein, piano, mx C 14995-1, 14.6.24. These two first appeared on single-faced Victor.74408 (1914) and Gramophone.3-07906.

All of these works--but second issues only in the cases of the Chopin/Massenet side (i.e., take 2), the Wieniawski concerto movement (i.e., take 4), and the Mendelssohn concerto movement (i.e., take 3)--were issued on CD: Maud Powell Foundation.MPF 1/3, three discs issued separately.

The work had two other acoustic recordings: First movement by Mary Law (1890-1919) with anonymous piano on Gramophone.C 802B, mx Ho 2548af (C 802A has Schubert: Moment Musical 3 in f, arr. by Kreisler, plus Wieniawski: Mazurka in a, Op. 3 ("Kujawiak"), both with anonymous piano, mx Ho 2551af); second movement by Pietro Fabroni and anonymous piano on Favorite [Germany].1-34005 (single-faced). The first movement was recorded probably in 1917, making it after the Powell; the second movement was perhaps recorded earlier. The entire concerto was next recorded on a stereo LP, EMI [Belgium].A065 1959001 with Maurice Raskin (born 1906), Edgard Doneux, Orchestre de Chambre de la RTFB. No other recordings traced.

C05>>>                                                                                                                                      BLISS, Arthur [Edward Drummond]

1891 August 2 England-1975 March 27

W038>>   Conversations, ThomPson 15 (1919). First performance 1921.1.

061>The Composer, directing a "Symphony Orchestra," which in fact was a chamber group consisting of (with first performers in parentheses, which I presume are the performers on the disc): flute (also bass flute) (Gordon Walker), oboe (also English horn) (Leon Goossens), violin (Charles Woodhouse), viola (Raymond Jeremy), cello (Cedric Sharpe), [3 sides].

1923.2.9.

mx 76871/3, all take 1.

English Columbia.L 1475/6A(23.6-28.2). Taylor, Voices of the Past, The Gramophone (1923.6), and the discs say "Bliss/Sym. Orch.", but WERM says "Quintet-Bliss". Side 1 has "The Committee Meeting" and "In the Wood"; side 2 "In the Ballroom" and "Soliloquy"; and side 3 "In the Tube at Oxford Circus."

Filler is Bliss: Madam Noy (A Witchery), Thompson 10 (1918), for soprano, flute, clarinet, bassoon, viola, bass, and harp, also 23.2.9, mx 76874-1. Anne Thursfield, soprano, with "Orchestra" according to the disc itself and Voices of the Past, but WERM says "A. Thursfield & Sextet." My presumption is that a sextet was performing, as called for in the score, and that Walker played the flute, Jeremy the viola, and Sharpe the bass.

The next recording of any of this music is two of the Conversations in a two-disc monaural LP set, "The History of Music in Sound, Volume 10: Modern Music," a set not devoted to performers. The entire work, and the filler, have been recorded on (separate) CDs.

C06>>>                                                                                                                                                    BRAHMS, Johannes

1833 May 7 Germany-1897 April 3

W039>>   Quartet 1 in c, Op. 51, No. 1, Chwiałkowski 4.2 (ca. 1868-73)

062>Catterall Quartet, [8 sides].

1923.

mx Cc 3109-2/10-2/15-2/16-1/17-2/18-1/11-2/12-2, two sides per movement, in the order of the movements. Thanks to Brian Bishop for the information from his discs and for a tape of the recording.

Gramophone.D 791/4 (24.3). Voices of the Past gives D 790/4. Creighton I lists only mvt.1: mx Cc 3109-2/10-2 on D 791 and mvt. 4: mx Cc 3111-2/2-2 on D 794. Creighton II drops all matrix listings, so my conjectures may not be accurate. Since all electric recordings of the work occupy eight sides, D 790 was expunged from this discography. Reviewed in The Gramophone 1924.2, claiming this is the first complete recording of a string quartet. That honor should, however, go to the 1922 Busch recording of Haydn (actually by Hofstetter): Quartet in F, Op. 3, No. 5.

W040>>   Quartet 2 in a, Op. 51, No. 2, Chwiałkowski 4.3 (ca. 1868-73).

063>London String Quartet. Abridged recording, [4 sides].

probably 1923.

Vocalion.D 02110(23.11) plus D 02137(23.12). The first disc was reviewed in The Gramophone 1923.12.

064>The Leo Abkov String Quartet. Complete recording, [3 sides].

World.411/2A.

World Records were constant groove-speed discs that had to be played with a special device, called a World Controller, that mounts on a normal disc phonograph and would make the platter rotate slowly in the outer grooves and increase in angular velocity as the needle went toward the center. (CDs are also constant Byte/second discs, but they play inside out. Two 78-era novelties now standard!) Compton Mackenzie listed several such discs in The Gramophone 1925.4 but had no such Controller nor knew anyone who did. As far as I know, these recordings are unabridged and the records themselves ever since unplayed and forgotten.

World Records, Ltd., was founded in 1923 by Noel Pemberton-Billing (ca. 1880-1948), an English writer, playwright, aviator, and sometime Member of Parliament, and was the first record company to print timings on its labels. They were not the first long-playing records, the honor going to the Neophone Company (England), whose 10" discs played for twelve minutes at the then "standard" speed of around 78 r.p.m. (Robert and Celia Dearling, with Brian Rust, The Guinness Book of Recorded Sound (Middlesex: Guinness Superlatives, Ltd., 1984)).

Pemberton-Billing's company lasted only a short while, as very few of the special Controllers needed to play these discs were ever sold. If the Leo Abkov String Quartet recordings ever turn up, it would be conceptually a relatively simple matter, though in practice quite difficult and frustrating, to record them digitally from a constant angular-velocity turntable and manipulate the speed electronically. The bulletin of the National Sound Archives of the British Library (nsa@bl.uk; www.bl.uk/collections/sound-archive), playback 17 (1997 Winter): 7, states that the Archives house a "World Record Controller, an ingenious accessory by which the speed of the needle in the groove was made constant." Kurt Nauck, however, wrote to me, "I have a Controller and several World records [alas none of the Abkov Quartet], but would advise against the use of a Controller for transcription purposes. It is large, somewhat clumsy, and I doubt that it would regulate with enough stability to ensure a flutterless transfer. By the way, Aeolian Vocalion also issued constant velocity recordings, though these are much rarer than Worlds.... Vocalion acquired the remnants of World, which explains the existence of the ultra-rare Vocalion constant velocity discs."

Mackenzie listed the following six World Records recordings, all three-sided, in The Gramophone article: 408/9: Schubert: Quartet 14 [≈8 constant angular velocity sides]; 409 [but surely 410 was involved also]: Debussy: Quartet [≈6 sides]; 411/2: Brahms: Quartet 2 [≈8 sides]; 412/3: Smetana Quartet 1 [≈7 or 8 sides]; 414/5: Mozart: Quartet 18 (otherwise unrecorded complete during the acoustic era) [≈6 (Calvet) or 8 (Roth) sides]; 415/6: Dvořák: Quartet 12 (Old no. 6) [≈6 sides]. Arnold lists a Schubert: Symphony 8, performed by the Metropolitan Symphony Orchestra (doubtlessly a pseudonym) on World Records.37, a single disc, which ordinarily occupies six constant angular-velocity sides. I find no references whatsoever to Leo Abkov and it is unlikely that these records will be reissued, except perhaps as part of a series dealing with historical methods of sound recording.

065>Léner Quartet, [8 sides].

1925.3.4.

mx AX 901-2/2-2/3-2/4-2/5-2/6-1/7-1/8-2, i.e., AX 901-8, inclusive.

English Columbia.L 1691/4(26.1-28.2). Reviewed in The Gramophone 1926.1.

American Columbia.set M 35 = 67168/71-D.

1931 electric remake on English Columbia.LX 163/6; American Columbia.set M 173 = 68045/8-D [also 8 ss]. The Léner Quartet recorded the Andante movement earlier on mx AX 152-2 on 23.9.26 on English Columbia.L 1520A. L1520B had the same forces doing "Quartet in d, K. 421-Allegretto (Mozart)," 23.9.20, mx AX 163-2.

W041>>   Quintet (clarinet) in b, Op. 115, Chwiałkowski 5.8 (1891)

066>Frederick Thurston, clarinet; The Spencer Dyke String Quartet, [9 sides].

National Gramophonic Society of London.SS,TT,UU,VV,WW-side 1 (42/46A). Mentioned in The Gramophone 1926.7.

Filler: Glière: Quartet in A, Op. 2: Allegro, played by The Spencer Dyke String Quartet alone.

W042>>   Sextet 1 in Bb, Op. 18, Chwiałkowski 5.2 (1859-60)

067>The Spencer Dyke String Quartet with James Lockyer, viola; Edward J. Robinson, cello, [9 sides].

National Gramophonic Society of London.Z,AA,BB,CC,DD-side 1 (24/28A).

Filler: (Aynsley) Eugene Goossens III (1893-1962): Two Sketches, Op. 15: 1, By the Tarn (played by The Music Society String Quartet). The Gramophone, 1925 October, reported that one disc was broken in the factory in September but quickly rerecorded.

W043>>   Sonata (Viola) 1 in f, Op. 120, No. 1, Chwiałkowski 5.32 (1894)

068>Lionel Tertis viola; Ethel Hobday, piano, [6 sides = 4-10" + 2-12" sides].

probably 1924.

mx 03524-9.

Vocalion.X 9463/4 (movements 1 and 2, 10", blue/gold, issued 1924.10, reviewed in The Gramophone 1924.11) plus K 05117 (movements 3 and 4, 12", black label, issued 1924.11, reviewed in The Gramophone 1924.12).

LP: Thomas L. Clear.TLC 2581.

Tertis did an electric remake on 33.2.17 with Harriet Cohen on English Columbia.LX 225/7; American Columbia.set M 183 = 68114/6-D [6-12" sides]; LP: Gramophone.HLM 7055.

The electric recordings consume either five or six 12" sides. The Clear reissue does not state that the acoustic is abridged, making it more likely that some electric sides are short or else that repeats were omitted in the acoustic. But further confusing matters is The Gramophone review of the 10" sides, which says that only three sides were used! In a later letter, Tom Clear tells me that he thinks the acoustic is unabridged but that he no longer owns the discs, for albums mixing 10" and 12" sides are very difficult to store without the risk of getting broken.

W044>>   Sonata (Violin) 2 in A, Op. 100, Chwiałkowski 5.25 (Meistersinger) (1886)

069>Edith Lorand, violin; Michael Raucheisen, piano, [6 sides].

1925.10.30.

mx 8401/5.

Parlophone [England].E 10457/9. Reviewed in The Gramophone 1926.7. N.B.: No German issue.

Filler: Tchaikovsky: Barcarole (No. 6, June in g of The Seasons (12 Characteristic Pieces), Op. 37a). Edith Lorand Trio (Michael Raucheisen, piano; Edith Lorand, violin; Gregor Piatigorsky, cello).

W045>>   Sonata (Violin) 3 in d, Op. 108, Chwiałkowski 5.26 (1886-8)

070>Arthur Catterall, violin; William Murdoch, piano, [6 sides].

1923.11.18.

mx AX 223/8, all take 1. Creighton I gives mx AX 59/60, which was inadvertently duplicated from his next entry, a recording of movements 2 and 4 of the Brahms Horn Trio, arranged for piano, violin, and cello (same artists with W.H. Squire, cello), 1923.6.5 on English Columbia.L 1602 (25.1-28.2, belatedly issued); American Columbia.67089-D). Creighton II gives the matrices correctly.

English Columbia.L 1535/7(24.3-28.2). Mentioned in The Gramophone 1924.4.

American Columbia.set M 24 = 67133/5-D. These discs were initially assigned to the Franck Sonata. See the Franck entry for the same artists.

W046>>   Trio (clarinet) in a, Op. 114, Chwiałkowski 5.21 (1891)

071>H.P. Draper, clarinet; W.H. Squire, cello; Hamilton Harty, piano, [6 sides].

1924.10.21.

mx AX 692-1/3-2/4-1/5-1/6-1/7-1, i.e., AX 692-7, inclusive.

English Columbia.L 1609/11(25.2-28.2) (reviewed in The Gramophone 1925.2).

American Columbia.set M 19 = 67101/3-D.

W047>>   (28) Variations on a Theme of Paganini, Op. 35, Chwiałkowski 7.27 (1862-3)

072>Wilhelm Backhaus, [4 sides].

Probably 1924.

mx Cc 5437/40.

Gramophone.D 1019/20 (1925). Advertised in The Gramophone 1925.2.

CD: Shinseido (under Angel/EMI logo) [Japan].SGR 1510, Vol. 10 of a 12-CD set, "The Legacy of Wilhelm Backhaus 1908-1948" (1998.9.29).

Backhaus also recorded an abridged acoustic version on Polydor.65288 (mx 980m/981m, side nos. 045570/1) [2 sides], reissued on CD: Biddulph [England].LHW 038 (1998), "Backhaus plays Schubert's 'Trout' Quintet," and a 1929.11.19 electric complete on Gramophone.DB 1388/9 (1929); Victor.7419/20 (1931) [4 sides]; LP: Parnassus.3; LP: EMI [England].29 0345; LP: Melodiya [U.S.S.R.].M10 44946; LP: IGI [private U.S. label, produced by the Bruno Walter Society].296, a two-disc set; a bunch of CDs, including Biddulph [England].LHW 018 (1988), "Backhaus plays Brahms (Vol. 2)" and Shinseido (under Angel/EMI logo) [Japan].SGR 1511, Vol. 11 of a 12-CD set, "The Legacy of Wilhelm Backhaus 1908-1948" (1998.9.29).

C07>>>                                                                                                                                                        BRIDGE, Frank

1879 February 26 England-1941 January 10

W048>>   Three Idylls, Hindemith 67 (1906)

073>Virtuoso Quartet, [4 sides].

1924.

mx Cc 4728-1/29-1/30-2/31-2.

Gramophone.08424/5: D 915/6 (1923).

"I wish I could say that I have enjoyed either Mr. Warner's Quartet or Mr. Bridge's Idylls; but where they were not dull I found them trivial, and while the great granary of classic and chamber music is still practically unwinnowed, I do not think that we ought to be fed such chaff and chopped straw." -- "Z" (pen name of Compton Mackenzie) in The Gramophone 1923.8.

C08>>>                                                                                                                                                        BYRD, William

1543 England-1623 July 4

W049>>   Fantasia (string quartet) plus Earl of Oxford's Marche, or the March before the Battle (Fitzwilliam Virginal Book 259, Brown 93); The Queen's Alman (Fitzwilliam Virginal Book 171, Brown 10); Galliard (Fitzwilliam Virginal Book 255); and Rowland, or Lord Willobie's Welcome (Variations) (Fitzwilliam Virginal Book 160, Brown 7) (harpsichord).

074>Byrd String Quartet bzw. Violet Gordon Woodhouse (last name is two words), harpsichord, [6-10" sides: 2 sides for the Fantasia and one side each for the harpsichord pieces].

1923.

mx Bb 2742-2/43-2/44-1/45-3 on 23.3.26 in Recording Room 1, Hayes, Middlesex for the second and third discs; unknown matrix numbers and recording dates for the first disc but almost certainly 1923.

Gramophone.E 293/5 (10").

CD: Pearl.GEMM CD 9242 (1996), "Great Virtuosi of the Harpsichord, Vol. III: Violet Gordon Woodhouse" (harpsichord pieces only). See Jessica Douglas-Home, Violet: The Life and Loves of Violet Gordon Woodhouse (New York: The Harvill Press/Farrar, Straus & Giroux, 1997) for a biography of this remarkable lady.

These six sides are half of a six-disc set recorded in 1923 for the tercentenary of Byrd's death. The other discs are choral works sung by the English Singers, a vocal sextet founded in 1920 [sides separated by semicolons]: E 290: Agnus Dei; Kyrie Eleison, Sanctus. E 291: Gloria; Magnificat. E 292: This Sweet and Merry Month of May; Though Amaryllis Dance in Green. Byrd made more than one setting to several of these works, and I am unable to specify which was used. GSE says the Fantasia was composed for string sextet; I presume this means one of the six Fantasias á 6 that Byrd composed.

Uniqueness: only harpsichord recording in this discography. The first harpsichord disc was an anonymous recording of a Bach Prelude and a Passepied on Favorite [Germany].1-14363/4 (disc cataloged by side numbers), recorded in Berlin probably in early 1913. (See Peter Adamson, "No Skeletons in the Record Cabinet: The harpsichord on 78 rpm discs," International Classical Record Collector, No. 12 (1998 Spring): 54-60.). Then, in 1920.7 came recordings of several discs by Gordon Woodhouse and a disc of Marguerite Delcourt accompanying the violinist Renée Chemet in Bach-Moffat: Partita 1 in b for violin alone, Schmieder 1002: 7, Bourrée (Gramophone.5-7907: DA 416; Victor.66063, mx HO 5785- ae. The other side of DA 416 is an anonymous Northumbrian Country Dance, The Holy Bush, which was also on single-faced Gramophone.5-7928, arranged and accompanied by Ivor Newton, piano, mx HO 5785-1 ae. (The Victor issue never got coupled.) All published Gordon Woodhouse discs, which include acoustics made in 1922 and electrics made in 1927 and 1928 (along with live and unpublished material) are on the CD reissue of the Byrd.

Brian Bishop reports another 78 r.p.m. recording that mixes harpsichord and piano: "There was a children's 78 by Young Peoples Records called "Said the Piano to the Harpsichord," a mock argument between the two instruments, which is resolved when they decide to play something together, in this instance an arrangement of "The Old Gray Mare"! The harpsichordist on this recording is Sylvia Marlowe, but, according to a High Fidelity article on Ms. Marlowe that I recall from about twenty years ago, she couldn't remember who the pianist was.

C09>>>                                                                                                                                   CHAMINADE, Cécile [Louise Stéphane]

1857 August 8 France-1944 April 18

W050>>   Piano Works: 1, Air de Ballet [Op. 30]; 2, Pas des Escharpes [Scarf Dance, from the Ballet Callirhoë, Op. 37]; 3, Courante (Danse anscienne)[Op. 95, No. 3]; 4, Les Sylvains [Op. 60]; 5, Danse Créole (2nd Havanaise)[Op. 94]; 6, Pierrette (Air de Ballet) [Op. 41]; 7, L'enjoleuse [Op. 50].

075>The Composer, piano, [6 sides]. Layout: Side 1 has no. 1, side 2 nos. 2 and 3, side 3 no. 4, side 4 no. 5, side 5 no. 6, and side 6 no. 7.

1901 in London.

mx 1136-4-IV, G 1138-R-4, G 1139-NB-4, G 1140-R-4, G 1142-R-4, G 1141-R-4. I have followed the information on the CD reissue rather than Methuen-Campbell here, which gave the suffixes G 1139-LB-4, G 1140-MB instead.

Gramophone [Gramophone and Typewriter].GC 5552/7, double-faced discs cataloged by side number.

CD: Appian [England}.APR 5533 (2001). Played in matrix order, that is, reversing sides 5 and 6. This important reissue contains Saint-Saëns' recordings of his own works. See below.

Near-superlative: second oldest set in this discography. See Chopin for an 1899 recording.

W051>>   Piano works: 1, La Fileuse [in E, op. 35, No. 3]; 2, Etude Romantique [Op. 132]; 3, Quatrième Valse [unidentified]; 4, Automne [No. 2 of Six Concert Studies, Op. 35]

076>Una Bourne, piano, [4 sides].

mx AI 7916f/AI 8213f/Ho 659ac/Ho 692ac.

Gramophone.C 391 (1914) plus C 427 (1914).

W052>>   Piano works: 1, Danse creole [Op. 94]; 2, Scarf Dance [Pas des écharpes from the Ballet Callirhoe, Op. 37]; 3, Automne [No. 2 of Six Concert Studies, Op. 35]; 4, Les Sylvains [Op. 60]; 5, Pierrette [Op. 41]; 6, Serenade in D [Op. 29, not to be confused with the Sérénade espagnold, Op. 24, of which there are numerous recordings, esp. of the Kreisler arrangement]

077>William Murdoch, piano, [6 sides]. Layout: one side per work.

probably 1917.

mx 6995-2/6-2/7-1/8-?/4-?/9-1.

English Columbia.656 (17.5-25.4) plus 665 (17.6-22.12) plus 673 (17.7-20.10).

078>William Murdoch, piano.

probably 1917, 20.10, and 22.12.21.

mx 6995-2/6-2, probably in 1917 (original issue), plus mx 6997-3/8-3, remake on 22.12.21, plus mx 6994-3, remake on 20.10, plus mx 6999-1, probably in 1917 (original issue).

English Columbia.656 (17.5-25.4) plus 665 (23.1-27.4) plus 673 (20.11-24.3).

Later recordings: Air de Ballet: on CD. Automne: Mark Hambourg, electric. Courante: none traced. Danse creole: Una Bourne, electric. L'enjoleuse: on stereo LP. Etude Romantique: on CD. La Fileuse: on stereo LP. Pierrette: Una Bourne, electric. Quatrième Valse: none traced. Scarf dance: Hans Barth, electric (acoustics of the orchestral version date from 1909). Serenade: stereo LP. Les Sylvains: on CD.

"Notwithstanding the real charm and clever writing of many of Chaminade's pieces they do not rise above the level of drawing room music." --Gustave Ferrari and Jean Mongrédien in Grove.

"I have always been haunted by the ideé fixe that the ultimate appearance is certain of a woman composer who shall prove to be the musical analogue of those of her literary sisters whose writings have shed lustre upon her sex--of Jane Austen, George Eliot, the Brontës, George Sand, Elizabeth Barrett Browning, de Staël, and de Sévigné, one whose genius will fit her to be a symbolic interpreter in music of feminine grace and feminine idealism. The idea persists and signs are hopeful, but its complete realization is not yet apparent. Certain feminine writers of chamber music show no lack of virility. In fact they set themselves the task of emulating man in this respect, but the composer destined to achieve greatness in the future is more likely to be simply--herself; not woman pranked in male garb, but woman true to her own nature, woman of whom the poets have sung, and whom, strange to say, composers of the opposite sex have best succeeded in interpreting in terms of music." --W.W. Cobbett, in Cobbett, II; 593.

WERM omits many composers included in GSE, including Chaminade. Here is what the three successive editions of GSE say about her. 1936: "A French pianist and one of the best known woman composers. Although she has essayed many of the larger forms, she seldom rises above salon levels and her most popular works are frankly salon pieces and songs. A representative list of the more important recordings only is given below." 1942: "Chaminade, one of the few women to achieve fame as a composer, has been a tireless manufacturer of treacly salon music and pieces suitable for the drawing rooms of large hotels. Her more ambitious efforts suffer from congenital decay of the bony structure." 1948: "For many years one of the best known women composers. She was an excellent pianist and her 'Scarf Dance' (from a ballet 'Callirhoë') is probably best known."

Now that several of her chamber music (in stricto sensu) compositions are available on CD, the reader may determine whether she was the woman composer Cobbett was dreaming of. But from the one recording I have, of the Trio NO. 1 in g, Op.11, reissued on CD: Vox [U.S.}.CDX 5029, played by the Macalester Trio, Cobbett's dream remains unfulfilled.

C10>>>                                                                                                                CHOPIN, Fryderyk Francizek [geb. Frédéric François Chopin]

1810 March 1 Poland-1849 October 17

W053>>   Chopiniana-potpourri, arr. Herman Finck, 1924: Catalogs list the contents as follows: "I. Scherzo No. 2; Fantasie, Op. 49; Mazurka, Op. 7; Scherzo No. 2 (bis). II. Valse, Op. 64, No. 1; Fantasie-impromptu, Op. 66; Impromptu No. 1; Impromptu No. 2; Prélude, Op. 28, No. 7. III. Etude [sic]; Valse, Op. 34, No. 2; Etude No. 9; Ballade No. 3, Op. 47; Sonata, Op. 35 [sic]. IV. Nocturne, Op. 9, No. 2; Valse, Op. 64, No. 1; Polonaise militaire; Polonaise, Op. 53" (Data from Arnold, p. 72).

079>Herman Finck and his Orchestra, [4 sides].

1924.5.16, 6.5, and 6.27.

mx AX 454-4 on 24.6.27 plus AX 455-2/6-2 on 24.5.16 plus AX 476-1 on 24.6.5.

English Columbia.988(24.11-27.4) plus 989(24.11-27.5).

W054>>   Nocturne 2 in Eb, Op. 9, No. 2, Brown 54, No. 2, Chwiałkowski 9.2 (Murmures de la Seine 2) (1830-1). Arranged by Pablo Sarasate for violin and piano.

080>Bronisláw Huberman, with piano, [3-7" sides].

1899. Creighton II says 1900.5, while the CD reissue says 1899.

mx 1509A-1/12A-2/13A-3, for parts 1, 2, and 3, resp.

Berliner.47903/1/2 (7"), for parts 1, 2, and 3. (Creighton gives a performance with Huberman and an anonymous pianist on Gramophone and Typewriter.47901/2; this would not have constituted a set!)

CD: Biddulph [England].LAB 081/82, "Bronislaw Huberman: the complete Columbia recordings with piano," a two-disc set.

Huberman made two later recordings of this Sarasate arrangement: with Paul Frenkel, mx X 6586, 21.10.18, on Brunswick.30023 (CD: [England].LAB 077/8, "Bronislaw Huberman: The Complete Brunswick recordings," a two-disc set) and with Siegfried Schultze, mx WAX 7427, 35.2.5, on English Columbia.LX 531: LOX 351 [Australia]; CD: [England].LAB 081/2, "Bronislaw Huberman: The complete Columbia recordings with piano," a two-disc set.

Superlative: Earliest set in this discography. Since the entire work, as reissued on the CD, takes only 5'43", it is perhaps stretching the definition of a "set" to include it. There are numerous individual Chopin discs, of course, but none this discographer regarded as sets. See the discussion of recordings excluded from this discography placed at the beginning under "Scope."

The first recording of a Chopin sonata (and quite likely the first Chopin set) was that by Percy Grainger in 1925, which was also the first electric American Columbia album, as well as the first electric in the English Columbia L series: Sonata 3 in b, Op. 58 on M 32 (= 67158/60-D); English Columbia.L 1695/7(26.2-40.1) on mx W 98177-2/78-1/79-1/80-1/81-1/82-1, 25.6.10/11. LP: MJA [private U.S. label].1968-2; CD: Biddulph [England].LHW 010 (1993), "Grainger plays Bach and Chopin." There has yet to be another recording of the third sonata its equal.

C11>>>                                                                                                             COLERIDGE-TAYLOR, Samuel [geb. Taylor, Samuel Coleridge]

1875 August 15 England-1912 September 1

W055>>   Sonata in d, Op. 28 (1912, edited by Arthur Sammons)

081>Albert Sammons, violin; William Murdoch, piano, [4 sides].

Probably 1917. Taylor gives a Master Wax receipt date of 1920.11, but this may mean the date that the engineers began preparing the recording to be issued. The matrix numbers suggest a 1917 recording date. As Sammons recorded several other violin sonatas that year, this discography assigns a 1917 recording date to this recording. (See also Beethoven: Quartet 1 for another recording probably issued long after it was made.)

mx 75860/3, all take 1.

English Columbia.L 1396/7(21.1-23.8) (first issue under that catalog number). Not in Creighton. Voices of the Past gives Sammons only, but with Sammons and Catterall matrix numbers conflated, that is, mx 75860/1 for the first disc and mx AX 79/80 for the second. I trace no further recordings of this work besides the Catterall remake.

082>Arthur Catterall, violin; William Murdoch, piano, [also 4 sides].

1923.6.7.

mx AX 77/80, all take 1.

English Columbia.L 1396/7(23.8-27.4) (second issue under that catalog number). Only the Sammons is listed in Voices of the Past. Creighton gives Catterall only and gives the matrices correctly, but without take information. I trace no further recordings of this work.

C12>>>                                                                                                                                                  CORELLI, Archangelo

1653 February 17 Italy-1713 January 8

W056>>   Sonata in d for violin and continuo, Op. 5, No. 12, Chwiałkowski 4.12 (La Folia Variations) (published in 1700). Arranged by an unknown hand (quite possibly The Violinist) for violin and piano.

083>Váša Příhoda, violin; Bruno Seidler-Winkler, organ, [3 sides].

probably 1924.

mx 924½ av/925 av/926 av.

Polydor.65996/7A (side nos. B 27540/2). Issued by 1924.9. The 1926/27 English language Polydor export catalog claims that Charles Cerné is the organist, but Record List No. 26 from Liberty Music (Ann Arbor, Michigan) lists Seidler-Winkler (as does Creighton) and the matrices above, which is being followed here. (Note below that the Pearl CD reissue of the Vitali Chaconne also gives Seidler-Winkler as organ.)

Filler: Wagner: Albumblatt in E, Deathridge, Geck, and Voss 64 (1840. Creighton says 1861.), arranged by August Wilhelmj, with Váša Příhoda, violin; Bruno Seidler-Winkler, piano, mx 923½ av, side no. B 27539). (Creighton and the 1926/27 English language Polydor export catalog both claim Cerné.) Issued by 1924.9.

Filler only reissued on LP: Past Masters [private U.S. label].23 (devoted to Váša Příhoda and Adolf Busch).

Note: Polydor recordings are a source of endless confusion, not the least owing to the fact that discographers have often had to rely upon conjecture. Lining up the Příhoda recordings in Creighton by matrix number, I came to the probable conclusion that Cerné and Seidler-Winkler were constantly in and out of the studios. It is also possible that both artists recorded the same work with Příhoda at different (or even the same!) sessions. Remakes under different accompanists were extremely common for Victor, and the same matrix number would get used, even sometimes through the change over to electrical recording! A discographer even so indefatigable as James Creighton has been known to miss some of these remakes (and sometimes makes), esp. in the case of Fritz Kreisler. Victor's acoustic recordings, however, stretch over many years of constantly improving technology, which would warrant rerecordings. In the case of Polydor, however, there was no such stretch of time, whence it is likely that a work would be rerecorded by the principal artist only rarely. As noted, the identification of the accompanist on the disc differed from that in the manufacturer's own catalog. This discography follows the Liberty Music catalog, though with less than absolute confidence. See the entries for Paganini and Vitali below.

The use of an organ as continuo in records extends as late as 1962 in a very fine recording of Bach: Sonata 3 for violin and klavier, S. 1016, with Galina Barinova, violin, and Leonid Royzman, organ, on LP: Melodiya.Д 11017/8; CD: Talents of Russia [Austria].RCD 16223 (1996), "Galina Barinova: Russian Violin School." But the Russians tend to lag behind and remain old fashioned longer.

C13>>>                                                                                                                                              DEBUSSY, [Achille-]Claude

1862 August 22 France-1918 March 25

W057>>   Children's Corner Suite, Lesure 115, Chwiałkowski 7.34-39 (1906-8)

084>Francis Touche, Orchestre Symphonique des Concerts Touche. Arranged for orchestra, [6 sides = 2-12" + 4-10" sides].

1919.10.31 and 11.5 and 1920.2.20.

1, Doctor Gradus ad Parnassum: mx 03313v, 20.2.20; 2, Jimbo's Lullaby: mx 20850u, 19.10.31; 3, Serenade for the Doll: mx 03241v, 19.10.31; 4, The Snow is Dancing: mx 20851u, 19.10.31; 5, The Little Shepherd: mx 20852u, 19.10.31; 6, Golliwog's Cakewalk: mx 20866u, 19.11.5.

Gramophone [France].W 373 (12", containing nos. 1 (side no. 030698) and 3 (side no. 030699)) plus P 379 (10", containing nos. 2 (side no. 30773) and 4 (side no. 30774)) plus P 380 (10" containing nos. 5 (side no. 30775) and 6 (side no. 30776)) (issued 20.12).

Reissue: Gramophone [France].L 552 (12", nos. 1 (side no. 0230655) and 3 (side no. 0230656) plus K 2772 (10", nos. 2 (side no. 2-230928) and 4 (side no. 2-230929)) plus K 2773 (10", nos. 5 (side no. 2-230930) and 6 (side no. 2-230931)) (later French issue, 1925).

Note: This is one of a few cases where fresh side numbers were assigned to the same matrix. So, technically, side numbers should not be listed next to the matrix numbers but with the catalog numbers, though nearly all discographies group matrix and side numbers together. Confusing the picture, Polydor uses "Katalog-Nr." to list side numbers and "Bestell-Nr." (order number) for disc numbers.

085>Alfred Cortot, piano, [3 sides].

1923.12.5.

mx Cc 3920/2.

Gramophone.DB 678/9A. Reviewed in The Gramophone 1924.5.

CD: Biddulph [England].LHW 021 (1994), "Cortot: the complete acoustic HMV recordings." Includes the filler.

Filler is Debussy: Preludes I (1907-10): 10, The Engulfed Cathedral (mx Cc 3923, same day).

Cortot did two electric remakes: 1st: 1929 on Gramophone.DB 1248/9A; Victor.7147/8A (1929/30) [also 3 sides], with filler: Preludes I: 8, The Girl with the Flaxen Hair, and 3, The Wind in the Plain; 2nd: 1947 on Gramophone.DB 6725/6A (1947, with the same filler as the acoustic [likewise 3 sides].

W058>>   Petite Suite, Lesure 65, Chwiałkowski 7.88-91 (orig. piano duet, 1886-9, probably in the version orchestrated by (Paul-)Henri Büsser (1872-1973(!)) in 1907)

086>Double Quintette [de la Société de Musique de Chambre pour Instruments à Cordes et à Vent], conducted by Jean Lensen, [4 sides].

1911.7.12.

mx 01985/8v.

Gramophone.038012/5: 048021/4 (the latter issued 1912.5) (both double-faced discs cataloged by side number). Sides 1 and 2 also issued on S 4180. All issues are French.

087>Double Quintette [de la Société de Musique de Chambre pour Instruments à Cordes et à Vent], no conductor listed in Alan Kelly's discography (see bibliography), if indeed there was one, [also 4 sides].

1919.

mx 811/4aj.

Gramophone [France].W 311/2 (side nos. 038021/4).

W059>>   Quartet in g, Op. 10 (the only work of the Composer with an opus number), Lesure 85, Chwiałkowski 5.1 (1893).

088>The Spencer Dyke String Quartet, [6 sides].

National Gramophonic Society of London.D-F (4/6). Mentioned in The Gramophone 1924.10. The electrics all take seven or eight sides. This recording is probably not abridged, since NGS's first issue, Beethoven: Quartet 10 (q.v.) was not. An advertisement in The Gramophone 1926.10 reported that the recording was no longer in print.

089>The Leo Abkov String Quartet.

World.409B/410. Complete recording, [3 sides]. Mentioned in The Gramophone 1925.4. See Brahms: Quartet 2 for further information about these World recordings.

C14>>>                                                                                                                      DELIUS, Frederick [geb. Fritz Theodore Albert Delius]

1862 January 29 England, of German descent-1934 June 10

W060>>   Sonata (Violin) 2, Threlfall viii/9, Chwiałkowski 5.4 (1923)

090>Albert Sammons, violin; E. Howard-Jones, piano. Abridged recording, [4-10" sides].

Late 1924/early 1925.

mx A 1369-72. Creighton II as mx WA 1369/72, an electric series, the only instance I have spotted where he introduced an error between editions of his great Discopaedia!

English Columbia.D 1500/1 (10"). Reviewed in The Gramophone 1925.2 (as a five-sided recording). The performers gave the world première in London on 1922.9.4.

The only electrical recording was a transcription for viola and piano made by Lionel Tertis and played by him and George Reeves and takes 4-12" sides. A second recording using the original instrumentation had to wait for Max Rostal and Colin Horsely on a monaural Westminster LP.

C15>>>                                                                                                                                            DVOŘÁK, Antonin [Leopold]

1841 September 9 Bohemia-1904 May 1

W061>>   Bagatelles (5), Op. 47, Burghauser 79, Chwiałkowski 6.9-15 (two violins, viola, and harmonium, 1878).

091>Albert Sammons, violin; Lionel Tertis, viola; Ethel Hobday, piano. Incomplete recording, arr. by Lionel Tertis: Nos. 1, Allegro scherzando; 5, Poco allegro; 2, Tempo di minuetto; and 3, Allegretto scherzando, [4 sides].

1922, sometime during February to June, according to Barr.

mx 02759-1/60/61/62.

Vocalion.D 02083(22.12) plus D 02111(23.11). Nos. 2 and 3 reviewed in The Gramophone 1923.12, which stated that nos. 1 and 5 "have already appeared."

Nos. 1-4 were recorded electrically by Josef Bernstein, Peter Rybar, violins (not nec. in order); W. Landschoff (or Landshoff, depending on whether one looks up Bernstein or Rybar in Creighton), cello; and Alban, piano, on Pro Musica.PMR 112; Treasury of Music.T 9, the latter listed in GSE. (Both GSE and WERM list only Alban, piano, and String Trio.) This recording, issued by 1936, must have been Rybar's first recording. But the next recording of No. 5 had to wait for a stereo Vox Box, issued in 1966, which had all five together for the first time.

W062>>   Quartet 12 (Old No. 6) in F, Op. 96, Burghauser 179 (American), Chwiałkowski 5.33 (1893).

092>The Spencer Dyke String Quartet, [6 sides].

Vocalion.K 05132/4(25.3). Reviewed in The Gramophone 1925.4.

Although the score of this most genial of quartets makes no mention of the title 'Nigger,' describing the work simply as 'Quartet in F major, Op. 96,' there can be no doubt of the suitability of the nick-name by which it is generally known. It was in 1892 that Dvorák went to America to take up a post in New York. The keen interest in folk-song and local colour which had already shown itself in his treatment of Bohemian music not unnaturally led him to the study of the American Negro tunes. Here, in the 'Spirituals' and other songs, his genius found just that type of material that it could best turn to account. Everyone knows that these negro melodies and rhythms are the source of modern 'rag-time' and its derivatives, and it is interesting to compare Dvorák's works in this genre, the New World Symphony, op. 95, and this quartet, Op. 96 (both written in 1893) with recent efforts to adapt 'jazz' to the tastes of the cultivated musician. But there is one aspect of the matter that had been little dwelt upon. A glance at Korbay's arrangements of Hungarian songs or at Dvorák's own 'Songs my mother taught me' shows us that the syncopation characteristic of the negro melodies was also a feature of the tunes of Dvorák's own country. No doubt this had a lot to do with his sympathy towards the American music. Incidentally, too, it disposes of the claim that the syncopated style is a unique product of America!

--The Gramophone, 1925 April, p. 438, the beginning of P.P.'s review of the Spencer Dyke String Quartet recording.

093>The Leo Abkov String Quartet, [3 sides] (complete).

World.415B/416. Mentioned in The Gramophone 1925.4. See Brahms: Quartet 2 for further information about these recordings.

094>Bohemian Quartet (Ceské kvareto), [6 sides].

Vox.06255/7 (1925.7).

1928 electric remake on Polydor.95084/6; CD: Biddulph [England].LAB 091/92, "The Czech Quartet Tradition," a two-disc set. This recording--I have not heard the acoustic--takes considerable getting used to, but once one does get used to it, one realizes that this is only proper way to perform the music. It is the most authentic recording ever made!

W063>>   Trio 4 in e, Op. 90, Burghauser 166 (Dumky), Chwiałkowski 6.23 (1890-1). Incomplete recording, omitting the fifth dumka.

095>Poźniak Trio. [Bronizlav von Poźniak, piano; Karl Freund, violin; Joseph Schuster, cello], [5 sides].

Polydor.66194/6A. Issued after 1924.9 but by 1926.7.

Filler: Smetana: Trio 1 in g, Op. 15, Tiege 64, Bartoš 96 (for the 1885-6 original) and 104 (for the 1857 revision): mvt. 2. Which version was used was not determined.

The 1931 electric remake on Gramophone.C 2384/6 (1932, plum) (side nos. 62-806/11): EH 647/9 [Germany]: AN 715/7 [Austria] [6 sides]. The cellist was replaced with Jascha Bernstein. The acoustic recording is mysterious, since it left out the fifth dumka and put in the Smetana filler. The electric recording has no filler and probably contains all six dumky. The acoustic discs are labeled as follows, with what else the score actually calls for in brackets: 66194A: 1st mov. Lento maestoso - [Allegro quasi doppio movimento] - [Lento maestoso] - Allegro. This is the first dumka. 66194B: 1st mov. Poco adagio - [Vivace non troppo] - [Poco adagio] - Vivace. This is the second dumka. 66195A: 2nd mov. Andante - [Vivace non troppo] - [Andante] -[Allegretto]. This is the third dumka. 66195B: 3rd mov. Andante moderato quasi tempo di marcia - [Allegretto scherzando] - [Meno mosso] - [Allegro] - [Moderato]. This is the fourth dumka. The fifth and omitted dumka is just "Allegro." 66196A: 4th mov. Lento maestoso - vivace - [Lento] - [Vivace]. This is the sixth dumka. 66196B: [Smetana] 2nd mov. Allegro ma non agitato. It seems, upon listening to a tape of the discs made for me by Donald Hodgman, that all five recorded dumky are recorded unabridged.

C16>>>                                                                                                                                              ELGAR, Edward [William]

1857 June 2 England-1934 February 23

W064>>   Quartet in e, Op. 83, Chwiałkowski 5.11 (1918), first public performance, with Sammons, 1919.

096>London String Quartet. Abridged recording, [3 sides].

probably 1921.

Vocalion.D 02026B/7(21.9). D 02026A is Kreisler: Quartet in A: 4, Finale (see below). D 02024/5 make up the first three movements of the Kreisler, whence D 02024/7 comprise a single 8-sided set of the two quartets, both abridged. The only electric recording (Stratton Quartet) takes up six sides. Raymond Jeremy, who has five entries in this discography, played in the first performance in 1919.

W065>>   Quintet in a, Op. 84, Chwiałkowski 6.38 (1918-9)

097>Ethel Hobday, piano; The Spencer Dyke String Quartet, [10 sides]. Brian Bishop writes, "Compton Mackenzie's original plan called for the piano part to be played by the composer. Elgar refused, however, and suggested Ethel Hobday instead."

National Gramophonic Society of London.NN-RR (37/41). Mentioned in The Gramophone 1926.5. First performers of the work in 1919 include William Murdoch, Albert Sammons, W.H. Reed, and Felix Salmond, the first two having many entries in this discography.

W066>>   Sonata (Violin) in e, Op. 82, Chwiałkowski 6.68 (1918)

098>Marjorie Hayward, violin; Una Bourne, piano. Abridged recording, [4 sides]. One movement was uncut. I don't know which.

1920.6.

mx Ho 4118/5/6/7af.

Gramophone.C 957(20.6) (side nos. 08086/7) plus C 980(20.10) (side nos. 08091/2). The sole electric recording (Sammons and Murdoch) occupies six sides.

C17>>>                                                                                                                                                FAURÉ, Gabriel [Urbain]

1845 May 12 France-1924 November 4

W067>>   Piano Quartet 1 in c, Op. 15, Chwiałkowski 6.3 (1876-9, finale revised 1883)

099>The Beatrice Hewitt Quartet. Abridged recording, one movement per side, [4 sides].

Probably 1923.

Gramophone.D 741/2 (1923), W 528/9 [France]. Reviewed in The Gramophone 1923.11.

The Beatrice Hewitt Quartet is not to be confused with the Hewitt Quartet, an offshoot of the Capet Quartet, of which Maurice Hewitt was the second violin. Listed as simply Hewitt Quartet in Voices of the Past.

C18>>>                                                                                                                          FRANCK, César [Auguste Jean Guillaume Hubert]

1822 December 12 Belgium-1890 November 8

W068>>   Quartet in D, Mohr 9, Chwiałkowski 5.1 (1889)

100>Virtuoso Quartet, [12 sides].

Probably stretching over 1924 and 1925. Creighton II claims a recording year of 1926, much too late for the matrices involved.

mx Cc 5588-4/89-2/95-2/96-4/97-4, 5622-2/3-1/4-2/5-1, 5892-4/3-2/4-2.

Gramophone.D 1006/11 (1925). Reviewed in The Gramophone 1925.8.

There is no reason why a string quartet should not, by means of double stops, produce a passage that effectively imitates an octet. But there is no excuse for making a string quartet play for pages together in such masses of double stops that there is no more evidence of four individual players than in a piano four-hand duet. It is no defence that such writing (as in Grieg's G minor quartet) is 'effective'; to prolong it is to do a ridiculously easy thing at the expense of all higher possibilities. César Franck's string quartet is in this way a disappointment to every one who can appreciate the essential, if sometimes harmlessly orchestral, quintuplicity of his great piano quintet. The string quartet is full of excellent organ music, and it imitates the organ very skillfully. But, except for the scherzo, which is fully of anybody's brilliance, there is strangely little evidence that it is a quartet at all.

--Donald F. Tovey, "Chamber Music," in Cobbett, I:251. On the other hand, Vincent d'Indy's article on Franck, in the same volume (I:426), spoke of "the most astonishing conception of the mind of this genius in tonal architecture." See Compton Mackenzie's remarks following the listing of the violin sonata.

W069>>   Sonata in A, Mohr 8, Chwiałkowski 6.10 (1886)

101>Marjorie Hayward, violin, Una Bourne, piano. Abridged recording, [4 sides].

Probably 1919.

mx Ho 3558/60/63/65 af.

Gramophone.C 895(19.5) plus C 898(19.7) (side nos. 08069/72).

102>Mischa Elman, violin, with piano. Abridged recording, [4 sides].

Probably 1921. See the appendix of excluded recordings under Beethoven: Quartet 5, where Pathé.9595 is stated on the CD reissue to have been recorded in Paris in 1921. Of course, those that reissue recordings on CDs often themselves rely on imperfect information. The present discographer, and nearly all others, unavoidably pass misinformation onto future discographers. So, no doubt, does Deutsche Gramophon when it reissues Polydor recordings on LP and CD. I have caught more than one dubious dating.

Pathé.9589/90.

Note: This entry was dropped in Creighton II. As Creighton I was my only source for this recording, it may be spurious, but not so patently so that I would remove it to the "Exclusions from this Discography" section.

103>Phyllis Allan, violin; Ethel Hobday, piano. Abridged recording, [4 sides].

Probably 1921 and 1923.

Vocalion.D 02042(21.11) plus D 02093(23.4). Mentioned in The Gramophone 1925.10. Creighton lists only the second disc.

104>Jacques Thibaud, violin; Alfred Cortot, piano. Complete recording, [8 sides].

1923.10.22 HMV studios in Hayes, Middlesex.

mx Cc 3680-1/1-1/2-4/3-7/4-1/5-1/6-4/7-3. It seems unlikely that all these takes were done during a single session. The take data come from the Timpani CD reissue, while the specific recording day of the month comes from the Biddulph CD reissue.

Gramophone.DB 785/8 (1924). Reviewed in The Gramophone 1925.2.

Victor.6524/7 (1925). Creighton reports this a Victor.6254/7, but Moses gives it correctly and assigns 6254/7 to Maud Powell. In fact, 6257 is in this discography as having the third movement of Beriot: Concerto 7.

CD: Biddulph [England].LAB 014 (1990), "Jacques Thibaud: the 1922-23 HMV and 1924 Victor Recordings."

CD: Timpani [France].4C 4017 (1993), "César Franck: enregistrements 1923/1942 recordings," a four-disc set, a reissue not devoted to a performer.

1929 electric remake on Gramophone.DB 1347/50 (Shaw gives 1928); Victor.set M 81 [also 8 sides]; LP: Gramophone-based [i.e., HMV [England], Angel [U.S.], and others in various countries].COLH 74; Toshiba [=Japanese Angel].GR 2025. CD: Gramophone [England and issued internationally].CDH 63032-2; other CDs on other labels.

The fourth movement of César Franck's sonata, so beautifully played for the gramophone by Cortot and Thibaud, will always be associated in my memory with going downhill through thickets of broom and myrtle, past crimson cyclamens in the flinting shade of the big arbutus bushes that overhung the fragrant path; for once, when by such a path I was descending a gorge to the blue Tyrrhenian sea fifteen hundred feet below, my companions a few yards ahead were whistling the melody of that fourth movement. If for nothing else, I should hold the gramophone justified by making us free of César Franck's sonata and quartet and sublime quintet. He, perhaps, more than any other composer, requires the right mood for his music, and how seldom shall we find it in a concert hall! I do not care to hear that quartet in a crowd, but in my own room with my own books and pictures round me, I am beside him in his organ loft, and I have heard the 'seraphim whose footfalls tinkled on the tufted floor.' Surely, if ever the Holy Angels walked beside a human being, they walked beside César Franck up there in the organ loft of Ste. Clotilde. Like Blake, he never lost his childish vision; and of all sublunary delights I know of few that can compare with reading to oneself the Songs of Innocence late on a winter night, and then playing to oneself the quartet. [But see the comments on the quartet following its listing.] That, indeed, is to hold eternity in an hour. I am not forgetting Palestrina when I lament that the age of faith never really expressed itself in music.

--Compton Mackenzie in Cobbett, I:492.

105>Arthur Catterall, violin; William Murdoch, piano. Complete recording, [8 sides].

1923.11.18 and 1924.4.11. Of this performance, the late Ronald Russell said, in response to a tape I sent him, "When I was listening to Catterall's recording of the Franck, I wondered who, today, could play it with such honesty." We all wonder!

mx AX 233-1 on 23.11.18 plus mx AX 234-3 and mx AX 413-1/414-1/229-3 on 24.4.11 plus mx AX 230-1/231-1/232-2 on 23.11.18. In the matrices, the order of movements is 3,4,1,2. (There are two sides per movement in this case as the case in 11 of the 13 electric recordings.) Movements 3, 4, and 1 were initially allocated to L 1535/7, but these were reassigned to Brahms: Violin Sonata 3, which see. The second movement was never allocated to an English Columbia catalog number.

American Columbia.set M 33 = 67164/7-D.

NB: No English Columbia release.

American Columbia.set M 23, briefly and erroneously issued, had mvts. 3, 4, and 1 on 67136/7/8-D, respectively. Syracuse University, for example, owns a copy of this album. M 23 appears in two privately-prepared American Columbia lists of M sets (Allen Mackler and John Toczek) as Beethoven: Symphony 3 (abridged), conducted by Sir Henry J. Wood and the New Queen's Hall Orchestra, mx 75121-1/2-2/3-2/4-2/5-2/6-1, recorded 22.6.30, according to Taylor, even though the matrices indicate 1917, issued on English Columbia.L 1447/9 (22.11-28.2, except that side 2 was rerecorded on take 4 on 24.7.9, resulting in the first disc being replaced in 1925.1) and American Columbia.65007/9-D and American Columbia.7081/3-M (details of take substitution unknown). I do not know the location or even the existence of any copies of M 23 purporting to be the Eroica. The reaction to Wood's abridgment, according to John Holmes, was so strong that he never again recorded an abridgment. The abridgment goes mostly rather smoothly; it's just that the movements get over with so fast!

Note: My source for M23 is a letter from Claude Arnold and, more fully, Taylor, who, in turn got the information from Arnold. Creighton II has this note which is not quite accurate and should not be relied upon by furture discographers: "The 3-record version that is on Columbia 67136/8-D (set M23) omits the Allegro (4th mvt). The 4-record version has the 1st mvt on 67166-D, the 2nd mvt on 67167-D, the 3rd mvt on 67164-D & the 4th mvt on 67165-D." The first sentence should be amended to read the great 2nd mvt. The second sentence may be accurate.

Earlier recording by Catterall and Murdoch on English Columbia.L 1149 of mvts. 1, Allegretto and 2, Allegro ben moderato (both abridged): mx AX 75-1/6-1 on 23.6.7, which was in the catalogs 23.8-28.2. This is the second issue of L 1149. Albert Sammons and Murdoch recorded the same material on mx 6865-3/6-2 about 1917, constituting the first issue of that catalog number, and was in the catalogs 17.4-23.8. Alas, Sammons and Murdoch unfortunately did not record the entire work.

C19>>>                                                                                                                                       GRANADOS [y Campiña], Enrique

1867 July 27 Spain-1916 March 24 in the English Channel

W070>>   (12) Spanish Dances [Danzas Españolas], Op. 37, [Carol] Hess 142, Chwiałkowski 7.119-30, for piano

106>The Composer, piano, incomplete recording, [3 sides]. Contains 7 in G, Valenciana (Calesera); 9 in Bb, Romántica (Mazurka) (after Scarlatti: Sonata in Bb, Longo 250), 10 in G, El Pelele, or Goyesca (Allegretto). Chwiałkowski says no. 10 is Melancólica (Danza triste); I cannot resolve the discrepancy.

ca. 1912 in Barcelona.

mx XS 1508/10.

Odeon.68649/68671/68650 (double-faced).

LP reissue: International Piano Library [U.S.].IPA 103, "The Catalan Piano Tradition" (contains the filler).

CD reissue: VAI/IPA [U.S.].1001, "The Catalan Piano Tradition" (1992) (contains the filler)

Filler, mx XS 1511 on Odeon.68651, is Granados: Improvisation on "El Pelele," which is probably the work composed in 1903 and given the [Carol] Hess No. 106. Performed by the Composer.

The Composer made piano rolls of nos. 1, 2, 5, 7, 10, and perhaps others. The entire set was recorded electrically by Guillermo Cases on Odeon and, more importantly, on 1954.11.17 on a monophonic Westminster LP by Alicia de Larrocha.

107>Sir Henry J. Wood and his Orchestra, incomplete recording, [5 sides]. Contains 4 in G, Villanesca; 5 in e, Andaluza, or Players (Andantino quasi allegretto); 10 in G, El Pelele, or Goyesca (Allegretto); 12 in a, Arabesca (Molto andante); 6 in D, Rondella Aragonesca (Jota, Allegretto quasi moderato). Arranged by The Conductor, numbered 1-5 in the order given. Data from Arnold. Chwiałkowski's work list for Granados says no. 10 is Melancólia (Danza triste) and no. 12 is Bolero (Zambra) but no. 11 is Arabesca. Having neither the discs nor score, I cannot resolve the discrepancies.

Probably 1917, with later takes perhaps in 1918.

mx 75992-1/3-1/7-1/5-2/4-2.

English Columbia.L 1214 (17.12-28.5) plus L 1215 (17.12-28.5) plus L 1216A (18.3-28.5).

Filler: Albeniz: Suite Española, Op. 47 (piano, 1886): 2, Cataluña. Arr. by the Conductor. 1917.10. mx 76004-2.

Wood himself rerecorded nos. 4-6 electrically for Decca. The entire set was recorded electrically by Guillermo Cases for piano on Odeon and, more importantly, on 1954.11.17 on a monophonic Westminster LP by Alicia de Larrocha. No. 12, in an orchestral version (not necessarily Sir Henry's) was recorded on a monaural LP. I trace no further orchestral recordings any of the others, though there may have been some, since discographic information in Music Library is often sparse. The Composer made piano rolls of nos. 1, 2, 5, 7, 10, and perhaps others.

C20>>>                                                                                                                                              GRIEG, Edvard [Hagerup]

[Nordicized from Greig when his ancestors moved from Scotland]

1843 June 15 Norway-1907 September 4

W071>>   Holberg Suite [Fra Holbergs Tid, or Suite in the Olden Style], Op. 40, Chwiałkowski 8.76-80. Piano, 1884. Orchestrated by the Composer, 1884/5.

108>Leo Blech, Berlin Philharmonic Orchestra, [3 sides].

probably 1923.

Polydor.69593/4 (side nos. B 20095/7) (23.3): 65891/2.

Filler: Gounod: Funeral March of a Marionette. Side no. B 20094.

W072>>   Lyric Suite, a selection (made in 1901 by Anton Seidel) of Nos. 1, 2, 4, and 3 (in that order) from the (6) Lyriske Stykker, Book V, Op. 54, Chwiałkowski 8.106-11 (piano, 1891); orchestral version by the Composer, 1904. Consists of 1, Shepherd Boy (Gjaetergut); 2, Norwegian Rustic March (Ganger); 3, Nocturne (Notturno)); 4, March of the Dwarfs (Troldtog).

109>Landon Ronald, New Symphony Orchestra, [4 sides].

1912.3.4, 18, and 19.

mx A 16186f, Ac 6122f, AI 6187/8f.

Gramophone (English issues): 0799/0800(13.2) plus 0887/8(13.7) (single-faced): D 149/50 (1919).

Gramophone (Continental issues, all double-sided):

Germany: 040780/3(14.1): 65369/70 (Ronald's name omitted).

Spain: 060595/6 plus 060607/8 (1914), the second disc renumbered AB 105.

Italy: S 4196 plus S 4198 (side nos. 2-050509/12) (16.2), reduced from Black to Green Label and re-side numbered 2-0250605/8.

Czechoslovakia: ES 125/6.

Russia: nos. 3,4 only: 020727/8(1914).

France: nos. 2,4 only: W 319(19.12).

110>Percy Pitt, BBC Wireless Symphony Orchestra, [4 sides].

1924.7.22 and 8.29.

mx AX 529-1/530-2 on 24.7.22 and AX 531-3/532-4 on 24.8.29.

English Columbia.990/1(24.10-28.5).

W073>>   Piano works: 1, Butterfly (Schmetterling) [no. 1 (Chwiałkowski 8.87) from (6) Lyric Pieces, Book 3, Op. 43 (1886)]; 2, To the Spring (An der Frühling, or Til Vren) [no. 6 (Chwiałkowski 8.92) from (6) Lyric Pieces, Op. 43 (1886)]; 3, Remembrances (Efterklang) [no. 7 (Chwiałkowski 8.163) from (7) Lyric Pieces, Book 10, Op. 71 (1901)]; 4, Molto Allegro [fourth mov. from Sonata, Op. 7, Chwiałkowski 7.1 (1865, rev. 1887)]; 5, Norwegian Wedding March (Gangar) [no. 2 (Chwiałkowski 8.107) of (6) Lyric Pieces, Book 5, Op. 54 (1891). Methuen-Campbell speculates that it might be no. 6 (Chwiałkowski 8.169) of (19) Slatter (Norwegian Peasant Dances), Op. 72 (1902-3), but that work is very short)]; 6. Minuet [Alla menuetto ma poco più lento, third mov. from Sonata, Op. 7, Chwiałkowski 7.1 (1865, rev. 1887)]; 7, Wedding Day at Troldhaugen (Bryllupsdag p Troldhaugen) [no. 6 (Chwiałkowski 8.131) of (6) Lyric Pieces, Book 8, Op. 65 (1897)]; 8, Humoresque [unidentified, perhaps one of (4) Humoresques, Op. 6, Chwiałkowski 8.14-7 (1865)]; 9, Norwegian Bridal Procession (Brudefølget drager forbi) [no. 2 (Chwiałkowski 8.53) of (3) Scences from Peasant Life (Folkelivsbilleder), Op. 19 (1870-1)]. The movements from the piano sonata are certainly abridged, as are perhaps others.

111>>The Composer, piano, [9-10" sides].

ca. 1903.3-4 in Paris.

No. 2: mx 2147 F 11 cs; no. 4: 2153 F 1; no. 8: mx 2151 F; others unknown. Methen-Campbell notes: "The IPA 117 LP release gives the matrix number for 35512 [no. 4] as 2146 F, but this does not tally with the evidence from British collectors. Possibly 2146 F is the matrix for 35514 [no. 6]."

Gramophone [Gramophone and Typewriter].35509/17 (single-faced).

No. 2 (To the Spring) was reissued on Gramophone.D 803 (with Joseph Joachim playing Brahms: Hungarian Dance 2, mx 217y, recorded in 1905.

No. 3 was reissued on LP: Audio Archives [U.S.].LA 1203. This disc also contains Saint-Saëns playing some of his own music (see below).

All nine works: LP: International Piano Archives.IPA 117, and some, if not all, of them on one or more CDs.

The Composer made piano rolls of nos. 1 (Butterfly) and 9 (Norwegian Bridal Procession), plus Little Bird, Op. 43, No. 4. These have been issued on LP: Columbia.ML 4293 (1950) and Telefunken.TH 97009 and, no doubt, on CD.

Further recordings: 1, many electrics; 2, many electrics, plus three acoustic recordings of an orchestration by an unknown hand, the first in 1921; 3, LP; 4, Una Bourne (acoustic, in this discography); 5, LP, plus the two acoustic orchestrations done by the Composer (in this discography); 6, Una Bourne (acoustic, in this discography); 7, many electrics, plus four acoustic recordings of an orchestration made by the Composer, the first in 1911; 8, stereo LP; 9, many electrics, plus five acoustic recordings of an orchestration by Jan Halvorsen, the first in 1912.

W074>>   Peer Gynt Suite No. 1, Op. 46, Chwiałkowski 3.5 (1874-5, revised 1888, from the Incidental Music to "Peer Gynt," Op. 23)

112>Cherniavsky Trio [three brothers born in Odessa: Jan, piano, born 1892; Leo, violin, born 1890; and Mischel, cello, 1893-1982]. Reduced by an unknown hand, or perhaps by all six hands of the performers in cooperation, to a piano trio). Abridged recording, [4-10" sides].

probably late 1925.

mx A 2234/7.

English Columbia.3735/6(26.1) (10"). This Columbia series consists mostly of popular music.

A previous chamber music version of 1, Morning, and 3, Anitra's Dance was recorded by an "Instrumental Trio" and issued on Polydor.13805 (10"). This is in the 1926/7 English language Polydor export catalog. Creighton II lists a 12" disc on Polydor.65305; Gramophone.048040, mx 906m bzw. 1286s, that has Moritz Mayer-Mahr, piano; Bernard Dessau, violin; and Heinrich Grünfeld, cello, playing 3, Anitra's Dance and Handel: Serse (1738): Ombra mai fu ("Largo"), presumably recorded no later than 1923, for Dessau died on April 28 that year, although he can still vote in Chicago. (See Tchaikovsky: Piano Trio, below, for a further recording by this group. It is far from improbable that the two early Anitra's Dances are the same recording.

The brethren rerecorded the work electrically on mx WA 3899-1 (26.9.10), WA 3756-4 (26.9.1), WA 3831-1 (26.9.1), and WA 3900-1 (26.9.10), issued on English Columbia.3735/6-R. Not listed in either GSE or WERM. No further recordings of the piano trio reduction and abridgment traced and none likely will ever be made.

No American issue has been traced. The performers became British citizens in 1922. Cobbett, however, lists them under both American and English groups. This is one of many discrepancies I am not able to resolve but suppose here that Cobbett mistook such fame as these performers had in the United States as evidence of permanent settlement.

"Too much urgency and stress for Morning. I don't see much point in arranging such a suite. Rhythm is groggy. Some of Grieg's notes are quite out of time. Richer tone is wanted for Ase's Death and more body. What can three people do with the final imp's dance. They are impotent." --Complete review in The Gramophone, 1926.1.

W075>>   Sonata (Piano) in E, Op. 7, Chwiałkowski 7.1 (1865, revised 1887)

113>Una Bourne, piano. Abridged recording, [4 sides]. Brian Bishop, who furnished me with a tape of the recording, writes that the recording is "indeed abridged, but only the last movement, and only about a minute is missing. Curiously, the third movement (Minuet) is actually lengthened by a repeat not in the score!"

Probably 1921.

mx Cc 17-3/18-4/19-4/20-3.

Gramophone.C 1023 (21.7) (side nos. 05667/8) plus C 1027 (21.8) (side nos. 05670/1).

The next recording, unabridged, was a monaural LP.

W076>>   Sonata (Violin) 2 in G, Op. 13, Chwiałkowski 6.4 (1867)

114>Albert Sammons, violin; William Murdoch, piano, [6 sides].

1925.3.12.

mx AX 936-1/7-3/4-1/5-2/8-2/9-1, i.e. AX 934/9 but out of order. Creighton II has 936-2. I rely on Taylor here. Brian Bishop, who sent me a tape of the recording, remarks, "each movement takes two sides. In the second and third movements, the first minute or so of the second side is a repetition of the last minute or so of the first side. Presumably this overlap was done to avoid having some extremely short sides!"

English Columbia.L 1661/3(25.11-28.2), reviewed in The Gramophone 1925.11.

American Columbia.set M 31 = 67155/7-D.

W077>>   Sonata (Violin) 3 in c, Op. 45, Chwiałkowski 6.5 (1886-7)

115>Lionel Tertis, viola (instead of violin); Ethel Hobday, piano, [6 sides]. Arranged by Lionel Tertis and transposed to f.

Vocalion.D 02104(23.9) (reviewed in The Gramophone 1923.10 and stated to be uncut) plus 02106(23.10) (reviewed in The Gramophone 1923.11) plus 02112(23.11). The discographies by Malcolm Walker appended to Lionel Tertis, My Viola and I: A Complete Autobiography; with Beauty of Tone in String Playing and Other Essays, and by James Methuen-Campbell, Catalogue of Recordings by Classical Pianists; Volume I (Pianists born to 1872) both list only the first two discs. All three discs are listed in the 1923 January Vocalion catalog, a paradox resolvable by supposing that the catalog listed hopes rather than current actualities.

116>Sam Swaap, violin; Willem Andriessen, piano. Abridged recording, [3 sides]. Abridged recordings at this late date were unusual.

1924.12.2 London.

mx Cc 5414-2/5-2/6-2/7-1.

Gramophone.D 974/5A (side nos. 2-098000/1/2/3) (1924).

Filler: Brahms: Sonata (violin) 3 in d, Op. 108: 2, Adagio.

Swaap also recorded as Jopie Slim, a cartoon character in a newspaper, de Cock: Moeder, ik kan je niet missen, mx BK 1568-1, side no. 7-97920, 1924.8 in The Hague, issued on Gramophone.B 4657.

C21>>>                                                                                                                    HANDEL, George Frideric [geb. Georg Friedrich Händel]

1685 February 23 Germany-1759 April 14

W078>>   Sonata (violin and continuo) 7 (Old No. 4) in D, Op. 1, No. 13, Baselt 371, Chwiałkowski 8.7 (ca. 1750, incomplete)

117>Isolde Menges, violin; Eileen Beattie, piano, [4 sides]. Completed and arranged for violin and piano by an unknown hand or hands.

1921.

mx Bb 688-1/862-2/883-2/884-1.

Gramophone.E 279/80 (1922). Reviewed in The Gramophone 1923.4.

W079>>   Trio Sonata in g for two violins or oboes and continuo, Op. 2, No. 7 (Dresden No. 1), Baselt 392, Chwiałkowski 6.14 (ca. 1706-9)

118>Adila Fachiri and Jelly d'Arányi, violins and sisters; Ethel Hobday, piano, [4 sides].

25.7-26.1, according to Barr.

mx 04088/91.

Vocalion.K 05222/3(26.4). Reviewed in The Gramophone 1926.4. The Vocalion acoustics ended in 26.8 around matrix 04550.

The next recording of the work was on a monaural LP.

C22>>>                                                                                                                                                 HAYDN, [Franz] Joseph

1732 March 31 Austria-1809 May 31

The Feder numbers come from the work list prepared by Georg Feder for The New Grove.

W080>>   Quartet in F, Op. 3, No. 5, Feder 5, Hoboken III/17, Chwiałkowski 10.18 (in italics, indicating a lost, spurious, or doubtful work). Often attributed to Romanus R. Hofstetter (1742-1785), but one member of the Guarneri Quartet, I believe, insisted that this quartet was really by Haydn. Given that performers can have a sense for things that musicologists do not, I go with Haydn as the composer.

119>Busch Quartet, [4 sides].

ca. 1922.

mx 772/5-av.

Polydor.72791 plus 72793 (side nos. B 29000/3). Issued by 1924.9.

CD: Symposium [England].1109 (1992), "Great Violinists|Volume 5|Adolf Busch (1891-1952)|and the Busch Quartet|Authentic Transfer Process." Contains the other four Busch Quartet acoustic sides.

Superlative: The first unabridged recording of a string quartet.

120>Léner Quartet, [also 4 sides].

1924.10.30.

mx AX 719-1/20-2/21-2/22-2.

English Columbia.L 1638/9(25.6-27.9). Reviewed in The Gramophone 1925.6.

American Columbia.67093/4-D.

1927 electric remake on English Columbia.9658/9 [also 4 sides]. On English Columbia.L 1465 (23.3-29.7), the Léners recorded (mx 75218-1/9-2, 22.11.13) "Quartet in F, Op. 3-Andante cantabile (Haydn)" and "Quartet in F, Op. 96-Lento (Dvorak)," according to Taylor.

W081>>   Quartet in Bb, Op. 64, No.3, Tost III/3, Feder 50, Hoboken III/67, Chwiałkowski 10.60 (1790)

121>London String Quartet, [4 sides].

probably 1921.

Vocalion.D 02020(21.5) plus D 02039(21.10). Mentioned in The Gramophone 1923.4.

W082>>   Quartet in D, Op. 64, No. 5 (Lark) (Hornpipe), Tost III/5, Feder 53, Hoboken III/63, Chwiałkowski 10.62 (1790)

122>London String Quartet, abridged recording, [4-10" sides].

1919.

mx 69338/41.

English Columbia.D 1443/4 (10"). First and second movements atrociously cut (see next entry); third and fourth movements complete.

123>Flonzaley Quartet, abridged recording, [3 sides].

probably 1922.

Victor.74726/74746/74825 (single-faced) (1922): 6116 (1923) plus 6361A (1923).

Gramophone.DB 250 (1923) plus DB 797A (1924).

Filler for both double-faced issues is Borodin: Quartet 2: Nocturne.

Electric remake 28.12, but with Nicholas Moldavan, viola, on Victor.7650/1A (unreleased and also 3 sides on 78s); LP: Victor.VCM 7013 (1973), a two-disc set; CD: Biddulph [England].LAB 089/90 (1994), "The Flonzaley Quartet play Classical works," a two-disc set. The filler to the remake was to have been Haydn: Quartet in E, Op. 3, No. 1: Andantino grazioso and was first released on the Biddulph CD.

"This record [DB 250] relegates to the rubbish heap the L.S.Q. version (Columbia D.1443 [see the last entry]), of which the playing is undistinguished and the cutting atrocious." --Letter by Francis E. Terry in The Gramophone 1925.1.

124>The Spencer Dyke String Quartet, [6-10" sides].

probably late 1924.

Vocalion.X 9554/6 (10") (Shaw gives 1924; not listed in the 1923 January Vocalion catalog). Reviewed in The Gramophone 1925.5, which states that this is the first uncut recording of the work. Mackenzie used pocket scores many, many times to determine what cuts were made in recordings. Given that so many of these recordings are not available for consultation, Mackenzie's reports are often our only source of information.

W083>>   Quartet in Eb, Op. 64, No. 6, Tost III/6, Feder 52, Hoboken III/64, Chwiałkowski 10.63 (1790)

125>The English String Quartet. Abridged recording (2nd movement cut), [4 sides].

1923.5.17 & 24.

mx AX 14-2 on 23.5.24 plus mx AX 8-2 on 23.5.17 plus mx AX 15-1 on 23.5.24 plus mx AX 9-1 on 23.5.17.

English Columbia.937/8(23.9-28.5), reviewed in The Gramophone 1923.10.

American Columbia.5052/3-M.

W084>>   Quartet in d, Op. 76, No. 2, Feder 61, Hoboken III/76, Chwiałkowski 10.71 (Fifths, The Bell, The Donkey) (Minuet known as Witches Minuet) (1797)

126>Léner Quartet, [5 sides].

1925.3.9 & 10.

mx AX 916-2/917-1/918-1/919-2 on 25.3.9 plus mx AX 924-1 on 25.3.10.

English Columbia.L 1740/2A(26.5-28.2). Reviewed in The Gramophone 1926.5.

Filler is Franck: Quartet: Poco Lento (mx AX 154-1, 23.9.26). This seems to be the first section of the movement played unabridged. See the Appendix on the fillers.

1935 electric remake of mvt. 2 (Andante) (mx CAX 7469-1) on English Columbia.LX 454B; American Columbia.68424B-D (in set M 246) (filler to their recording of the Emperor Quartet).

Superlative: this is the last-issued acoustic chamber music set of which the issue dates are known to this discographer and, following Taylor, the last issued 12" acoustic recording of English Columbia, chamber music or not, classical or not, L series or not. The orchestration of a piano composition, Ravel: Le Tombeau de Couperin (see below), was also issued in 1926.5.

W085>>   Quartet in C, Op. 76, No.3, Feder 62, Hoboken III/77, Chwiałkowski 10.72 (Emperor) (1797)

127>London String Quartet, [6 sides].

1924.12.15 & 17.

mx AX 805-1/806-1/807-1/808-2 on 24.12.15 plus mx AX 813-1/814-1 on 24.12.17.

English Columbia.L 1633/5(25.5-30.8), reviewed in The Gramophone 1925.5. Voices of the Past calls the work Op. 73, No. 3.

American Columbia.set M 22 = 67127/9-D.

Earlier LSQ recording on English Columbia.461B (issued 14.6-deleted by 15.8, not very long in the catalogs!): mx 6396-1-2 for "Kaiser Quartet, Op. 76-Austrian Hymn (Haydn)." 461A, mx 6397-3, is "Quartet in D, Op. 11-Andante cantabile (Tchaikovsky)." Data from Taylor, who gives no recording date.

W086>>   Quartet in D, Op. 76, No. 5, Feder 64, Hoboken III/79, Chwiałkowski 10.74 (Largo) (1797)

128>Léner Quartet, [6 sides].

1924.2.22 & 23.

mx AX 333-1/4-2/5-2/6-2 on 24.2.22 plus mx AX 338-1/9-1 on 24.2.23. (Note that AX 337 was skipped over.)

English Columbia.L 1559/61(24.7-28.7), reviewed in The Gramophone 1924.7.

American Columbia.set M 7 = 67039/41-D.

1928.11.7 and 10 electric remake on English Columbia.L 2257/9 (1929 mid-March-1942 June); American Columbia.set M 125 = 68421/4-D [also 6 sides].

C23>>>                                                                                                                                                     HINDEMITH, Paul

1895 November 16 Germany-1963 December 28

W087>>   Kleine Kammermusik, Op. 24, No. 2, , Chwiałkowski 6.6, for Woodwind Quintet (flute, oboe, clarinet, horn, and bassoon) (1922)

129>The Gewandhaus Wind Quintet, Leipzig, [4 sides].

Polydor.66376/7. Issued after 1924.9 but by 1926.7. Reviewed in The Gramophone 1926.12. Layout is side 1: mvt. 1; side 2: mvts. 2 and 4; side 3: mvt. 3; side 4: mvt. 5.

W088>>   Quartet 3 in C, Op. 22, Chwiałkowski 5.3 (Spring) (1922)

130>Amar Quartet, [6 sides].

mx 905/06½/07/08/09/10 az.

Polydor.66198/200. Issued after 1924.9 but by 1926.7. Reviewed in The Gramophone 1926.12.

Electric remake on Polydor.66422/4, mx 429/34 bg.

C24>>>                                                                                                                                                   HUGUENIN, Charles

W089>>   Trio 2 for Woodwinds (Oboe, Clarinet, and Bassoon)

131>Henri Lefebvre, clarinet; Louis Bas, oboe; Ernest Vizentini, bassoon, [8-10" sides].

1907.

mx 7343/50o.

Zonophone.X 88030/31 plus X 88033/8. Sides 7 and 8 also issued on Gramophone.238016/7. All issues are French 10" double-faced discs cataloged by side number but may have been issued on single-faced discs as well. The movements are 1. Marcietta, 2. Sicilienne, 3. Menuet, 4. Petite gavotte, 5. Rêverie, 6. Le fileuse au rouet [girl at the spinning wheel], 7. Le chantre de mon village, and 8. Le poule, l'âne et le coucou [hen, donkey, and cuckoo].

Until my last visit to the Library of Congress to research this discography, the only data I had came from Kelly and identified the work only as "Trio (Huguenin)." I could find no other recordings by this Huguenin nor a single reference to him, not even in Frank Greene's index of recordings of 14,000 composers. He was, I thought, "as forgotten as Baxter's 'Saint's Rest' and the United States Constitution," as H.L. Mencken put it in a different context. During that visit, I had a mind to consult the card catalog of scores and came up with "Charles Huguenin, Marche et prière. Des unions Chretiennes de jeunes gens pour choeurs, orgue ou orchestre [March and Prayer of the Christian Union of Young People, for Chorus and Organ or Orchestra]. Paris: Librairie Protestante, 1905." (Significantly, the Huguenots were French Protestants and furnished the relatively few French immigrants to the United States in the early years, before Roman Catholics came to New Orleans.) It is likely that the composer of the trio is this same Charles, for the trio was recorded in 1907. Edwin Matthias, at the research desk at the Library's Music Room, suggested I consult the Rigler and Deutsch Record Index on microfilm. There were three entries for a Charles Huguenin and three for a Charles Huguenir, all referring to Victor.24785, a 10" double-faced black, scroll label domestic disc, issued in 1934, costing 75¢, and conducted by Bruno Reibold and the Victor Orchestra. (This series consisted of popular music, which is perhaps why the disc is listed in neither GSE nor WERM, but it probably does fit the scope of this discography.) The several listings give: "La Fileuse (Girl at the Spinning Wheel)," "La Poule, L'Ane et le Couoca," "Reverie," "Second Trio for Woodwind," "Second Trio for Woodwind/ (Oboe, Clarinet, Bassoon) La Fileuse (Girl at the Spinning Wheel)," "Second Trio for Woodwind (Oboe, Clarinet, Bassoon) La Poule, L'Ane et le Coucou," and "Second Trio for Woodwind/ (Oboe, Clarinet, Bassoon) Reverie." The three named movements occupied a side each in the 1907 set of four 10" discs. How the movements were placed on two sides of the 1934 disc is something I cannot determine, esp. as the Rigler-Deutsch compilers did not find any matrix information.

[Alas, Richard Baxter (1615-91) is not competely forgotten, and his book, The Saint's Everlasting Rest: or, A Treatise of the Blessed State of the Saints in Their Enjoyment of Glory (London: F. Tyton and J. Underhill, 1662), was reprinted as recently as 1994 by the Billy Graham Center for $1.95. And so, it seems, Charles Hugenin did not drop out of sight immediately after 1907. Mr. Mencken's observation about the Constitution stands.]

C25>>>                                                                                                                                   INDY, [Paul Marie Théodore] Vincent d'

1851 March 27 France-1931 December 2

W090>>   Quartet 2 in e, Op. 45 (1897)

132>Quatuor Barbillion, supervised by the Composer, [10 sides = 6-12" + 4-10" sides].

1923.6.11 & 26.

mx CS 998-1/9-1/1000-2/1001-2 (W 507/8, 12") on 23.6.11; mx CS 1020-2/21-1 on 23.6.26 (W 509, 12"); mx BS 1022/5, all take 1 on 23.6.26 (P 473/4, 10"). Sides 1-3 have 1, Introduction et Allegro; side 4 has 2, Scherzo; sides 5 and 6 have 3, Adagio (parts 1 and 2); side 5 has 3, Adagio (part 3) and 4, Finale (part 1); and side 6 has 4, Finale (parts 2 and 3).

Gramophone.W 507/9 (12", France) (side nos. 038025/30) plus P 473/4 (10", France) (side nos. 38000/03).

P 473/4 was used previously for some 1906 recordings by H. De Bruyne, violin; Cornelius Liegois, cello; and Auguste Delacroix, piano, of the following works (all 10" French issues): P 473A (also 38000 and Zonophone.X 88026), mx 5990o: Saint-Saëns: Oratorio de Nöel: Fragment. P 473B (also 38001 and Zonophone.X 80022), mx 5896o: Goublier: Patrouille indiscreté. P 474A (also 38002 and Zonophone.X 80021), mx 5985o: Gounod: Ave Maria. P 474B (also 38003 and Zonophone.X 88023), mx 5987o: Ganne: Extase. I am not sure whether the 38000 series or the Zonophones are single-faced. The second issue of P 473/4, i.e., the 10" discs of the Indy Quartet, is not listed in Kelly.

Next recorded electrically on French Gramophone.W 1537/40 and performed by the Bouillon Quartet [8-12" sides].

W091>>   (13) Tableaux de voyage, Op. 33 (1888): Incomplete recording: 4, Lac vert; 6, La Poste; 8, Halte au soir; 9, Départ matinal

133>The Composer, piano, [3 sides = 2-10" + 1-12" sides].

1923.6.7 in Warsaw.

Layout: Table 4 on mx Bb 3071-2 (10"); Tables 6 and 8 on mx Bb 3072-2 (10"); Table 9 on mx Cc 3070-2 (12").

French Gramophone.P 472 (10") (side nos. 35240/1) and W 506A (12") (side numbers unknown). Listed in WERM as an acoustic but unmentioned in GSE.

LP reissue: Royale [U.S.].1573, "Famous Composers Play Their Own Compositions" (1950)

LP reissue: Allegro [U.S.].LEG 9021, "Composers of the Keyboard Play Their Own Compositions" (1950s)

The 12" disc was reissued on a vinyl 78 r.p.m. disc, Symposium.1012, sometime in the 1980s from the original masters.

Filler to the set (i.e., W 506A): Indy: Poème des Montagnes, Op. 15 (1881): Danse rhythmique, mx Cc 3069-2, recorded on 23.6.7 by the Composer.

The Composer's own piano rolls of Nos. 4, 5, 6, and 8 came out on monaural LPs: Royale [U.S.].1402, "An Hour of the Master Pianists" (1950) and Allegro [U.S.].AL 39, "Famous Composers Play Their Own Compositions" (1950s).

In addition, The Composer orchestrated nos. 1, 2, 5, 4, 6, and 13 of his Tables. Nos. 4 and 6 came out on a stereo LP about 1979; all six orchestrated Tables came out on a CD. I trace no other piano recordings. I could be wrong about which Royale and Allegro LPs contain rolls and which contain discs. I reckoned on the basis of which works the Composer, Grieg, and Saint-Saëns made rolls and which discs, for there have been several reissues of these recordings.)

C26>>>                                                                                                                                             IRELAND, John [Nicholson]

1879 August 13 England-1962 June 12

W092>>   Sonata (Violin) 2 in a (1915-17) (all recordings abridged)

134>Albert Sammons, violin; William Murdoch, piano, abridged recording, [4 sides].

1917 (recordings with higher matrix numbers and with first takes were in the 17.6 catalog).

mx 75484/7, all take 1.

English Columbia.L 1322/3 (first issue under that catalog number). The first disc was in the catalog 1919.10-1923.8; the second disc 1919.12-1923.8. Not in Creighton. Voices of the Past gives Sammons only but with Catterall's matrices and no take numbers.

135>Arthur Catterall, violin; William Murdoch, piano, abridged recording, [also 4 sides].

1923.6.8.

mx AX 81/4, all take 1.

English Columbia.L 1322/3 (second issue under that catalog number). First disc in the catalog 23.8-28.8; second disc 23.8-24.7. Creighton gives this performance only, with matrix but without take numbers. Voices of the Past gives Sammons only but with Catterall's matrices and no take numbers either.

136>Arthur Catterall, violin; William Murdoch, piano, abridged recording, [also 4 sides].

1923.11.18 for the fourth side.

Substitution of the fourth side with mx 84-4, recorded on 1923.11.18.

English Columbia.L 1322/3. This altered set constitutes the third issue of the work under the same catalog number. The second disc was in the catalogs 24.7-28.8.

Sammons recorded the work electrically on 1930.10.7, mx WAX 5777/84 [8 sides, unabridged] with the Composer at the piano, for Columbia. Unissued on 78s, it was issued for the first time in 2000 on CD: Dutton Epoch.CDLX 7103. The disc, devoted to 78 r.p.m. chamber music recordings of Ireland, also contains the first violin sonata, performed by Frederick Grinke and the Composer, recorded 1945.11.22-23, for Decca, and other works. It was reviewed in the 2000 Summer issue of International Classical Record Collector. The next recording, other than the belatedly-issued Sammons remake, is on a monaural LP (Teresa Robbins, violin).

C27>>>                                                                                                                                 KLUGHARDT, August [Friedrich Martin]

1847 October 30 Germany-1902 August 3

W093>>   Quintet in C for bassoon, clarinet, flute, horn, and oboe, Op. 79 (1901). The movements, each occupying one side on the recording, are: 1, Allegro non troppo; 2, Scherzo; 3, Andante; and 4, Adagio-Allegro-Vivace.

137>The Gewandhaus Wind Quintet (Bläser-Quintet), Leipzig, [4 sides].

Polydor.65796/7 (side nos. B 29032/5). Issued by 1924.9.

Next recording on a monaural LP.

"It is perhaps not quite fair to neglect Klughardt, even though he seems a dwarf in stature when compared to Brahms." --Wilhelm Altmann, in Cobbett II: 55.

"The music meanders in a pretty, but mainly insipid way."

                  --Peter Burwasser, Fanfare, 2002.5-6 (25.5:256).

C28>>>                                                                                                                                                      KREISLER, Fritz

1875 February 2 Austria-1962 January 29

W094>>   Quartet in A (1922)

138>London String Quartet. Abridged recording, [5 sides].

probably 1921.

Vocalion.D 02024/6A(21.9). D 02026B is Elgar: Quartet in e, Op. 83: 1, Allegro (see above). This recording is listed in the 1923 January Vocalion catalog. The remainder of the Elgar Quartet occupies D 02027, making that recording a three-sided abridgment. So the eight sides on D 02024/7 constitute a single set. The sole electrical recording (performed by the Kreisler Quartet) takes seven sides.

C29>>>                                                                                                                                       LALO, Édouard-[Victoire-Antoine]

1823 January 27 France-1892 April 22

W095>>   Symphonie Espagnol, Op. 21, Chwiałkowski 2.2 (1874). Incomplete and abridged recording.

139>Renée Chemet, violin; Harold Craxton, piano, [3 sides]: 1, Allegro non Troppo; 2, Scherzando; 5, Rondo allegro.

mx HO 4698-2/7-2/9 AF.

Gramophone.3-07937/36/38 (single-faced) (mentioned in The Gramophone 1923.6): DB 473/4A (1924).

The filler, DB 474B, mx HO 4696 AF, is Lalo: Concerto (Violin) in F, Op. 20 (1872): 2, Romance, same performers. Gramophone.3-07935 also has the Concerto movement, but is not a filler, properly so-called, since it is a single-faced disc.

Lalo, composer of the so frequently played Symphonie espagnole for violin, was astonishingly modern in style considering that he was born over a century ago. Pougin, a contemporary, writes as far back as 1879: 'M. Lalo is in advance of public taste, and his progressive tendencies appear in his earliest works, which, noticed in Germany, were disregarded in France, at that time infested with a plague of worthless music, fantasies, transcriptions, variations on operatic motifs and the rest.' His best chamber works are his piano trios, which are well known in private circles.

--W.W. Cobbett's appendum to Florent Schmitt's article on Lalo, in Cobbett II; 89. Lalo's piano trios have at last appeared, two on stereo LPs and all three on CD, and are well worth acquiring. Even more so is the chamber music of Louis [Victor Jules] Vierne (1870-1937), remembered mostly for his organ compositions but in his day regarded as the equal of Franck. Arthur Pougin (1834-1921), quoted above, was a French violinist and music critic.

C30>>>                                                                                                                                                   LAURISCHKUS, Max

1876-Insterburg, Germany-1929

W096>>   Lethonia (Aus Litauen), Op. 22 (Suite for Five Wind Instruments (flute, oboe, clarinet, horn, and bassoon) (1914). The movements are 1, The country and the folk; 2, Evening time; 3, Daina; 4, Rustic-Serenade; and 5, Metturgis (all each occupying one side).

140>The Gewandhaus Wind Quintet, Leipzig, [5 sides].

Polydor.66373/5A. Issued after 1924.9 but by 1926.7.

Filler is Ambrosius: Suite for Five Wind Instruments, Op. 57: Minuet, Jig.

Note: according to the 1926/27 English language Polydor export catalog, the "Chamber-Music-Ensemble of the State-Opera-House-Orchestra, Berlin" managed to squeeze the third and fourth movements onto a 10" disc, 62353. Kelly's German catalog lists no dates or matrices but gives side nos. 48109/20.

Next recording on a stereophonic LP. An incompletely forgotten composer.

C31>>>                                                                                                                                         LISZT, Franz [geb. Liszt Ferenc]

1811 October 22 Hungary-1886 July 31 Bayreuth, Germany

Note: Raabe numbers come from Peter Raabe, Franz Liszt als Künstler und Schaffen (Stuttgart, 1931). Grove numbers, used in WERM, come from the fourth edition of Grove's Dictionary of Music and Musicians (1940) and compiled by Humphrey Searle. Searle numbers come from the fifth edition of same (1954) and compiled by the same Humphrey.

W097>>   (6) Consolations, Raabe 12, Grove 85, Searle 172, Chwiałkowski 12.78-83 (1849-50): Incomplete recording: 1, Andante con moto; 2, Un poco più mosso; 3, Lento placido; and 4, Quasi adagio.

141>Michael Zadora, piano, [3 sides = 1-12" and 2-10" sides].

mx 416/7-av for the 12" disc; mx 496/7-at for the 10" disc.

Polydor.19112A (12") (side nos. B 61008/9) (Consolations 1 and 2) plus 14686 (10") (side nos. B 47014/5) (Consolations 3 and 4). WERM says the discs contain only Consolations 1, 2, and 4, but GSE gives all four.

Filler (19112B) is Raff: La fileuse, Op. 157, No. 2.

No. 3 had electric recordings. All six Consolations were recorded by Gordon Manley on a monophonic LP.

W098>>   Hungarian Rhapsody No. 2 in c# (Lento a capriccio), Raabe 106, No. 2; Grove 157, No. 2; Searle 244, No. 2, Chwiałkowski 11.36 (1846)

142>Sergei Rachmaninoff, [3-10" sides], with the third side consisting of a Cadenza by the Pianist (Threlfall and Norris iii/6, composed ?1919).

1919.4.22.

mx 6739/41. In general, as John Harvith informed me, "the practice at the Edison Co. was to make three perfect masters of each side and to use all three, because of the demands of the Diamond Disc manufacturing process." Takes C,C,C,A (respectively, including the filler) on the LP and CD reissues. I have a tape of takes C,A,B,C.

Edison Diamond Disc.82169/70A (10").

LP: Victor.ARM3 0260, a three-disc set (includes the filler), a set consisting of all the Rachmaninoff acoustics known at the time and called "complete," but including only one take of each Edison side.

CD: Victor.09026-61265-2, a ten-disc set (also includes the filler). More "complete" than the LP reissue, since another unreleased acoustic side of the Rachmaninoff second concerto was found, but still with only one take of each Edison side.

Filler: Scarlatti-Tausig: Pastorale in e, after Sonata in d, Longo 413. 19.4.19. mx 6735.

This is stretching the definition of "set" to get one more recording into this discography. Carl [Karol] Tausig (1841-71(!)) is forgotten today, but many of his arrangements were recorded during the 78 r.p.m. era. Edward Dannreuther in Grove says this: "His arrangements are extremely effective but at times very tasteless; his transcriptions of Berlioz and Wagner are brilliant, but Weber and Schubert are over-arranged and the Scarlatti pieces show him deficient in any stylistic sense. However, Tausig's Tägliche Studien, transposing chromatic finger exercises, posthumously revised and edited by Heinrich Ehrlich, remain invaluable."

W099>>   Hungarian Rhapsody 14 in f (Lento quasi marcia funèbre), Raabe 106, No. 14; Grove 157, No. 14; Searle 244, No. 14, Chwiałkowski 11.48 (Mohac's Field) 1846. Orchestrated by the Composer (no. 1 in the series of six such orchestrations), Raabe 441, No. 1, Grove 34, No. 1, Searle 359, No. 1 (1853)

143>Arthur Nikisch, London Symphony Orchestra, [3 sides].

1913.6.25 and 1914.6.21.

mx Ho 563/4c on 14.6.21 plus Ho 501c on 13.6.25.

Gramophone.2-0503 plus 2-0504 plus 0919 (single-faced) (issued 14.10): D 814/5A (1923).

Filler: Mozart: Opera 16 (The Marriage of Figaro), K. 492: Overture (1914.6.21, mx Ho 562c). On 2-0502 and D 815B. The filler was also coupled with Alexander Campbell Mackenzie (1847-1935): The Little Minister, Op. 57 (incidental music for the play by James M. Barrie, 1897): Overture. The Composer, Symphony Orchestra. 1916.9.16. mx Ho 2171af, side no. 2-0965, on Gramophone.D 195 (20.4).

LP: Electrola.1C 053-01 466 M.

CD: Symposium.1088, "Arthur Nikisch," a two-disc set of Nikisch's complete recordings priced by the manufacturer for 1½ discs but usually selling for two by dealers.

144>Arthur Nikisch, Berlin Philharmonic Orchestra, [4 sides].

?1920 Berlin.

mx 639as/640½as/641as/642as.

Polydor.69566/7 (22.1, belated issue): 65906/7.

American Vocalion.38006/7 (24.7).

LP: Perennial [USA].PER 2002.

LP: Deutsche Gramophon.2563 247 (in set 2721 070), "The Early Years: Great Orchestras and Conductors, 1913-1932," a five-disc set devoted, not to a specific performer, but to the Polydor label.

LP: Deutsche Gramophon.2562 352 (in set 2740 259), "100 Jahre Berliner Philharmoniker" (1982), a five-disc set devoted, not to a specific performer, but to the Berlin Philharmonic.

CD: Golden Memories.GM 3002.

CD: Symposium [England].1088, "Arthur Nikisch," a two-disc of Nikisch's complete recordings set priced by the manufacturer for 1½ discs but usually selling for two by dealers.

145>Oskar Fried, Vox Symphony Orchestra, [4 sides].

probably 1923.

Vox.01473/4 (ca. 1923.12).

C32>>>                                                                                                                     MENDELSSOHN[-BARTHOLDY, Jakob Ludwig] Felix

1809 February 3 Germany-1847 November 4

W100>>   Concerto in e, violin and orchestra, Op. 64, Chwiałkowski 4.8 (1844)

146>Josef Wolfstahl, violin; Waldemar Liachowsky, piano, [8 sides].

mx 1277 ½av, 1278/84 av. Creighton II has mx 1277/84 av.

Polydor.69819/22 (25.9) (side nos. B 27600/7).

LP: Masters of the Bow [Canada].MB 1029.

CD: Biddulph [England].LAB 095, "Josef Wolfstahl."

Creighton I lists this as an orchestra-accompanied work, with Liachowsky conducting the Berlin State Opera House Orchestra. Creighton II lists Liachowsky as pianist correctly.

W101>>   Quartet 1 in Eb, Op. 12, Chwiałkowski 5.3 (1829).

147>London String Quartet. Abridged recording, [4 sides].

probably 1922.

Vocalion.D 02062(22.9) plus D 02063(22.10). Mentioned in The Gramophone 1923.4.

The sole electric recording (Budapest Quartet) takes six sides.

W102>>   Songs without Words (1830-50). Incomplete recording.

148>Walter Rehberg, piano, [6 sides = 2-12" + 4 10" sides].

mx 1079/80-as for the 12" disc. Matrices unknown for the 10" discs.

Polydor.66185 (12") (side nos. B 27108/9) plus 62528/9 (10") (side numbers unknown). Issued after 1924.9 but by 1926.7.

Issued as follows by Polydor, the 12" disc first followed by two 10" discs: 66185A: No. 1 = Book I, Op. 19 (1830): 1, Andante con moto in E (Chwiałkowski 8.42), "Sweet Remembrance." 66185B: No. 30 = Book V, Op. 62 (1844): 6, Allegretto grazioso in A (Chwiałkowski 8.93), "Spring Song" or "Camberwell Green" plus No. 34 = Book VI, Op. 67 (1845): 4, Presto in C (Chwiałkowski 8.98), "Spinning Song" or "The Bee's Wedding." 62528A: No. 3 = Book I, Op. 19 (1830): 3, Molto allegro e vivace in A (Chwiałkowski 8.44), "Hunting Song." 62528B: No. 6 = Book I, Op. 19 (1830): 6, Andante sostenuto in g (Chwiałkowski 8.47), "Venetian Gondola Song." 62529A: No. 27 = Book V, Op. 62 (1844): 3, Andante maestoso in e (Chwiałkowski 8.90), "Trauermarsch" or "Marche funèbre." 62529B: No. 15 = Book III, Op. 38 (1837): 3, Presto e molto vivace in E (Chwiałkowski 8.71), "The Harp of the Poet."

The first five of these were recorded again electrically by various artists. The last one (No. 15) was first recorded again by Albert Feber on a 10" monaural LP, issued in 1952, while the next to the last one (No. 27) had to wait until the first of three discs of all the Songs without Words, recorded by Ginette Doyen for Westminster, appeared on a 12" monaural LP in 1953.

W103>>   Trio (Piano) 1 in d, Op. 49, Chwiałkowski 6.10 (1839).

149>Ethel Hobday, piano; Albert Sammons, violin; C. Warwick-Evans, cello. Abridged recording, [4 sides].

mx 02525/8.

Vocalion.D 02044(21.12) plus D 02054(22.4). Mentioned in The Gramophone 1923.4.

C33>>                                                                                                                                       MOUSSORGSKY, Modest [Petrovich]

1839 March 21 Russia-1881 March 28

W104>>   Pictures at an Exhibition, Chwiałkowski 5.516-30 (piano) 1874. Orchestrated by The Conductor, 1915. Incomplete recording: Promenade, Gnomes; The Ox-Waggon; Dispute, Ballet; The Gate of Kieff (side breaks indicated by semicolons). Sir Henry withdrew his version when Ravel's was announced in 1923.

150>Sir Henry J. Wood and his Orchestra, [4 sides].

Probably 1918 on the basis of the matrix numbers, but the issued take of side 3 could have been made later.

mx 76171-1/2-1/3-2/4-1.

English Columbia.L 1341(20.2-22.5) plus L 1342(20.3-22.5).

C34>>>                                                                                                                              MOZART, Wolfgang Amadeus [geb. Johannes

Chrysostomus Wolfgangus Theophilus Mozart] 1756 January 21

Austria, son of German parents-1971 December 5

Note: Köchel numbers are taken from the first edition of Dr. Ludwig Alois Friedrich Ritter von Köchel (1800-77), Chronologisch-thematisch Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (Leipzig, 1862). The second edition was undertaken by Graf Paul von Waldersee (1831-1906) and appeared in 1905. The [Alfred] Einstein (1880-1952) numbers come from the third edition of same (1937). The fourth edition is apparently just the third with a new supplement (1946) and the fifth (1947) just a photomechanical reprint of the fourth. The sixth edition was compiled by Franz Giegling (Zurich), Alexander Weinmann (Vienna), and Gerd Sievers (Wiesbaden) and appeared in 1964. There was some renumbering yet again, but not affecting any of the works in this discography. The sixth edition was revised in 1984, but it seems that the official seventh edition is still in the works.

W105>>   Concerto 6 in Eb, Köchel 268, Einstein 365b, Chwiałkowski 13.7 (in italics, indicating a lost, spurious, or doubtful work) (1780), of doubtful authenticity

151>Renée Chemet, violin; Harold Craxton, piano. Abridged recording, [4 sides].

Gramophone.DB 692 (1, Allegro moderato) plus DB 688 (2, Un poco adagio and 3, Rondo allegretto), both issued in 1924. It is surprising that I have no other discographic information whatsoever about these discs.

The next two recordings of this doubtful but delightful work were electrics by two of the all-time violin greats, Jacques Thibaud and Alfred Dubois, on electrical 78s.

W106>>   Quartet 13 (Vienna No. 6) in d, Köchel 173, Chwiałkowski 16.16 (1773)

152>Kutcher Quartet, [7 sides].

Vocalion.K 05190/3A(25.10). Reviewed in The Gramophone 1925.10.

Filler: Mozart: Quartet 14 in Eb, Köchel 387: Menuetto (Allegretto).

Only the third movement was recorded electrically. The next recording of the complete work was by the New Music Quartet on a Griffon monaural LP.

W107>>   Quartet 14 (Haydn No. 1) in G, Köchel 387, Chwiałkowski 16.17 (1782).

153>London String Quartet. Abridged recording, [4 sides].

1916 (recordings with higher matrix numbers and first takes were in the 1916.5 catalog, so it is plausible to conjecture that the recording was completed by May).

mx 6754-1/55-1/57-2/56-1.

English Columbia.L 1043/4(16.7-28.5, first disc; 16.8-28.5, second disc). Mentioned in The Gramophone 1923.4 and called Eb Major there and misidentified again as the Quartet in Eb, K. 428, in The Gramophone 1925.1. There were plenty of typographical errors even in the Good Old Days!

W108>>   Quartet 15 (Haydn No. 2) in d, Köchel 421, Einstein 417b, Chwiałkowski 16.18 (1783).

154>London String Quartet. Abridged recording, [4 sides].

1918.6.

mx 76195-1/6-2/7-1/8-1.

English Columbia.L 1330/1(19.12-26.3, first disc; 20.1-26.3, second disc). Mentioned in The Gramophone 1923.4 and called Bb Major there and misidentified again as the Quartet in Bb, K. 458, in The Gramophone 1925.1.

W109>>   Quartet 17 (Haydn No. 4) in Bb, Köchel 458, Chwiałkowski 16.20 (The Hunt) (1784)

155>Post Quartet of Frankfurt am Main. Abridged recording, [4-10" sides].

Polydor.14338/9 (side nos. B 49064/7). Issued by 1924.9.

The 1926/26 English language Polydor export catalog lists this as Quartet No. 15, but the movement speeds are those of No. 17. Very old timers will remember that Haydn's Symphony No. 101 ("Clock") was No. 4, in the Breitkopf und Härtel system, on record albums. I think it is either the Haydn piano sonatas or piano trios that have had the most renumberings, though Schubert's Symphony in C ("Great") has been called No. 7 on 78s, No. 9 on most LPs and CDs, but sometimes No. 8 and even No. 10, there being disputes about its date of composition and whether the "Grand Duo" sonata was a reduction of an orchestral score.

156>Léner Quartet, [6 sides].

1924.10.3.

mx AX 700/5, all take 1.

English Columbia.L 1606/8(25.2-29.7), reviewed in The Gramophone 1925.2, described in The Gramophone 1925.11 as uncut.

American Columbia.set M 21 = 67130/2-D.

LP: ZRC [private Japanese label].1005.

1928.11.3 electric remake on English Columbia.L 2261/3 (29.3(mid-month)-43.7); American Columbia.set M 134 = 67740/2-D.

Earlier LSQ recording on English Columbia.L 1554 (24.5-27.7), recorded 23.9.26: mx AX 156-1 has "Quartet in Bb, K. 458-Allegro (Mozart)" on side A; mx AX 164-1 has "Quartet in F, Op. 50 [sic]-Adagio (Beethoven)" on side B, according to Taylor.

W110>>   Quartet 18 (Haydn No. 5) in A, Köchel 464, Chwiałkowski 16.21 (1785)

157>The Leo Abkov String Quartet, [3 sides], complete.

World.414/5A. Mentioned in The Gramophone 1925.4. See Brahms: Quartet 2 for further information about these World recordings. This is the only Abkov Quartet recording of a work not otherwise recorded acoustically. Neither of the two electric recordings of the work (Calvet and Roth) appeared until after 1936.

Note: It is far from impossible that this is not no. 18, as reckoned under present-day numberings.

W111>>   Quartet 19 (Haydn No. 6) in A, Köchel 465, Chwiałkowski 16.22 (Dissonant) (1785)

158>Léner Quartet, [8 sides].

1923.11.7 & 8.

mx AX 211/4, all take 2 on 23.11.7 plus mx AX 215/8, all take 2 on 23.11.8.

English Columbia.L 1545/8(24.4-29.3). Reviewed in The Gramophone 1924.4 and described as uncut.

American Columbia.set M 8 = 67026/9-D.

LP: ZRC [private Japanese label].1005.

Voices of the Past says Quartet [No. 18] in C, Köchel 464. Taylor says the same but provides tempo titles for the movements, which are those of Quartet 19. The review in The Gramophone (24.4) also says this is the Quartet in C, but it states that the first movement begins with an adagio. The first movement of Quartet 19 is in fact "Adagio-Allegro," while the first movement of Quartet [18] in C is "Allegro." Both lists of American Columbia M sets compiled by Allen Mackler and John Toczek give Quartet 19. The private Japanese issue is indeed of no. 19. No. 18 received two electric recordings, while no. 19 received nine.

W112>>   Quartet 21 (Prussian No. 1) in D, Köchel 575, Chwiałkowski 16.24 (1789)

159>London String Quartet. Abridged recording, [4 sides].

probably 1920.

Vocalion.D 02013/4 (20.12). Mentioned in The Gramophone 1923.4. Compton MacKenzie reported in The Gramophone 1925.4 that movement 4 was "substantially and judiciously cut."

W113>>   Quartet (oboe) in F, Köchel 370, Einstein 368b, Chwiałkowski 21.15 (1781)

160>Leon Goossens, oboe; members of The Spencer Dyke String Quartet, [5-10" sides].

National Gramophonic Society of London.Q,R,S-side 1 (16/18A) (10").

Filler: Bach: Cantata 156: 1, Arioso. Leon Goossens, oboe; all members of The Spencer Dyke String Quartet. Russell's discography says that the same artists (i.e., with one violin absent) recorded the filler, but Schmieder says the work was composed for oboe, violin I, violin II, viola, and continuo. I am reminded of Joshua Rifkin's stereo recording of the b minor Mass that employed one singer and one instrumentalist per part, which continues to generate great controversy, as recently as 1998.4.26 in The New York Times Sunday arts section. In the early days of recording, it seems, such practices were often a matter of necessity!

Goossens made a 1933 electric recording with the Léner Quartet on English Columbia.LX 256/7; American Columbia.set X 21 = 68157/8-D; at least one LP reissue and probably one on CD as well.

W114>>   Quintet (Clarinet) in A, Köchel 581, Chwiałkowski 21.4 (1790)

161>Kammermusik-Vereinigung der Staatsoper (Mützelberg, clarinet; with Johannes Michael Lasowski (1894- ), violin; Diettrich, violin; Schnitt, viola; Armin Liebermann, cello). Incomplete recording: mvts. 2,3, [4 sides].

1923.11.26.

mx 6570-2/1/2/3.

Parlophon.P 1670/1. Discussed in The Gramophone 1928.3.

162>Charles Draper, The Spencer Dyke String Quartet, [7 sides].

mx N.G.S. 20E/26E.

National Gramophonic Society of London.XX,YY,ZZ,AAA, side 1 (47/50A).

Filler: Mozart: Duet 1 in g, Köchel 423: 2, Adagio. mx N.G.S. 28E. Spencer Dyke, violin; Ernest Tomlinson, viola.

Draper made a 1928.11.2 electric recording with the Léner Quartet on English Columbia.L 2252/5; American Columbia.set M 124 = 67838/41-D; various LP reissues; CD: Pearl [England].GEMM CD 9903, "Charles Draper and the Léner String Quartet."

W115>>   Quintet 4 in g, Köchel 516, Chwiałkowski 15.9 (1787).

163>London String Quartet; Alfred Hobday, 2nd viola. Abridged recording, [6 sides].

Probably 1917, on the basis of the matrix numbers. Taylor does not specify any year or date.

mx 75933-1/4-2/5-1/6-2/7-2/8-1.

English Columbia.L 1362(20.6-27.7) plus L 1363(20.8-27.7) plus L 1364(20.9-27.7), belated issue. Mentioned in The Gramophone 1923.4 and later in 1925.4 as being "substantially and judiciously cut." Reported in The Gramophone 1925.10 as having been "made on the morning of the first daylight air raid over London!" (exclamation in original) and having been performed by Sammons, Petre, Waldo-Warner, and Warwick-Evans, plus Alfred Hobday. It is valuable to know this, since Sammons was first violin from 1908 to 1917 March only and was replaced by James Levey later that year, who continued until 1927. The recording, therefore, was quite belatedly issued.

American Columbia.set M 20 = 67110/2-D.

Hobday made a 1934.2.15 electric recording with the Pro Arte Quartet on Gramophone.DB 2173/6; Victor.set M 190 = 7865/8 [8 sides]; LP: Gramophone-based [i.e., HMV [England], Angel [U.S.], and others in various countries].COLH 42; LP: Toshiba [= Japanese Angel].GR 2026; LP: Gramophone [France].1435413; CD: Angel.CDHB 63870.

W116>>   Serenade 11 in Eb, Köchel 375, Chwiałkowski 4.11, second version (which added the oboes) for two oboes, two clarinets, two horns, and two bassoons (1782)

164>Erich Kleiber, Berlin State Opera Wind Octet, [6 sides].

probably 1924.

mx 1948/49A, 1959/60A, 1950A, 1961A.

Vox.06210 plus 06212 plus 06211(24.12).

W117>>   Serenade (Partita) 12 in c minor (Night), Köchel 388, Einstein 384a, Chwiałkowski 4.12, for two oboes, two clarinets, two horns, and two bassoons (1782)

165>George Szell, Berlin State Opera Wind Octet, [6 sides].

1924.10.23.

mx xxB 7066/71.

Odeon.O-8522, O-8538, O-8539 (side nos. Rxx 80769/74).

W118>>   Sextet in F for two horns, two violins, viola, and bass, Köchel 522, Chwiałkowski 11.23 (Ein musikalischer Spass or A Musical Joke or Die Dorfmusikanten or the Village Musicians). Four completed movements (recorded here); twenty-four bars of an attempted finale survives.

166>Tonkünstler-Orchester with an anonymous conductor. Abridged recording, [6-10" sides]. Given as "The Select Orchestra" in the 1926/7 English Language Polydor Export Catalog, which does not identify the conductor as such but says instead that it is part of a series, "Recordings for 'Musical History' released in cooperation with Dr. Herbert Biehle/ German Instrumental Music of the Eighteenth Century." The catalog continues: "For the practical study of musical history we have brought out in cooperation with Dr. Herbert Biehle a series of recordings, marvelously reproducing the finest works of old German music. It is not a matter of satisfying the fancies of connoisseurs of music; these recordings on the contrary appeal to the masses, thus bringing them in touch with real good music." There were two works in this series besides the present one, the Stamitz Trio (below) and Haydn: Symphony 45 (Farewell), the later on Polydor.65782/4. Claude Arnold, in a letter, says he once thought that Dr. Biehle himself conducted the recording but now conjectures that it was Bruno Seidler-Winkler.

probably 1924.

mx 884/9ax.

Polydor.62436/8 (10") (24.3) (side nos. B 17/22). Discussed in The Gramophone 1926.1.

W119>>   Sonata (Violin) 34 in A, Köchel 526, Chwiałkowski 20.45 (1787)

167>Arthur Catterall, violin; Hamilton Harty, piano, [6 sides].

1923.4.27.

mx 76961/6, all take 1.

English Columbia.L 1494/6(23.10-28.2), reviewed in The Gramophone 1923.10 as Op. 8, No. 1. I am unaware of any opus listing of Mozart's works. The review stated that the work was surprisingly good for one of such a low opus number!

American Columbia.set M 25 = 67139/41-D.

The two electrical recordings of the work (Thibaud and Menuhin) take four sides.

W120>>   Trio (clarinet) in Eb, Köchel 498, Chwiałkowski 21.18 (who says "composed during a game of skittles") (Kegelstatt, Bowling) (1786)

168>Albert Sammons, violin (instead of clarinet); Lionel Tertis, viola; Frank St. Leger, piano. Arranged by Tertis. Abridged recording, [3 sides].

1921.7-12, according to Barr.

mx 01784/5/2.

Vocalion.D 02064A(22.9) (movement 1) plus D 02015(20.12) (movements 2 and 3). Mentioned in The Gramophone 1923.4. See the next entry for D 02064B. D 02015 plus D 02064 plus D 02091 constitute what could be called a single set.

W121>>   Trio (Piano) 4 in E, Köchel 542, Chwiałkowski 19.5 (1788).

169>Albert Sammons, violin; Lionel Tertis, viola (instead of cello); Ethel Hobday, piano. Arranged by Tertis. Abridged recording, [3 sides].

1921.7-12, according to Barr.

mx 02539/40/41.

Vocalion.D 02064B(22.9) (movement 1) plus D 02091(23.3) (movements 2 and 3). Mentioned in The Gramophone 1923.4. See the previous entry for D 02064A. D 02015 plus D 02064 plus D 02091 constitute what could be called a single set.

Unpublished English Columbia electrical rerecording, with William Murdoch replacing Ethel Hobday on 1929.3.25, mx WA 8744-1,2/45-1,2,3/46/8-1,2/49/50-1,2,3/51-1,2. Those were the takes that were taken down. Data from Creighton II. I corrected the obvious error 1845 to 8745. Eight sides are at least twice as many as the work requires; so I am at a loss to say what other work in a glorious performance we have been deprived of. Now this Mozart Trio was recorded by Columbia in France by the Court of Belgium Trio around this time, I think, but issued in France only on French Columbia.LFX 148/9. Perhaps Columbia had decided to issue that quite estimable recording instead but never got around to issuing it on its L series. I note that there are six recordings listed in Schwann, none likely to pass the test of time.

W122>>   Trio (Piano) 5 in C, Köchel 548, Chwiałkowski 19.6 (Three Blind Mice) (1788).

170>Albert Sammons, violin; Lionel Tertis, viola (instead of cello); Ethel Hobday, piano. Arranged by Tertis. Abridged recording, [3 sides].

mx 03301/3.

Vocalion.D 02150(24.5) plus K 05174A(25.6). First disc reviewed in The Gramophone 1924.5 as Op. 16, No. 7, and noted as nicknamed "Three Blind Mice."

Filler (K 05174B): Tchaikovsky-Tertis: Barcarole (No. 6, June in g of The Seasons (12 Characteristic Pieces, Op. 37a) (mx02593). Tertis and Hobday.

C35>>>                                                                                                                                                     PAGANINI, Niccolò

1782 November 27 Italy-1840 June 27

W123>>   Concerto 1 in Eb (usually played in D), Op. 6, Moretti and Sorrento 21, Chwiałkowski 1.1 (1815-6). Incomplete, though more often recorded this way during the 78 r.p.m. era than not: mvt. 1, arranged by August Wilhelmj and with Émile Sauret's cadenza as the fourth side.

171>Váša Příhoda, violin; Bruno Seidler-Winkler, piano, [4 sides].

1923, recording year from Arnold. The Pearl reissue claims 1923/24.

mx 888½ av/889½ av/890½ av/891½ av.

Polydor.68081/4 (single-faced) ) (issued 1923.4, issue date from Arnold).

CD: Pearl [England].GEMM CD 9460 (1990), "Váša Příhoda."

172>Vaša Příhoda, violin; Charles Cerné, piano, [also 4 sides].

       1924 (recording date from the Biddulph reissue).

mx 888 av/889 av/890 av/891½ av. Note that the matrix for the fourth side, containing the Sauret cadenza, was reused.

Polydor.65991/2 (double-faced) (1924) (side numbers B 27529/32) (mentioned in The Gramophone 1925.2). The 1924/5 English language Polydor export catalog gives the side numbers and the double-faced catalog numbers and gives Cerné as the pianist.

CD: Biddulph [England].LAB 135(1996), "Příhoda plays Paganini, Vieuxtemps & Wieniawski." The matrix number in common with the Pearl reissue is the fourth one, containing the Sauret cadenza.

Note: Creighton I claims Cerné and gives 65991/2 only and no matrix data, while Creighton II gives Seidler-Winkler on both 65991/2 and 68081/4 on mx 888/91½ av. This discography lists two different recordings of the work, not only because of the different matrix numbers but also because the timings given on the reissues differ, 15:39 on the Pearl CD vs. 15:52 on the Biddulph. Creighton I lists the following single-sided Polydor records under Příhoda: 68080 for Schubert: Ave Maria, mx 887 av; 68085 for Sarasate: Zigeunerweisen, mx 892/3 av; and 68090 for Mozart-Burmester: Divertimento 17: 3, Minuet, mx 992 av. Creighton II lists: 68069 for Dvořák: Slavonic Dance 2, mx 876 av, also on 65985; 68070 for Kreisler: Variations on a Theme of Corelli (Tartini), mx 877 av, also on 65985; 68077 for Drdla: Guitarerro, mx 884 av, also on 65990; 68078 for Capri: Rêverie, mx 885 av, also on 66590; 68080 for Schubert: Ave Maria, mx 887 av, also on 65989; 68081/4 for Paganini: Concerto 1, mx 888/91½ av, also on 65991/2; 68085/6 for Sarasate: Zigeunerweisen, mx 892/3 av, also on 65993; 68087 for Dvořák: Slavonic Dance 15, mx 919 av, also on 65994; and 68090 for Mozart-Burmester: Minuet, mx 922 av, also on 65994. The pianist in all cases is Seidler-Winkler. It would have been unusual for Polydor to have made two recordings of the same work close together in the acoustic days, but apparently this happened in this case. There is also a possibility that the Corelli La Folia variations and the Vitali Chaconne had two recordings, but no reference to any single-sided issue has surfaced. See the note to the Vitali recording below.

C36>>>                                                                                                                                               RAVEL, [Joseph] Maurice

1875 March 7 France-1937 December 28

W124>>   Introduction and Allegro in Gb, no number assigned by any cataloger (!), Chwiałkowski 5.1 (1905)

173>Instrumental Group [identified on the American issue only: Gwendolen Mason, harp; Charles Woodhouse and Mr. Dinsey, violins; Ernest Tomlinson, viola; Ivor James, cello; Robert Murchie, flute; H.P. Draper, clarinet]; supervised by the Composer, [4 sides].

1923.10.19.

mx AX 171-2/2-1/3-2/4-1.

English Columbia.L 1518/9(24.1-28.5), reviewed in The Gramophone 1925.2.

American Columbia.67091/2-D.

LP: Gramophone [France].2912163, a set devoted to historical recordings of Ravel and thus one of the few reissues not devoted to a performer.

The Composer supervised and Robert Murchie played the flute in an electrical recording of the work, which also included J. Cockerill, harp; Charles Draper (nephew of Haydn Paul Draper), clarinet; and the Virtuoso Quartet.

W125>>   Le Tombeau de Couperin, piano (1914/7). Orchestral version of four numbers (omitting 2, Fugue and 6, Toccata) by the Composer, 1919. Consists of 1, Prélude; 2, Forlane; 3, Menuet; 4, Rigaudon.

174>Stanley Chapple (1,2) and Cuthbert Whitemore (3,4), Aeolian Orchestra, [4 sides].

mx 04234/5 plus 03416/7x.

Vocalion.K 05225(26.5, contains nos. 1 and 2) plus J 04044(23.12, contains nos. 3 and 4). J 04044 was renumbered D 02139.

Four electrics of the piano version. First electric orchestral version was conducted by Piero Coppola. See Beriot: Concerto 7 for another recording that mixes performers.

Superlative: the last issued chamber set, whose issue dates are known to this discographer, along with the chamber music (in stricto sensu) set of Haydn: Quartet in D, Op. 76, No. 3 (Léner Quartet).

C37>>>                                                                                                                                         SAINT-SAÉNS, [Charles] Camille

1835 October 5 France-1921 December 16

W126>>   First collection: 1, Africa in g (suite for piano and orchestra), Op. 89, Chwiałkowski 4.8 (1891): Improvised cadenza; 2, Valse mignonne in Eb, Op. 104, Chwiałkowski 7.33 (1886); 3, Valse nonchalante in Db, Op. 110, Chwiałkowski 7.34 (1898); 4, Piano Concerto 2 in g, Op. 22, Chwiałkowski 4.2 (1868): Extracts; 5, Rhapsodie d'Auvergne for piano and orchestra, Op. 73, Chwiałkowski 4.6 (1884). Some of these may be abridged. The Composer almost certainly arranged nos. 1, 4, and 5.

175>The Composer, piano, [5 sides].

1904.6.26.

mx 3464p, 3465p, 3466p, 3467p, 3474p. Data from the CD reissue. Methuen-Campbell gives an F suffix.

Gramophone [France].035506/10 (single-faced).

No. 1 reissued on LP: International Piano Archives [U.S.].IPA 117.

No. 2 reissued on LP: Royale [U.S.].1573).

No. 5 reissued on LP: Telefunken.TH 97009, "Famous Composers Play Their Own Music."

CD: Appian [England].APR 5533 (2001). This important reissue contains the second collection, below, four 10" sides with the Composer accompanying Meyrianne Héglon, mezzo-soprano, and Chaminade's recordings of her own works, listed under her composer entry above.

The Composer made piano rolls of nos. 2 and 5 (both issued on LP: American Columbia.ML 4292 (1950) and on CD: archiphon [Germany].ARC 106 (1992), "19th Century Pianists on Welte-Mignon").

Later recordings: 1, CD; 2, 1919 rerecording below; 3, Eduard Risler, piano, ca. 1917; 4, abridged acoustic recording of the concerto: Arthur de Greef, Landon Ronald, Royal Albert Hall Orchestra, 1922; 5, arrangement for piano and band on LP and piano version on CD.

W127>>   Second collection: 1, Prélude [from the oratorio Le Déluge, or The Flood, Op. 45, Chwiałkowski 9.19 (1875)]; 2, Elégie 1 for Violin and Piano, Op. 143, Chwiałkowski 6.36 (1915); 3, Rêverie du soir â Blidah [No. 3 (Chwiałkowski 3.18) of Suite algérienne in C for orchestra, Op. 60 (1880)]; 4. Marche militarie française [No. 4 (Chwiałkowski 3.19) of Suite algérienne in C for orchestra, Op. 60 (1880)]; 5. Mazurka 1 in g (Première Mazurka), Op. 21(Chwiałkowski 7.3); 6. Valse Mignonne, Op. 104 (Chwiałkowski 7.33); 7. Havanaise in E, Op. 83, Chwiałkowski 6.31 (1887) [two sides]).

176>Gabriel Willaume, violin (in nos. 1,2,7); The Composer, piano (in all), [8 sides].

1919.11.24 Paris.

mx 03280/81/84/85/86/87/92/93-v. Metheun-Campbell omits the suffix and does not list Nos. 5 and 6.

Gramophone.037920/21, 035520/21, 2-035502/03, 037922/23 (probably all double-faced): DB 704/5 (couples nos. 4, 2, 3, 1 only in that side order) (1924) plus W 390 [France] (No. 7 only).

78 r.p.m. reissue from the 1980s: Symposium [England].1031, of nos. 5 and 6 only.

LP: Audio Archives [U.S.].LA 1203. This disc also contains Grieg's recording of his Remebrances (see above).

No. 1 (Prélude) on LP: Rococo [Canada].2001.

CD: Appian [England].APR 5533 (2001). This important reissue contains the first collection, above, four 10" sides with the Composer accompanying Meyrianne Héglon, mezzo-soprano, and Chaminade's recordings of her own works, listed under her composer entry above.

Later recordings: 1, stereo LP; 2, none traced; 3 and 4, electric recording of the entire work for orchestra; 5, LP, 6, CD; 7, several electrics, if not another acoustic.

C38>>>                                                                                                                                       SCARLATTI, [Giuseppe] Domenico

1685 October 26 Italy-1757 July 23

W128>>   The Good-Humoured Ladies [Le Donne di Buon Umore] Suite 1917. Suite from a ballet in one act, after Carlo Goldoni's comedy Le Morbinose; music arranged in 1916 by Vincenzo Tommasini (1878-1950) from twenty-one keyboard sonatas by Scarlatti. The ballet uses the sonatas in the following order: Longo 84, 203, 388, 131, 461, 279, Longo Supp. 41; Longo 361, 79, 14, 474, 384, 463, Longo Supp. 39, Longo 98, 33, 494, 468, 209, 499, 385. (I have no Longo-Kirkpatrick correlation at hand.)

177>Adrian Boult, British Symphony Orchestra, [4 sides].

1920.11.5, 1920.11.16, and 1921.7.21.

mx Ho 4598af-2 (20.11.5), Ho 4617af (20.11.16), Cc 382-2 (21.7.21), Ho 4595af-2 (20.11.5).

Gramophone.D 521(21.2) plus D 573(21.10) (side nos. 3-0563/6 plus 3-0642/3): AB 8/9 (Spain); AW 4270 plus AW 4272 (Italy).

Sir Adrian (knighted 1937) conducted a selection of thirteen sonatas, played (except for the first side) in the sequence given them in the ballet: side 1: Longo 388, 131, 14, 84; side 2: Longo 279, Supp. 41, Longo 361; side 3: Longo 384, 463, Supp. 39; side 4: Longo 468, 499, 385. Alan Sanders indicates that the second side was also issued in a second take. (Data for this entry from Arnold.)

WERM lists three monaural LPs of this Tommasini arrangement, but gives only Longo 388, 361, 33, 463, and 385, even though the recordings all occupy an entire side of a 33 1/3 r.p.m. long-playing disc. (Myers also lists only these five sonatas.) I cannot resolve the discrepancy.

C39>>>                                                                                                                                    SCHÖNBERG, Arnold [Franz Walther]

(used Schoenberg after 1933)

1874 September 13 Germany-1951 July 13

W129>>   Verklärte Nacht [Transfigured Night], after Dehmel's poem, Op. 4, Chwiałkowski 6.2 (Original String Sextet Version, 1899)

178>The Spencer Dyke String Quartet; J. Lockyer, viola; Edward J. Robinson, cello, [7 sides].

The Gramophone 1924.12 reported that the first half had been recorded; the issue for 1925.2 reported that the rest had been recorded.

National Gramophonic Society of London.M-side 2,N,O,P (12B/15). The other side of the first disc is the last side of Schubert: Trio No. 2, NGS.H, I,K,L-side 1 (8/12A) (J skipped over and never issued. So were U and II.) [9 sides]. Together, the eight records constitute a complete set of eight discs [16 sides]. An advertisement in The Gramophone 1926.10 reported that the set was out of print.

There were electric recordings of the Composer's 1917 (revised 1943) orchestration of the work (Chwiałkowski 3.5), but the next recording of the original sextet had to wait until the 1950 monaural recording by the Hollywood Quartet and assisting artists. The review in The Gramophone of a CD reissue of the latter claimed that it was the first recording of sextet version, proving that all too many acoustic recordings are forgotten.

C40>>>                                                                                                                                        SCHUBERT, Franz [Seraph Peter]

1797 January 31 Austria-1828 November 19

W130>>   Quartet 13 in a, Op. 29, No. 1, Deutsch 804, Chwiałkowski 5.36 (Rosamunde) (1824)

179>London String Quartet. Abridged recording, [4 sides].

1919.7.20.

mx 75461-3/2-2/3-2/4-2.

Assigned to English Columbia.L 1437/8 but canceled and not issued (decision made on 22.7.8). What was issued on L 1437/8 was Handel-Harty: Water Music Suite, Hamilton Harty, Hallé Orchestra, mx 74221-3 (21.10.10), 74222-6 (22.4.20), 74223-4/4-3 (22.10.20).

W131>>   Quartet 14 in d, Deutsch 810, Chwiałkowski 5.37 (Death and the Maiden) (1824)

180>The Leo Abkov String Quartet, [3 sides], complete.

World.408/9A. Mentioned in The Gramophone 1925.4. See Brahms: Quartet for further information about these World recordings.

181>Edith Lorand Quartet, [9 sides].

1925.11.5 & 9.

mx 8416/20 (25.11.5) plus mx 8426/9 (25.11.9).

Parlophon [Germany].P 2159/61 plus 2183/4A: Parlophone [England].E 10464/8A, reviewed in The Gramophone 1926.8.

Fillers: 2184B is Schubert-Friedberg: Rondo (from Sonata 17 in D, Op. 53, Deutsch 850 (1825)), Edith Lorand, violin; Michael Raucheisen, piano (1926.2.26 on mx 8722). Not in Creighton.

E 10468B is Pugnani: Sonata in D, Op. 3, No. 8: 2, Largo expressivo, arr. for violin and piano by Alfred Moffat. Edith Lorand, violin; Suzanne Kiss, piano (1925.1.25 on mx 7851, also issued on P 1878A. P 1878B has the same two artists performing Kreisler: Tambourin after Leclair on mx 7864, recorded on the same day. Accompanist called P. Kiss in Creighton, which does not list the Kreisler work.

W132>>   Quintet in A, Op. 114, Deutsch 667, Chwiałkowski 6.14 (Trout) (1819)

182>Ethel Hobday (Mrs. Alfred), London String Quartet members [Levey, Warner, Warwick Evans], Claude Hobday, double bass, [9 sides].

1924.9.15 & 16 and 24.12.16 & 19.

mx AX 586-1 on 24.9.15 plus mx AX 587-4 on 24.12.19 plus mx AX 588-1 on 24.9.15 plus mx AX 589-1/592-2/593-?/594-1 on 24.9.16 plus mx AX 595-4 on 24.12.19 plus mx AX 596-2 on 24.12.16. (Note that matrices AX 590/1 were skipped.)

English Columbia.L 1698/1702A(26.2(belatedly!)-28.5), reviewed in The Gramophone 1926.2, where it is stated that the performers are not identified. Voices of the Past incorrectly lists the English Columbia release as being the Schumann Piano Quintet.

American Columbia.set M 18 = 67113/7A-D.

Filler to the English issue: Glazounov: Interludium in Modo Antico (London String Quartet) (mx AX 1088-1, 25.9.8).

Filler to the American issue: Spohr: Duet 10 in D, Op. 67, No. 2: 3, Larghetto (Arthur Catterall and John S. Bridge, violins, on mx AX 408-1, 24.4.10. The Spohr filler reappeared in England as the filler to the Bach Concerto for Two Violins, L 1613/5 (25.3-28.2).

Electric remake, recorded 1928.1.9,10,11, on English Columbia.L 2098/102A(28.6-43.7), on mx 98432-4/37-9/43-5; American Columbia.set M 84 (listed by both GSE and WERM as M 83, which is Holst conducting his electrified planets) [9 sides]. The filler to the electric remake is Tchaikovsky: Quartet 1 in D, Op. 11: 2, Andante cantabile, played by the London String Quartet and recorded 27.11.4, on mx WAX 3065-3.

In addition, Claude Hobday made a recording with Artur Schnabel, piano, and members of the Pro Arte Quartet [Alphonse Onnou, violin, Germanine Prévost, viola, and Robert Maas, cello] on mx 2EA 2529/38 on 35.11.16 on Gramophone.DB 2714/8 (1935) (= set A 259): DB 8095/9 (automatic coupling, 1936); Victor.set M 312 = 14032/6: set DM 312 = 16923/7 (drop-automatic coupling). [10 sides]; LP: Gramophone-based [i.e., HMV [England], Angel [U.S.], and others in various countries].COLH 40; LP: Toshiba [=Japanese Angel].GR 2020; LP: Gramophone [Electrola Dacapo, Germany].IC 137-53 032/6M; LP: The Franklin Mint Society [U.S.], "100 Greatest Recordings of All Times," Record No. 53; LP: EMI [England].RLS 7713; LP: Arabesque [U.S.] 8137-3, a three-disc set; CD: Arabesque [U.S.].Z 6571.

And Claude Hobday also recorded the work as a member of the International Quartet with Wilhelm Backhaus on Gramophone.ES 395/8 [Austria] [10 sides]. The members of that quartet performing for the recording were André Mangeot, violin; Frank Howard, viola; and Herbert Withers, cello. Reissued on CD: Biddulph [England].LHW 038 (1997), "Backhaus plays Schubert's 'Trout Quintet.'"

W133>>   Quintet in C, Op. 161, Deutsch 956, Chwiałkowski 6.15 (1828)

183>The Cobbett String Quartet and Charles Crabbe, 2nd cello, [12 sides].

National Gramophonic Society of London.GG,HH,JJ,KK,LL,MM (31/6). (Note that II was skipped over and never issued. So were J and U.)

W134>>   Trio (Piano) 1 in Bb, Op. 99, Deutsch 898, Chwiałkowski 6.23 (1827).

184>Hekking Trio [Eduard Mörike, piano; Wladislaw Waghalter, violin; Anton Hekking, cello]. Incomplete recording, [4 sides]: mvts. 2,3.

1919.10.21.

mx 2528/31.

Parlophon.P 1078/9.

185>Albert Sammons, violin; Lionel Tertis, viola (instead of cello); Ethel Hobday, piano. Complete but abridged recording, [4 sides]. Arranged by Lionel Tertis.

1921.7-12, according to Barr.

mx 02583-1/85/86X-2/87. Creighton II adds the matrix numbers but gives mx 02538-1 for the first side.

Vocalion.D 02050(22.3) plus D 02060(22.5). Mentioned in The Gramophone 1923.4.

W135>>   Trio (piano) 2 in Eb, Op. 100, Deutsch 929, Chwiałkowski 6.24 (1827)

186>Harold Craxton, piano; Spencer Dyke, violin; B. Patterson Parker, cello, [9 sides].

The Gramophone 1924.12 reported that the first half had been recorded; the issue for 1925.2 reported that the rest had been recorded.

National Gramophonic Society of London.H,I,K,L,M-side 1 (8/12A) (J skipped over and never issued. So were U and II.) [9 sides]. The other side of the last disc is the first side of Schoenberg: Transfigured Night, NGS.M-side 2,N,O,P (12B/15) [7 sides]. Together, the eight records constitute a complete set of eight discs [16 sides]. Craxton discussed his making the recording in The Gramophone 1925.4. Not in Creighton. An advertisement in The Gramophone 1926.10 reported that the set was no longer in print.

C41>>>                                                                                                                                         SCHUMANN, Robert [Alexander]

1810 June 8 Germany-1856 July 29

W136>>   Carnival, Op. 9, Chwiałkowski 8.63-83 (1833-5)

187>Emil von Sauer, piano. Incomplete recording (some pieces abridged): 1, Préambule; 2, Pierrot; 3, Arlequin; 4, Valse noble; 5, Eusebius; 6, Florestan; 9, Papillons; 10, A.S.C.H.-S.C.H.A. (Lettres dansantes); 11, Chiarina; 12. Chopin; 14, Reconnaissance; 15, Pantalon et Colombine; 16, Valse allemande; 18, Aveu; 19, Promenade; 20, Pause; and 21, Marche des "Davidsbündler" contre les Philistins only, i.e., Nos. 7, 8, 13, and 17 omitted.

mx 17/20.

1923 in Spain.

Regal [Spain].RS 5549/50.

LP: Opus [private U.S. label].MLG 78.

CD: Marston [U.S.].53002-2 (1998), "Emil Sauer: The Complete Commercial Recordings," a three-disc set.

188>Alfred Cortot, piano, [6 sides].

1923.12.5.

mx Cc 3925/30.

Gramophone.DB 706/8, reviewed in The Gramophone 1924.9.

LP: EMI [Italy].C153 53790/5, consisting of all of Cortot's studio Schumann recordings, except that the two electrics of the piano concerto proved to be the same 1934 version. This reissue speaks of recording dates of 23.11 and 24.1. Perhaps later takes from the 1924.1 session were used in the released recording. The exact date of 23.12.5 comes from the CD reissue.

CD: Biddulph [England].LHW 021 (1994),"Cortot: the complete acoustic HMV recordings."

Cortot did a 1928 electric remake on Gramophone.DB 1252/4 (1928) and a 1953 LP on HMV [England].ALP 1142.

W137>>   Études Symphoniques, Op. 13, Chwiałkowski 8.99 (1834). There are three published versions (1837, 1852, and 1861). It is not clear which version was used by the Pianist.

189>Leo Sirota, piano, [6 sides].

Homochord.HB 2120, HB 2132, HB 2133, reviewed in The Gramophone 1925.11.

CD: Dante [France].HPC 54/55(1997), "L'art de Leo Sirota," a 2-disc set.

W138>>   Quartet 1 in A, Op. 41, No.3, Chwiałkowski 5.3 (1842)

190>London String Quartet. Abridged recording, [4 sides].

1917 (recordings with higher matrix numbers were in the 1917.5 catalog).

mx 75408-2/07-2/10-2/09-1.

English Columbia.L 1199/1200(17.9-28.5, first disc; 17.11-28.5, second disc). Mentioned in The Gramophone 1923.4.

Performers are Sammons, Petre, Warner, and Warwick-Evans. Inferred from The Gramophone 1924.4, which attributed Sammons to Mozart: Quintet 4 (q.v.).

W139>>   Quintet (Piano) in Eb, Op. 44, Chwiałkowski 6.1 (1842).

191>Ethel Hobday, London String Quartet, abridged recording, [4 sides].

mx 02341/4.

Vocalion.A 0162(21.10) plus A 0166(21.11) plus A 0171(21.12) plus A 0173(22.2) (all single-faced, pink) (mentioned in The Gramophone 1923.4: Compton MacKenzie first played this 1922.3): J 04114/5 (double-faced). James Methuen-Campbell's discography lists A 0173 as A 0175, while the 1923 January Vocalion catalog, which lists only the single-faced discs, gives A 0173.

Superlative: These were the first discs played by Compton Mackenzie on his first phonograph.

192>Ossip Gabrilowitsch, Flonzaley Quartet. Abridged recording, [4 sides].

1923.12.20 and 1924.2.25.

mx C 29098-10 on 24.2.25; mx C 29099-3/200-7/201-2 on 23.12.20.

Victor.74900/3 (single-faced, 1924): 6462/3 (double-faced, 1924).

Gramophone.DB 780/1, advertised in The Gramophone 1925.12.

CD: VAI Audio [U.S.].VAIA/IPA 1018 (1992), "Ossip Gabrilowitsch: His Issued & Unissued Recordings."

1927.12 electric remake of the unabridged work, but with Nicholas Moldavan, viola, on Gramophone.DB 1191/4 (1928); Victor.set M 28 = 8092/5(1928); LP: Victrola [U.S.].VCM 7103 (1973), a two-disc set; CD: Biddulph [England].LAB 072/73, "The Flonzaley Quartet play Romantic masterworks," a two-disc set.

W140>>   Sonata (Violin) 1 in a, Op. 105, Chwiałkowski 6.15 (1851): Incomplete recording: 1, Mit leidenschaftlichem Ausdruck and 2, Allegretto only.

193>Daisy Kennedy, violin; Hamilton Harty, piano, [3 sides].

1919.

mx 76508/10, all take 1.

English Columbia.L 1338(20.6-24.7)/9A(20.8-24.7). Reported withdrawn in The Gramophone 1925.1.

Filler is Zarzycki: Mazurka in G, Op. 26, mx 76564-1 (1919).

C42>>>                                                                                                                                                    SMETANA, Bedřich

1824 March 2 Bohemia-1884 May 12

W141>>   Quartet 1 in e, Tiege 136, Chwiałkowski 5.7 (Z mého žiovta or From My Life) 1876

194>London String Quartet. Abridged recording, [4 sides].

probably 1923.

[English] Vocalion.D 02097(23.6) plus D 02101(23.8) (second disc reviewed in The Gramophone 1923.9, where it was noted that the first disc appeared in June).

American Vocalion.38001(1924) plus 38003(1924).

195>The Leo Abkov String Quartet, [3 sides], complete.

World.412B/413. Mentioned in The Gramophone 1925.4. See Brahms: Quartet 2 for further information about these World recordings.

C43>>>                                                                                                                                        STAMITZ, Johann [Wensel Anton]

[geb. Jan Václav Antonin Stamitz]

1717 July 19 (baptized) Bohemia-1757 March 30 (buried)

W142>>   Trio 3 in F for two violins and basso continuo, Op. 1, No. 3 (published in 1755 by the Composer in Paris as "SIX SONATES à Trois parties concertantes qui sont faites pour Exécuter ou à trios, ou avec toutes l'orchestre, Dédiées a The Right Honorable Mylord Pittenweem, PAR JEAN STAMITZ"). Abridged recording.

196>Tonkünstler-Orchester, with anonymous conductor. Abridged recording, [6-10" sides]. Given as "The Select Orchestra" in the 1926/7 English Language Polydor Export Catalog, which does not identify the conductor as such but says instead that it is part of a series, "Recordings for 'Musical History' released in cooperation with Dr. Herbert Biehle/ German Instrumental Music of the Eighteenth Century." The catalog continues: "For the practical study of musical history we have brought out in cooperation with Dr. Herbert Biehle a series of recordings, marvelously reproducing the finest works of old German music. It is not a matter of satisfying the fancies of connoisseurs of music; these recordings on the contrary appeal to the masses, thus bringing them in touch with real good music." There were two works in this series besides the present one, the Mozart: Sextet (Musical Joke) (above) and Haydn: Symphony 45 (Farewell), the later on Polydor.65782/4. Claude Arnold, in a letter, says he once thought that Dr. Biehle himself conducted the recording but now conjectures that it was Bruno Seidler-Winkler.

Polydor.62434/5 (side numbers B13/16 issued 1924.2).

J.W.A. Stamitz conducted chamber music concerts in Mannheim from 1743 onwards. The reform in style which became established about the middle of the eighteenth century was radically assisted by him. His contribution to the modern type of sonata movement was the broad design regulated by the recurrence of the themes (in place of short motifs). This design was at first applied to the second part of the movement, in order to render the contrasting sections independent and impressive, and, at the same time, to give the new sonata form its convincing and greatly extended outline.

As regards idiom, he made an end both of the carefully elaborated ornamentation then prevailing and the uncompromising rigour of earlier times. In place of ingenious accessories and rigid rhythms, there is that unconstrained naturalness of the revolutionary eighteenth century which, with Stamitz, manifests itself in glowing emotion and fiery impetus. At first, indeed, the scaffolding and thematic outline are little more than 'rubble' work; for Stamitz succeeds neither in painting richly coloured themes nor in welding the loose sections arising from the thematic periodicity of the designs into one firm intersected whole. This was achieved later by the genius of Franz Beck about 1760.

But this very bareness of the new form was at first essential, if the aim of a broad generality of design was to be clearly discernible. The phrase 'la melodia Germanica' dates from this time. Stamitz must therefore be reckoned among the great figures in musical history, even though his works are of no great value to-day.

--R. Sondenheimer, in Cobbett II:450-1.

This prescient early judgment was eventually vindicated by the record companies, for there were five LPs in the Myers compilation (which covers LPs issued in the United States through 1977) devoted entirely to Stamitz, as well as a few other discs that Stamitz shares with other composers. Currently, there are also about five CDs devoted entirely to Stamitz.

By contrast, there were only six 12" sides of Stamitz' music recorded on electrical 78s, as opposed to the four 10" acoustic sides here. The next recording of this particular work had to wait until the stereo era, when it was recorded in 1967 by Dietrich Bernet and (of all things) the "Austrian Tonkuenstler Orchestra, Vienna," which the Myers compilation identifies as Niederösterreichisches Tonkünstler-Orchester (Lower Austrian Musicians' Orchestra). (See the London String Quartet in the Appendix listing of artists for another such coincidence.) The recording was produced under the direction of Kurt List for the Musical Heritage Society, a subscription label that intially specialized in Baroque and Rococo music and functioned just like the National Gramophonic Society of London, and issued by them as a stereo LP: MHS 779 in 1970. My grandfather gave my parents and their children a hi-fi set (Fisher and Garrard) in 1956 along with a number of budget Plymouth recordings, many of which said Tonkünstler Orchestra on them. The Plymouth records were mostly derived from another budget label, Remington, but often used pseudonymous attributions (why I do not know, since Remington did not). I had presumed that this orchestra existed for the sole purpose of making recordings (the Vienna Philharmonic Orchestra, for example, rarely, if ever, gives public concerts), but it now seems that this orchestra is indeed a concert orchestra. There is the possibility that the group performing on the acoustics was an entirely different ensemble but I have heard elsewhere that this orchestra is not fictitious and has a long history. Further research is clearly necessary.

C44>>>                                                                                                                                                    TARTINI, Giuseppe

1692 April 8 Italy-1770 February 26

W143>>   Sonata in g for violin and continuo, Op. 1, No. 10 (Didone abbandonata)

197>Renée Chemet, violin; Marguerite Delcourt, piano. Arranged by an unknown hand for violin and piano, 3 sides = 2-12" + 1-10" sides].

mx Ho 4492 af (1, Andante con moto)(12") plus Ho 6041-2 ae (2, Presto non troppo)(10") plus Ho 4494-2 af (3, Largo; 4, Allegro comodo)(12").

Gramophone.3-07917(12") plus 5-7931(10") plus 3-07932(12"): DB 475(12", 1924) plus DA 417B(10", 1924). Creighton I had 3-07921 for the second disc.

Victor.74751(12", 1922) plus 66076(10", 1922) plus 74752(12", 1922) (single-faced): 6349(12", 1923) plus one side of 613(10", 1923).

Filler to the English issue: Gramophone.DA 417A is Vivaldi-arr. Tividár Nachèz (1859-1930), Op. 3, No. 6: 2, Largo (mx Bb 2089-1); Harold Craxton, piano). The rest of the Vivaldi concerto is on Gramophone.DB 761 and hence makes up another (three-sided) set as defined in this discography. This is an accidental set, and the three Gramophone discs, DB 475, DA 417, and DB 761 should not be regarded as a set called "Baroque Masterpieces," masterpieces though they may be. But note that two unrelated works, Schubert: Trio No. 2 and Schönberg: Verklärte Nacht, both having an odd number of sides were issued jointly by The National Gramophonic Society of London.

Filler to the American issue: The other side of Victor.613(10", 1923) (mx HO 5783-1 AE) is Weber: Waltz, i.e., (18) Favoritenwalzer: 5 in Bb, Jähn 147, arr. by Willy Burmester (1869-1933) with Marguerite Delcourt, piano. The disc had a single-faced issue, Victor.66043 (10", 1922).

There are five separate publications purporting to be Tartini's Opus 1. This sonata came in the last of these, (12) Sonate e una pastorale, published in Amsterdam in 1734. The nickname stems from the nineteenth century.

W144>>   Sonata in g for violin and continuo, Op. 9, No. 5 (Devil's Trill)

198>Joseph Wolfstahl, violin; Waldemar Liachowsky, piano, [4 sides]. Arranged by Fritz Kreisler for violin and piano, with Kreisler's cadenza on the fourth side. Creighton says Liachowsky, piano. The 1926/27 English language Polydor export catalog says the Berlin State Opera Orchestra. Arnold does not list it at all. This discographer goes with Creighton's active voice and Arnold's silence, for his magnificent acoustic discography covers only orchestral recordings, with concerti played with reduced forces included but relegated to often entertaining but always instructive footnotes. Remember, catalogs are not always right, even about catalog numbers.

mx 2076/9 as.

Polydor.66191/2. Issued after 1924.9 but by 1926.7.

This "Opus 9" was first published in Paris in 1798 and was the first publication anywhere of the Devil's Trill Sonata. Probably not composed by Tartini.

199>Max Rostal, violin, with piano. Arranged by an unknown hand for violin and piano, [also 4 sides].

mx 2396-A/7 1/2-A/8-A/9-A

Vox.06284/5 (1926.2).

CD: Symposium [England].SYM 1079.

C45>>>                                                                                                                        TCHAIKOVSKY (CHOOCHOOSKI), Peter [Ilyitch]