Hurrah for job lots!

Recently, I took a punt on a job lot of 78s on eBay... result!

Busoni String Quartet in C Op.19 - (ii) Andante
Mozart String Quartet in G K.387 - (iv) Molto allegro
Odeon O-6273, rec. 10 November 1924
Roth Quartet
(Feri Roth, Mauritz Stromfeld, Herman Spitz, A. Franke)

The seller had been kind enough to list all 150+ discs (other sellers, please note, you lazy so-and-sos!) - but not always with enough detail to be quite sure exactly what they contained. I feared this might be from the Roth Quartet's incomplete recording of Schubert's 'Death and the Maiden' Quartet D.810, issued in Britain on Parlophone (E 10767-68) and transferred by CHARM (their only other British issue, not on CHARM, was E 10656, a snippet of Debussy's Quartet).

Yippee, it wasn't! Instead, I found this interesting acoustical rarity, in an original sleeve, as many in the job lot were: and it contains what must be one of the earliest recordings of a work of chamber music by Busoni - anyone know of an earlier one? What's more, this coupling is not listed in Hansfried Sieben's Odeon Matrizen-nummern der Serie xxB (30 cm) von 6815-9598, (1923-1953) (Düsseldorf, 1988). On the other hand, Sieben does list the players, by surnames only; I've been able to get first names for all but the ’cellist.

My fellow-collector Jolyon Hodson has kindly made this transfer (I haven't the right kit, at the mo) and the scans. By my reckoning, this is only the third ever recording of the Finale of Mozart's K.387 (the first was by the Flonzaley for Victor and the second by the Léner for Columbia) - and it goes at a heck of a lick!

Download the 2 mono FLAC files, fully tagged, in a .rar file from here.

Some ten months later, the Roth recorded the Menuetto of K.387 (xxB 7237, face no. unknown, issued on O-80283). If anyone has that, we'd love to hear it.

I must say I'm chuffed to bits with my job lot bonanza and I hope to be able to post more goodies from it soon. I have some German Parlophons and even rare Homochords (Robert Pollak, Fery Lorant - yes!).

I wish I had more Odeons like this, though. They recorded a lot of chamber music, including some twelve discs with the Roth Quartet. (By the way, why is seemingly no one in Germany posting stuff like this on the web? Is anyone collecting these discs?)

Odeon even recorded a disc of ‘Old English Dances from Shakespeare’s Time’, with the Munich Viol Quintet! That would make Grumpy exceedingly happy...

UPDATE

Jolyon has found a notice, in The Musical Times of November 1924, of a 'very animated performance' of Busoni's Op.19 by the Roth Quartet, 'very well received', at a Busoni commemoration organized by his pupil Edward Weiss - of course, silly me, I'd forgotten Busoni had just died (27 July 1924)!

Albert Sammons plays Fauré, 1937, HMV private issue

Once again, I am deeply indebted to Mr. Paul Steinson for the following treasure!

Fauré Violin Sonata in A Op.13
Albert Sammons (violin), Edie Miller (piano)
recorded 10 & 12 November 1937
HMV private issue JG 60-62

I am very happy to be able to present this on Mr. Steinson's behalf. He kindly provided me with his dub of the original set, as well as the above label scan; I have only passed the dub through the marvellous ClickRepair (declick and decrackle), monoed it and joined up the sides where necessary - no more. Any definciencies are thus of course mine!

Download the 4 mono FLAC files, fully tagged, in a .rar file here.

My other favourite recording of this lovely Sonata is by Lola Bobesco and Jacques Genty, recorded in 1950 by Decca and reissued by Testament.

I see Sammons and Edie Miller made at least one other privately issued duo recording together, of Turina's Violin Sonata No.1 in D Op.51, on three 78 sides; on the odd side, Edie Miller played Poulenc's Mouvements perpetuels.

The Steinson cornucopia will continue shortly, with two rare acoustic concertante sets played by Anderson Tyrer with the British Symphony Orchestra under Adrian Boult!

Update, 31 October:

A friend suggested I try reequalizing this with the Blumlein curve (using brilliant Brian's wonderful Equalizer) and, I agree, the recorded image is now clearer and better balanced - but the surface noise obtrudes more!

Anyway, see what you think: as before, 4 mono FLAC files, fully tagged, in a renamed .rar file here.

Update, 10 December:

Pristine Classical has now redubbed and remastered this recording and made it available as a commercial download; better still, it is coupled with Sammons' 1926 Columbia set of Beethoven's Violin Sonata in A Op.47, the 'Kreutzer', never previously reissued on CD or as a download (the only reissue I know of was a 1982 Pearl LP). As I very much support Pristine's work and don't wish to take away its custom, my version may no longer be downloaded. Information about Pristine's reissue can be found here.

Buckets, spades - and 78s!

The other half turfed me out of the cave last month, for a seaside holiday in Brittany. It was lovely, I must admit - especially as I was lucky enough to find this set in a pretty little town inland!

Aren't these labels great?

Pathé X.5459-60 Wagner Tannhäuser Overture
Large Symphony Orchestra, François Ruhlmann
recorded c. November 1928?

I was humming and hawing in the second-hand bookshop over whether to buy these - I'd already bought a few LPs and the cave's cache of cowrie shells is very low at the mo - when my French cousin casually opened a book... and found a 10-Euro note in it! Sold! So thanks to him for generously sponsoring my purchase and this post (and for having us to stay and for making that fantastic mayonnaise...).

And thanks too to Jolyon for transferring and editing together these four sides and scanning the labels. (I've bought him a pressie - he doesn't know yet.)

There's some interesting information on Wikipedia about François Ruhlmann (1868-1948), conductor of so many pioneering opera sets for Pathé, as well as quite a few purely orchestral records like these - Damian has already transferred and shared two: Chabrier's España and Rossini's Guillaume Tell Ouverture. Damian dated España, on X 5446, to 1931 - but I'm told that's too late; November 1928 is more like it, apparently. Sound-wise, that feels more likely to me, I must say.

Download the mono, fully-tagged FLAC file here.

By the way, I'm very interested in two mysterious chamber music sets that were issued by Pathé about this time, the great Classical quintets for piano and winds in E flat: Beethoven's Op.16 on X.9791-94 and Mozart's K.452 on X.9822-25. I missed a copy of the former on eBay a while ago - drat and blast! - and I omitted to save the label pic, though I do remember that it wasn't one of these 'Art' labels. Were they really 10-inch, as this listing says? Surely 29 cm, i.e. just under 12-inch. Frustratingly, both sets were issued without any artist credits. If you have any idea who played these, when they were recorded or - even better - you have copies you'd like to share, do get in touch - or post them outside your own cave?

The Kindness of Strangers

Bach Brandenburg Concerto No.2 in F BWV 1047
Ernest Hall (trumpet), Frank Almgill (flute), Leon Goossens (oboe),
Samuel Kutcher (violin), Rudolph Dolmetsch (harpsichord),
London Chamber Orchestra, Anthony Bernard
Brunswick 30137-38 (rec. 1928-29?)
property of Mr. Paul Steinson

A great reason not to be grumpy!

Paul Steinson, a music-lover and record-collector in England, read the article about downloads of historical recordings in Classic Record Collector (No.61, Summer 2010, pp.46-49) and noticed that the British Library's Archival Sound Recordings website has some of Anthony Bernard's legendary 'lost' cycle of Bach's 'Brandenburg' Concertos - but not No.2. This recording has previously been reissued but only in a set of cassettes which accompanied Ewald Junge's biography of the conductor, Anthony Bernard - A Life in Music, published as a limited edition in 1992.

This first-ever complete cycle of the Brandenburgs, recorded I should think some time in late 1928 and early 1929 (does anyone have more precise dates and/or a location?)*, was slated for release on twelve records, 30135-46, in March 1929. That month The Gramophone published a fascinating article by Bernard himself, recounting the difficulties posed by the recordings and revealing that the sessions, which he called a 'costly enterprise', had been completed only days before the time of writing. As he admitted, 'The Second Brandenburg Concerto with the very high trumpet part could not be given exactly as written by Bach; both microphone and wax would have rebelled.' Perhaps the second side, which was published from take 11(!), was one of the last to be redone? For a while, I thought Bernard had deployed a harp on continuo in the slow movement; but it must be a harpsichord stop, chosen by Rudolph Dolmetsch on the instrument, presumably from the family workshops, which he played in this Concerto as well as in Nos.3, 4 & 6 (and a Pleyel in No.1).

But the same month, the entire cycle was suddenly cancelled and almost completely destroyed; some copies must have got out, as there are survivors, seriously rare (no full set is known, I gather). The sad story has been told in detail by David Patmore in Classic Record Collector's 'Rarissima' column (No.44, Spring 2006, p.9). Dr. Patmore countered Junge's suggestion that the cycle was withdrawn because 'Bach was too risky commercially' with the more plausible explanation that, in 1929, Decca, which had just taken over Brunswick, was in dire straits and had to retrench and regroup drastically.

With extraordinary generosity, Mr. Steinson has transferred his own complete set of No.2, scanned the label of the first side (above), and agreed to allow the transfer to be further processed, if need be, and shared here by Grumpy. The entrance to the cave has been duly spruced up and all coprolites and mouse skellingtons swept to the back. The indefatigable and highly knowledgeable Jolyon has tweaked the difficult side-join in the first movement and sprinkled his fairy-dust on Brunswick's sound, which he calls 'nasty' and 'harsh' and which made him wonder if this was one of the company's 'Light-Ray Process' efforts: 'The original recording has been made in a rather boxy room. The last movement is transposed a semitone up but the trumpet plays an octave down anyway so I left the pitch alone. I have pushed all the instruments back a bit so they are not so in your face. I can't get rid of all the edginess but I hope it is a bit clearer.' I think it is an improvement but mainly I'm thrilled to be able to hear this at all!

Download Jolyon's version of Mr. Steinson's transfer as one fully-tagged, mono FLAC file, from here.

Can anyone explain the matrix numbers starting BA? Bernard's Brandenburgs begin at BA71, yet Ross Laird's great Brunswick book shows no such matrices originating in London, only in Buenos Aires! Any matrix numbers for the rest of the cycle gratefully received. And scour your attics: the keyboard part in Concerto No.5 was played on the piano by Walter Gieseking, no less - wouldn't it be grand to hear a complete set of that!

My eternal thanks to both Mr. Steinson and Jolyon - exactly the kind of generous, altruistic collectors (like so many of the bloggers over on the right-hand side of this page) who will be the subject of the next article about downloads of historical recordings, in the forthcoming (Autumn) issue of CRC.

*Postscript: Jolyon, who has a usefully forensic approach to discography, reckons from the matrix numbers that this Concerto may have been recorded between the 10th & 18th of October 1928. Nothing to do with Buenos Aires, he assures me; these BA-prefixed numbers were a London series not recorded in the documents available to Laird (and indeed none of Bernard's sessions have numbers in Laird's book).

And it turns out the BL does in fact have a copy of this set. It should have been included in the Archival Sound Recordings Bach survey but for some reason was omitted; I understand this may be rectified! At the moment the BL is busy hoovering up some rare and interesting early Beethoven quartet recordings which were also overlooked and should be posted on ASR fairly soon.

What Lights Your Fire (I Use Dried Dung)

Hello all,

It's almost restored my faith in human nature: we all like Bach and Monteverdi!


Sorry, it's not very clear - Blogger doesn't seem to like my big tiffs - so here are some stats, as of a few days ago:

Top of the list is Reine Gianoli's Bach on Westminster (recently transferred from LP and issued on CD by Green Door in Japan), at 218 takers;
next is Roger Wagner's Monteverdi Primo libro de' Madrigali, with 196 downloads!
Just behind, at 192, are the Fuchses doing Mozart's K.364;
at No.4, the Quartetto Italiano's 17th C Italians with 143;
followed by Jeanne Behrend's all-Gottschalk LP at 142 (Side 2) and 133 (Side 1);
and, suprisingly, by Mildred Clary's little lute 45 at 134.

Very encouraging!

Of course, I can't share all sort of stuff I'd like to - contemporary music, mainly.

Anyway, this got me thinking about my Desert Island Discs. A few years ago these'd have gone something like this:

Monteverdi Vespro della Beata Vergine, 1610 / Taverner Consort, Choir & Players, Andrew Parrott / EMI Reflexe
Bach Well-Tempered Clavier BWV 846-893 (can I have the lot?) / Glenn Gould / CBS
Beethoven String Quartet in a Op.132 / Busch Quartet / EMI Références
Beethoven 33 Variations on a Waltz by Diabelli Op.120 / Alfred Brendel / Philips
Schubert Die Winterreise D.911 / Dietrich Fischer-Dieskau, Gerald Moore / EMI
Brahms Symphony No.2 in D Op.73 / erm... can't remember now - Chailly?
Bartók String Quartet No.4 Sz.91/ Hungarian String Quartet / DG
Stravinsky Agon / SWF Baden-Baden SO, Hans Rosbaud / Adès

Bum, that just squeezes out:
Tippett Symphony No.3 / LSO, Sir Colin Davis / Philips
[or, possibly, Elgar Symphony No.2 in Eb Op.63 / LPO, Sir Georg Solti / Decca]

Yes, it's always a tough one - but I gotta change some things:

Machaut The Mirror of Narcissus / Gothic Voices, Christopher Page / Hyperion (or maybe the Messe de Nostre Dame, if there was an outright winner in that complicated field?)
Monteverdi Vespro - stays in! (though Parrott's Orfeo has always run it close)
Purcell Dido and Aeneas / Taverner Consort, Choir & Players, Andrew Parrott / OU-Chandos
Bach Art of Fugue BWV 1080 / (probably) Musica Antiqua Köln, Reinhard Goebel / Archiv Produktion
[but possibly Berlin Bach Academy, Heribert Breuer / Arte Nova]
Beethoven... yeah, keep both, though I rarely pull those off the shelf these days
Brahms No.2 - likewise (and happy to take whichever one comes along...)
Birtwistle Earth Dances / Cleveland Orchestra, Christoph von Dohnányi / Decca
(but there have been some stunning broadcasts, too - and if Yan Tan Tethera was commercially available I might have to go for that!)

Wot, no Schubert? Lord, this is hard.

No, feck it, I'm going to cheat:
Vaughan Williams The Lark Ascending / Isolde Menges, orch., Malcolm Sargent / HMV (download from CHARM - side 1, side 2, side 3)

So - how about you?

Ffunky Ggibbons, Locke & Purcell

Here's another one you won't want!

But I love these recordings of 17th C consort music by string quartet. They bring it out of the music chest and the library and into the concert hall - especially peformances as confident as these, by the New Music String Quartet: Broadus Earle, Matthew Raimondi (violins), Walter Trampler (viola), Claus Adam (cello). Recorded by Peter Bartók in about 1952, I reckon, for his own label, on which this was first released as LP number 913, some time in the first half of 1953. The Quartet made quite a few interesting LPs of early music for Bartók, from Alessandro Scarlatti to F.X. Richter; some have been reissued on CD - but not this one. This World Record Club Recorded Music Circle issue must date from the late 1950s, no? I wish I knew more about this fascinating label: all info grumpily received.

The two Gibbons 4-part Fantasias (his only two) have been transposed up a fourth; at this pitch and in the NMSQ's hands they zing with high tension and rhythmic drive. Perhaps the Quartet should have upped Locke's sixth Consort of Ffowre Parts too; it comes across least well of the 5 pieces here. This was not its first recording; amazingly, that was made in 1929 by the National Gramophonic Society, with André Mangeot and his International String Quartet playing Mangeot's edition of a transcription by Warlock (I dunno what edition was used here - quite possibly the same?). The movements are Fantazia, Courante, Ayre, Saraband.

The famous Purcell Chacony, on the other hand, has a reticent delicacy that I really like - no Nymanesque chugging or overblown climax. Not on the disc, anyway.

Download the 5 fully tagged mono FLAC files in a .rar archive from here.

'Dry' my a*se!

I mentioned to a friend recently that I'd done a dub of this record and he called it, 'Dry'. It's a criticism I've often heard of Foldes and I don't quite understand it; I prefer to think of him as 'classical'. He's one of my favourite pianists - and sorely neglected in CD reissues. DG seems to think he's only fit for compilations of the 'Liebestraum', 'Für Elise', 'Passion for Piano', and 'Piano Weekend' variety. They can't be bothered to reissue his milestone solo Bartók cycle (just one Dokumente CD that's been around for years) and for some incomprehensible reason they never marketed the superb if unnecessarily selective Original Masters 'Wizard of the Keyboard' twofer in the UK - I had to buy mine from abroad (and three nanoseconds later it's been deleted, anyway, though you can buy it as a FLAC download, which is a small mercy - get it, the Stravinsky Sonata and Barber Excursions are my absolute tops for these works).

So, for grumpy fellow Foldes fans and sceptics, here is his fine 1958 'Emperor' with Ferdinand Leitner, from a stereo Heliodor LP published in 1959, which I picked up in a local charity shop recently. I haven't put up the filler, the little Sonata in G Op.79, because it's very short, not quite so interesting and the nitwit who last owned this disc managed to slather that bit in some annoying gunge which our little miracle helper ClickRepair can't deal with.

Otherwise, ClickRepair has done a great job and I find the 1958 sound remarkably good. Can't say the same for the grungy and depressing cover - how many copies did this sell? Also, I specially bought an A3 scanner so I could do LP covers: well, bravo the person at Mustek who put a raised, chamfered edge round the platen just high enough so that LPs, which don't fit by a couple of mm, sit half on and half off the platen: not only is one or the other side chopped off but the other is also out of focus. If you wanted to help users frame their paper originals, 1 mm, unchamfered, would have been fine. The software is also beyond dire.

Two stereo, fully tagged FLAC files (Adagio and attacca Rondo are one file) in a .rar file at:

http://www.mediafire.com/?jldzzctdymf