1909 - 1939 - caveinspiredmusic.com

Transcription

caveinspiredmusic.com
CLASSICAL MUSIC
FINGAL’S CAVE OVERTURE
1909 to 1939
_____________________________________
DIFFERENT VERSIONS OF
FINGAL'S CAVE OVERTURE
In chronological order by release dates
CL-FG-P1-1 United Kingdom 1909
[FINGAL'S CAVE OVERTURE]
CL – Orchestral
Comp: Felix MENDELSSOHN Bartholdy
Perf: ORCHESTRA DEL TEATRO ALLA SCALA
Cond: Carlo SABAJNO
Prod. Co: The Gramophone Co. Ltd.; Milan
Time: (?)
Label: Gramophone Monarch (?)
Spec: 12" 78rpm
Notes: This is the earliest known recording of the Fingal’s Cave Overture and it is also
probably the second oldest recording of cave-inspired music; the first known being
“Grotto March” by the Zon-o-phone Concert Band in 1905 (see under Popular Music –
United Kingdom & United States – G to Z).
Ref: Arnold, Claude Graveley 1997, The Orchestra on Record, 1896-1926, Greenwood Press
Carli, Philip 2015, Message on Contact Page dated June 2, 2015
Carlo Sabajno, Bio, AHRC Research Centre for the History & Analysis of Recorded Music, rhul.ac.uk
Carlo Sabajno, Bio, Wikipedia
________________________________
CL – Band
Perf: BLACK DIAMONDS BAND
Cond: Eli HUDSON
Prod. Co: British Zonophone Co. Ltd.; London
Rec. Loc: London
Rec. Date: May 14, 1913
Time: (?)
Label: Zonophone Z-040105
Spec: 12" 78rpm (Double-sided) (Sd 1 & 2)
Notes: A band version of the overture where the brass and
other wind instruments are predominant was ideally suited to
the early totally acoustic recording process. The string instruments of a large symphony orchestra were not suitable
and as a result all the subtle and nuanced passages of the symphonic score as written by Mendelssohn are lost here.
However, this recording has not been seen or heard.
Eli Hudson recorded numerous double-sided discs for Zonophone in 1913-14 Season. “Eli Hudson was the original
music director [of the Black Diamonds Band] and the band is known to have played at The Royal Albert Hall in 1914.”
(Gleeson 2006)
Judging from a photo in the Zonophone Records Catalogue (see above left) of the Eli Hudson who conducted the Black
Diamonds Band, it is very clear that this is one and the same with the Eli Hudson, the orchestral flute player & piccolo
virtuoso (on right) who had recorded earlier for the Gramophone Company.
This recording has not been seen or heard.
Ref: Anon. 2013b, History of Sound Recording, Wikipedia
Gleeson, John 2006, The Black Diamonds Band (aka. The Royal Guards Band), coldstreamguardsband
Kelly 2009, Mendelssohn – Fingal’s Cave Overture, AHRC Research Centre for the History and Analysis of Recorded
Music (CHARM), King’s College London, p; 1, rhull.ac.uk
Zonophone Record Catalogue, 1913-14 Season, (Does not list this disc), sounds.bl.uk
________________________________
CL-FG-P1-3 United States 1919
CL – Orchestral
Perf: AMERICAN SYMPHONY ORCHESTRA
Cond: Cesare SODERO
Prod. Co: Thomas A. Edison Laboratories; New York, NY
Rec. Date: Feb. 10, 1919
Matrix: 6618-A & 6618-B
Time: (?)
Label: Edison 80587-R
Flip Sd: (Both) Der Tambour der Garde Overture
Spec: 10" 80rpm (Vertical Cut – Thick Disc)
Notes: This is the earliest known orchestral recording of the
Fingal’s Cave Overture. The conductor, Cesare Sodero (18861947), was the Edison Company’s principal conductor until
1926. (Carli 2015)
During the first three decades of recorded sound up until the
advent of electric recording in 1924 there were numerous logistic
and technical problems connected with acoustical recordings of
a full symphony orchestra, so this may well be the first recorded
version of Mendelssohn's overture. One side of a 10-inch disc
could only provide about 5 minutes of music; so two sides would
be needed to release a recording of the complete overture.
Edison diamond discs were completely different from other early
records – “Victor and most other disc record companies used
side to side or lateral motion of the stylus in the record groove,
whereas in the Edison system the movement was up and down or vertical (also known as "hill-and-dale"
motion), as in a cylinder record. An Edison Disc Phonograph [record player machine] is distinguished by
the diaphragm of the reproducer being located parallel to the disc surface. The Victor (or similar)
diaphragm is located at a right angles to the surface of the disc such that the diaphragm is more or less
parallel to the groove.” (Anon. 2013)
“As the Edison groove pitch (or "TPI", i.e. "threads per inch") was 150, a much finer grooving than that on
lateral discs, Edison's 10-inch discs played considerably longer than Victor's or Columbia's -- up to nearly
five minutes per side. The Edison Disc is also ¼-inch thick (supposedly to prevent warping), and was filled
with wood flour, and later, china clay.” (Anon. 2013)
“From 1912 to mid-1921, Edison relied on ‘molded labels.’ A prepared plate was pressed into the record
surface, leaving an engraved impression.” (Gracyk 2006)
Without an Edison diamond disc player equipped with a vertical groove diaphragm it was not possible to
audition this particular disc.
This orchestra should not be confused with American Symphony Orchestra the New York based American
orchestra founded in 1962 by Leopold Stokowski.
Ref: Anon. 2013, Edison Disc Record, Wikipedia
Arnold, Claude Graveley 1997, The Orchestra on Record, 1896-1926, Greenwood Press
Barr, Steven C. 1992, The Almost Complete 78 RPM Dating Guide (II), Huntington Beach, CA, p. 62
Cesare Sodero, Bio, findagrave
Cesare Sodero, Bio, Wikipedia
ENHS & Loughlin, Mike 2003, Edison Diamond Disc, Truesound Online Discography Project, truesoundtransfers or
edisondd.xls
Edison Diamond Disc, Edison Label Dating Guide, diamond-disc-info
Gracyk, Tim 2006, Edison Diamond Discs: 1912-1929, grecyk
________________________________
CL – Band
Perf: COLDSTREAM GUARDS BAND
Cond: Lt.-Col. John MACKENSIE ROGAN
Prod. Co: (?)
Rec. Loc: London
Rec. Date: Jan. 10, 1920
Time: (?)
Label: (?) 0251
Spec: 12" 78rpm (Sd 1 & 2)
Notes: Another band version of the overture.
The Band of the Coldstream Guards is “is one of the oldest and best known bands in the British Army,
having been officially formed on 16 May 1785.” (Anon. 2013)
“For 20 years Lt-Col Rogan was the senior director of music of the Brigade of Guards, and he was
responsible for the massed bands of the Brigade at the funeral of Queen Victoria [and] the coronation of
King George V… After leaving the Army in 1920 he continued his musical interests particularly with the
British Legion of whom he became Honorary Director of Music. He took considerable part in the
arrangements for the Armistice Night music festival at the Albert Hall.
This recording has not been seen or heard.
Ref: Anon. 2013, Band of the Coldstream Guards, History, Wikipedia
Band of the Coldstream Guards, History, military-bands.co.uk
John Mackenzie Rogan, Short Bio, historic-recordings.co.uk
Lieutenant Colonel John Mackenzie Rogan, Bio, queensroyalsurreys
Music (CHARM), King’s College London, p. 1, rhul.ac.uk
________________________________
CL-FG-P1-5 United Kingdom ca.1920
[OVERTURE FINGAL'S CAVE]
CL – Orchestral
Perf: ROYAL SYMPHONY ORCHESTRA
Cond: Joseph BATTEN
Prod. Co: E.Hough Ltd. Edison Bell Works, London
Rec. Loc: London
Time: (?)
Label: Edison Bell Velvet Face 603 (Old Series)
Flip Sd: Finlandia
Spec: 12" 78rpm (Sd 1)
Notes: Another very early symphony orchestra version.
Joseph Batten was a central figure in the early history of the gramophone in England. He was the artistic
director for Edison Bell's Velvet Face label between 1918 and ca.1926 (Anon 2009) and he led most of that
company's in-house classical recordings. (Carli 2015)
Ref: Anon. 2009, Joseph Batten, Bio, AHRC Research Centre for the History & Analysis of Recorded Music, rhul.ac.uk
Arnold, Claude Graveley 1997, The Orchestra on Record, 1896-1926, Greenwood Press
Lloyd-Davies, Michael 2012, Researching Joe Batten, demon.co.uk
Stone, Peter n.d., Edison Bell, The Stone Collection, 78-records
________________________________
OVERTURE FINGAL'S CAVE
CL – Orchestral
Perf: ROYAL SYMPHONY ORCHESTRA
Cond: Sir Dan GODFREY
Prod. Co: E.Hough Ltd. Edison Bell Works, London
Rec. Loc: London
Time: (?)
Label: Edison Bell Velvet Face 503 (New Series)
Flip Sd: Finlandia
Spec: 12" 78rpm (Sd 1)
Notes: A second recording of the
overture by the Royal Symphony
Orchestra released by Edison
Bell in London.
The photo of Dan Godfrey dates to 1906 and was taken by Miell
& Miell in Bournemouth. Nothing further could be learned about
this recording.
I had purchased a copy of this rare 78 from an eBay record
dealer in England and he sent it Air Mail without a tracking
number. Well, it got lost in the mails somewhere over the
English Channel.
Ref: Arnold, Claude Graveley 1997, The Orchestra on Record, 18961926, Greenwood Press
Barr, Steven C. 1992, The Almost Complete 78 RPM Dating Guide (II), Huntington Beach, CA, p.144
Dan Godfrey, Bio, Wikipedia
________________________________
CL-FG-P1-7 Germany 1923
DIE HEBRIDEN (THE HEBRIDES)
THE HEBRIDES OVERTURE “FINGAL'S CAVE”
CL – Orchestral
Perf: PHILHARMONISCHES ORCHESTER, BERLIN
[aka. BERLINER PHILHARMONIKER ORCHESTER]
(Berlin Philharmonic Orchestra)
Cond: Bruno WALTER [aka. Bruno SCHLESINGER]
Prod. Co: Polydor
Rec. Date: Aug. 1, 1923
Rec. Loc: Berlin
Matrix: 82az & 83az
Time: 9:30
A. German Releases:
1. Original Acoustic 78: Polydor 65030 & 60589
12” 78rpm
2. Reissue on West German LP: (?)
Deutsche Grammophon 2740 259
12” 33rpm
3. Reissue on CD: (Title ?)
Deutsche Grammophon POGC 2127
4. Reissue on CD: (Title ?)
Deutsche Grammophon DG 459 000-2
Deutsche Grammophon DG 459 065-2
4. Reissue on CD: RECORDING PIONEERS (1998)
Deutsche Grammophon DG 459 002 (Tk 20)
B. British Releases:
1. Original Acoustic 78: Grammophon 65930 & 69589
2. Reissue on Compilation CD: MUSIC IN THE WEIMER REPUBLIC – BERLIN 1929 (2003)
Symposium SYMPCD-1340 (Tk 1)
Notes: One of the earliest known orchestral recordings of Mendelssohn’s overture. Since it was recorded
before the advent of electrical recording with microphones in 1924, it had to have been an acoustic
recording. Gray at the AHRC Research Centre gives August 1, 1923 as the recording date, but other
sources gave later dates.
“The earliest methods of recording arbitrary sounds involved the live recording of the performance directly
to the recording medium. This was an entirely mechanical process, often called ‘acoustic recording.’ The
sound of the performers was captured by a diaphragm with the cutting needle connected to it. The needle
made the groove in the recording medium. To make this process as efficient as possible the diaphragm
was located at the apex of a cone and the performers would crowd around the other end.” (Anon. 2013b)
Bruno Walter was appointed Kapellmeister of the Stadttheater (municipal opera) in Breslau in 1896 on the
strength of a recommendation from Gustav Mahler. During his career he would work with several
orchestras from Berlin, Vienna, Munich, and New York, then later in Chicago and Los Angeles. In 1923 he
spent part of his time with the New York Symphony Orchestra, but returned to Germany to make his debut
with several orchestras there. Then in 1938 as German Jewish conductor he was driven into exile by the
Nazis. (Anon. 2013a) Felix Mendelssohn himself was also Jewish and therefore during the Nazi antiSemitic period his music was banned from all public presentations.
The 30-second Allmusic audio clip was somewhat muddy. The Amazon sample is slightly better.
Ref: Altena, James; Reveyoso, Steven; & Ryding, Erik ca.2006, Recorded Performances of Bruno Walter,
bwdiscogarphy
Anon. 2013a, Bruno Walter, Bio, Wikipedia
Anon. 2013b, History of Sound Recording, Wikipedia
Berlin Philharmonic, History, Wikipedia
Deutsche Grammophon, History, Wikipedia
Gray 2009, Mendelssohn – Fingal’s Cave Overture, AHRC Research Centre for the History and Analysis of Recorded
Music (CHARM), King’s College London, p. 1 & 3, rhul.ac.uk & rhul.ac.uk
Music in the Weimer Republic – Berlin 1929, Allmusic (◄AUDIO SAMPLE)
Music in the Weimer Republic – Berlin 1929, Amazon (◄AUDIO SAMPLE)
Music in the Weimer Republic – Berlin 1929, CDUniverse
________________________________
CL-FG-P1-8 United States 1925
LA GRUTA DE FINGAL
CL – Orchestral
Perf: SAINT LOUIS SYMPHONY ORCHESTRA
Cond: Rudolph GANZ
Prod. Co: RCA Manufacturing Co. Inc.; Camden, NJ
Rel. Date: Dec. 5, 1925
Time: (?)
A. American 78:
Victor (Red Seal) 9013 A & B
B. British 78: (1927) His Master's Voice (Gramophone) D 1299
C. Spanish 78: Disco Gramofono (?) [as by
Orquesta Sinfónica de San Luis]
Spec: (Both) 12" 78rpm (Sides 1 & 2)
Notes: One of the earliest known recordings of the complete overture. The
newly invented Western Electric system of electric sound recording was
used. For large symphony orchestras this method was vastly superior to the
acoustical recording process used previously.
From 1921 to 1927 Rudolph Ganz was the conductor of the St. Louis
Symphony Orchestra and did much to raise it to the top rank of orchestras.
(Anon. 2013a)
Ref: Anon. 2013a, Rudolph Ganz, Bio, Wikipedia
Anon. 2013b, Victor Talking Machine Company, Wikipedia
RCA Red Seal Records, Wikipedia
Rudolph Ganz, Bio, Naxos
Saint Louis Symphony, History, Wikipedia
________________________________
The Etude Music Magazine, Sept. 1937
Chatterbox, 1905
________________________________
CL – Orchestral
Perf: MAYFAIR ORCHESTRA
Cond: George W. BYNG
Prod. Co: The Gramophone Co. Ltd.; London
Rec. Loc: Hayes, Room 1, Middlesex
Rec. Date: June 22, 1927
Time: (?)
Label: (?) His Master’s Voice (HMV) (?)
Spec: 12" 78rpm (? Sides 1 & 2)
Notes: Following the two British band recordings of the Fingal’s Cave Overture this is the first British
symphony orchestra recording. Since we are told that this recording was made on June 22, 1927 at
“Hayes, Room 1,” one can assume that this was an HMV record because HMV had their studios and
factory at Hayes in Middlesex, West London.
George “Byng first conducted for recordings at Thomas Edison's London studios from 1909 until the studio
closed in 1914. In 1915 Byng became staff conductor for HMV and conducted a great number of recordings
made at their recording studios in Hayes, Middlesex. These featured many well-known artists of the time,
for example the singers Elisabeth Schumann, Peter Dawson, the Black Diamonds (Brass) Band and the
Mayfair Dance Orchestra.” (Anon. 2013)
Incidentally, in 1917, George Byng took over the Black Diamonds Band (from Eli Hudson – see above) and
he remained the leader until 1926. (Gleason 2006)
Ref: Anon. 2013, George W. Byng, Bio, Wikipedia
Gleeson, John 2006, The Black Diamonds Band (aka. The Royal Guards Band), coldstreamguardsband
His Master’s Voice (HMV), History, Wikipedia
Music (CHARM), p. 1, King’s College London, rhull.ac.uk
________________________________
CL-FG-P1-10 France 1927
LA GROTTE DE FINGAL
CL – Orchestral
Perf: GRAND ORCHESTRE SYMPHONIQUE
Cond: François RUHLMANN
Prod. Co: Pathé
Matrix: N 300036 & N 300037
Time:
A. French 78: Pathé X.5474
B. British 78: Edison Bell (electric) X516
Spec: (All) 12" 78rpm (Sides 1 & 2)
Notes: After working with orchestras in Paris and elsewhere in
France, François Ruhlmann transferred in 1919 to the Opera at the
Palais Garnier in Paris, where he remained until 1938. He was long associated with Pathé Records, for
whom he made many recordings, including six complete operas after 1910. (Anon. 2013)
A very impressive Art-Deco label designed by F.-L. Schmied which includes a motif with two clusters of red
stalactites and small stubby stalagmites, seen here in the upper right center.
Ref: Anon. 2013, François Ruhlmann, Life & Career, Wikipedia
Pathé Records, History, Wikipedia
Répertoire Phonographique, Mai 1932, Paris, p. 196
________________________________
CL-FG-P1-11 France 1928
LA GROTTE DE FINGAL
THE HEBRIDES OVERTURE “FINGAL'S CAVE”
CL – Orchestral
Comp: Felix Mendelssohn Bartholdy
Perf: L'ORCHESTRE PHILHARMONIQUE DE PARIS
Cond: Gustave CLOËZ
Prod. Co: Disques Odéon
Rec. Loc: Salle Gaveau
Rec. Date: Nov. 21, 1928
Matrix: Ki 1967; Ki 1968; Ki 1969
Time:
A. French 78: Odéon 165428 & 165429
B. British 78: Odéon 166428 & 166429
Spec: 2 X 10" 78rpm (Sides 1, 2, & 3)
Notes: Gustave Cloëz “conducted at the Opéra-Comique in Paris between 1922 and 1946, at Radio Paris
and with the Paris Conservatoire Orchestra during World War II,.. Cloëz also conducted numerous purely
orchestral recordings with many of the Paris orchestras.” (Anon. 2009)
The photo by a French photographer was taken near the door to the orchestra pit at the Grand Ballet de
Monte-Carlo in 1949.
Ref: Anon. 2009, Gustave Cloëz, Career, AHRC Research Centre for the History and Analysis of Recorded Music
(CHARM), King’s College London, kcl.ac.uk
Disques Odéon, History (in French), Wikipedia
Gray 2009, Mendelssohn – Fingal’s Cave Overture, AHRC Research Centre for the History and Analysis of
Recorded Music (CHARM), King’s College London, p. 1, rhul.ac.uk
Répertoire Phonographique, Mai 1932, Paris,p.196
________________________________
DIE HEBRIDEN
CL – Orchestral
Perf: BERLINER PHILARMONIKER
(Berlin Philharmonic Orchestra)
Cond: Hans PFITZNER
Prod. Co: Polydor
Rec. Loc: Hochschule für Musik; Berlin
Matrix: B21279 & B21280
Time: (?)
A. German 78: Polydor 27292
B. British 78: Decca LY 6093
C. French 78s: Polydor 95372
D. Unknown Source 78: Polydor 19905
Notes: As a conductor in Nazi Germany, who embraced Nazism but whom Hitler disliked, Hans Pfitzner
had great difficulties. He “had managed to gain a stable conducting contract from the Munich opera in
1928, but ran into demeaning treatment from chief conductor Hans Knappertsbusch and intendant
Franckenstein. In 1934 he was forced into retirement and lost his positions as opera conductor, stage
director and academy professor.” (Anon. 2013) Yet somehow he managed to make this recording in 1928.
The King’s College site lists two recording dates of this overture by Pfitzner: this one in 1928 and a second
one a year later on Jan. 1, 1926. This is probably a typo error.
Polydor was originally an independent branch of the Deutsch Grammophon Gesellschaft. Its name was first
used as an export label in 1924. (Anon. 2013)
Ref: Anon. 2013, Hans Pfitzner, Bio, Wikipedia
Berliner Philharmoniker, Geschichte (in German), Wikipedia & Berlin Philharmonic, History (in English), Wikipedia
Polydor Records, Company History, Wikipedia
Ross, Alex 2007, The Rest Is Noise, Picador, New York, p. 346-347
________________________________
DIE HEBRIDEN
CL – Orchestral
Perf: BERLINER PHILARMONIKER (Berlin Philharmonic Orchestra)
Cond: Julius PRÜWER
Prod. Co: Polydor
Matrix:
Time: (?)
A. German 78: Polydor 19905
B. American 78: Brunswick 90017
Spec: 12" 78rpm (Sides 1 & 2)
Notes: Clearly a case where the record producer took advantage of the
presence of the Berlin Philharmonic Orchestra at the Hochschule für Musik on that day to record two
different versions of the overture using two different conductors, Julius Prüwer and Hans Pfitzner. It would
have been very interesting to be there and hear this.
We are told – “1925 wählten ihn die Berliner Philharmoniker zum Dirigenten ihrer populären Konzerte, er
dirigierte bis 1933 an mehr als 700 Abenden.“ (Anon. 2013) [In 1925 he was elected conductor of the Berlin
Philharmonic Orchestra for their pops concerts, which he conducted until 1933, more than 700 nights.]
“In Weimar war man auf der Suche nach einem Generalmusikdirektor für das Nationaltheater. Prüwer
sagte zu. Nach nur einer Saison jedoch folgte er dem Ruf auf eine Professorenstelle an der Staatlichen
akademischen Hochschule für Musik in Berlin. Prüwers Ehefrau gibt rückblickend antisemitische Pöbeleien
gegen ihren Mann als Grund für den raschen Abschied aus Weimar an… Im Sommer 1925 wählte ihn
darüber hinaus das Berliner Philharmonische Orchester zu seinem ständigen Dirigenten. Er leitete die
Populären Konzerte, die in leicht abgewandelter Form die Programme der großen Sinfoniekonzerte für ein
weniger gut betuchtes, dafür aber sehr musikbegeistertes Publikum wiederholten.” (Kalcher 2013)
[In Weimar (in the early 20s) they were looking for a music director for the National Theatre. Prüwer spoke
for it. After only one season, however, he was appointed to a professorship at the State Academic College
of Music in Berlin. Looking back, Prüwer’s wife said that the anti-Semitic bullying against her husband was
the reason for his rapid departure from Weimar… In the summer of 1925, the Berlin Philharmonic
Orchestra chose him as its permanent conductor. He headed the pops concerts, the programs of the major
symphony concerts, music restated in a slightly different form, for the less well-heeled, but very
enthusiastic audience.] At the end of 1939, Prüwer decided to immigrate to the United States.
Ref: Anon. 2013, Julius Prüwer, Bio (in German), Wikipedia
Berlin Philharmonic, History, Wikipedia
Kalcher, Antje 2013, Julius Prüwer, Biographie (in German), uni.hamberg.de
________________________________
FINGAL'S CAVE OVERTURE ("THE HEBRIDES")
CL – Orchestral
Perf: NEW QUEEN'S HALL ORCHESTRA
Cond: Sir Henry WOOD
Prod. Co: Columbia Graphophone Co. Ltd.; London
Rec. Loc: (?)
Rec. Date: March 4, 1929
Matrix: AX 4731, AX 4732, & AX 4733
Time: (?)
A. British 2X 78: Columbia 9843 & 9844
B. American 2X 78: Columbia 67692 D & 67693 D
Spec: (Both) 12" 78rpm (Sides 1, 2, & 3)
Notes: Sir Henry Wood was “an English conductor best known for his
association with London's annual series of promenade concerts, known as the
Proms. He conducted them for nearly half a century, introducing hundreds of
new works to British audiences. After his death, the concerts were officially
renamed in his honour as the ‘Henry Wood Promenade Concerts,’ although
they continued to be generally referred to as ‘the Proms.’ " (Anon. 2013)
The manager of Queen’s Hall in London where the Proms were held, Robert
Newman, was co-founder of the Promenade Concerts with Henry Wood.
Newman stated his policy early on – "I am going to run nightly concerts and
train the public by easy stages. Popular at first, gradually raising the standard until I have created a public
for classical and modern music.” (Orga 1974)
“Originally founded in 1895 in London as the Queen’s Hall Orchestra, for the purpose of introducing the
Promenade concerts, it kept the same name until 1915, when its name was changed to the current one.
The 1920s brought substantial changes, consistent with the intensely changing classical music scene
across the United Kingdom, the decade being significant in the development of many prominent
ensembles.” (Anon. n.d.)
The King’s College site lists three sides WAX 3911, 3912, & 3913 that were recorded at Central Hall,
Westminster; London but never released.
Ref: Anon. 2013, Henry Wood, Bio, Wikipedia
Anon. n.d., New Queen’s Hall Orchestra, orchestranet.co.uk & Wikipedia
Music (CHARM), p. 4, King’s College London, rhul.ac.uk
Henry Wood, Bio, bach-cantatas
Henry Wood, Discography, damians78s.co.uk
Orga, Ateş 1974,. The Proms. Newton Abbot: David & Charles, p. 44 (Quoted in Anon. 2013)
________________________________
DIE HEBRIDEN (DIE FINGALSHÖHLE)
FINGAL’S CAVE OVETURE
LES HEBRIDES – OUVERTURE
(LA GROTTE DE FINGAL)
---------------------OVERTURE “THE HEBRIDES” (REHEARSAL)
CL – Orchestral
Perf: BERLINER PHILARMONIKER (Berlin Philharmonic
Orchestra)
Cond: Wilhelm FURTWÄNGLER
Prod. Co: Polydor
Matrix: 1098B1 & 1099½B1 & (Rehearsal) 1100 biI
Liner Notes: (US–LP) Robert Angus, 1974
Time: (CD) 12:23 & (Rehearsal of the last part on CD-No.A3 & C3) 2:51
and (CD No. F) 9:50
A. German Releases:
1. Original 78: Polydor 95470
2. Reissue on LP: WILHELM FURTWANGLER CONDUCTS (Late
1950s)
Heliodor 88 012
12” 33rpm (Sd 2 – Bd 1)
3. Reissue on CD: THE FASCINATION OF FURTWÄNGLER (2004)
Deutsche Grammophon 00289 477 5238 (mono)
(Set 2 CDs) (CD 2 – Tk 4)
B. British Releases:
1. Original 78: Decca CA 8090
2. Another 78: Brunswick 90401
C. French Releases:
1. LP: [Mendelssohn & Wagner] (1970)
Deutsch Grammophon 88.012
2. LP: [Weber & Mendelssohn] (1979)
Deutsch Grammophon 25358221
3. Reissue of Rehearsal on Boxed Set CDs: A TRIBUTE TO WILHELM
FURTWÄNGLER (1994)
Tahra FURT 1008-1011 (4XCDs)
D. Austrian Reissue on:CD: THE EARLY RECORDINGS 1926-1937 (1995)
Koch International Classics (?) (2XCDs) (Disc 1 – Tk 5)
E. American Reissue on LP: WILHEIM FURTWÄNGLER CONDUCTS (1974)
First Edition FER-2
12” 33rpm (Sd 2 – Bd 1)
F. Japanese Reissue on:CD: WILHELM FURTWANGLER CONDUCTS
ROMANTIC MUSIC (Polydor Recordings 1) (2003)
Opus KURA 2036 (Tk 1)
Spec: (Nos. A1, & B1 & B2) 12" 78rpm (Sds 1 & 2)
(No. C1) 12" 33rpm (Sd 1 – Bd 2)
(No. C2) 12" 33rpm (Sd 2 – Bd 1)
Notes: “Probably the most respected of all German musicians during his lifetime” (Angus, Liner notes
1974) When working, “control and balance were prominent characteristics of his conducting. His
interpretations, though full of life and vitality, were always carefully thought out, and his personal manner at
the podium was much more restrained than that of his successor in Berlin, Herbert von Karajan.” (Angus
1974)
A French critic comments on this rendition – "La féerie, la souplese, la légèreté de Furtwängler rendent à
merveille l'atmosphere fantastique et poetique de cette ouverture célèbrissime." [Furtwängler's magic,
ease, and levity wonderfully render the fantastic and poetic atmosphere of this very celebrated overture.]
(Anon. 1988)
However, another French critic felt – "Il y a, comme souvent chez Furtwängler, une excessive lenteur qui
pour Mendelssohn alourdit une musique qui aurait besoin d'une certaine transparence." [There is here, as
often with Furtwängler, an excessive slowness that weight down Mendelssohn's music, which needs
instead a certain transparency.]
After World War II Furtwängler was much criticized for his work during the Nazi regime. “He was the
leading conductor who remained in Germany during the Second World War and, although not an adherent
to the Nazi regime, this decision caused controversy for the rest of his life. The extent to which his
presence lent prestige to the Third Reich is still debated.” (Anon. 2013)
When this 1930 recording was remastered and released on CD in 2004 a short extract from the rehearsal
of just the last part of the overture (2:51) was included. It’s worth asking why this rehearsal was included
here for it detracts from the accepted version.
Ref: Anon. 1952, Guide Français du Disque, Tome 1
Anon. 1988, Diapason Dictionnaire du Disques et des Compacts, p. 559
Anon. 2013, Wilhelm Furtwängler, Bio, Wikipedia
Charles, Antony 2011, Wilhelm Furtwängler et la musique sous le Troisième Reich, counter-currents
The Fascination of Wilhelm Furtwängler CD, Rehersal & Overture, deutschegrammophon (◄AUDIO SAMPLES)
Furtwängler, Elisabeth 1983, Furtwängler, Harmonie – Panorama Musique, 19e année, n. 30, Avril 1983, p. 50-58
Music (CHARM), p. 2, King’s College London, rhul.ac.uk
Hyafil, Olivier, Hifi Stéréo, Fév. 1979, p. 133
Mendelssohn, Hebrides Overture “Fingal’s Cave,” Compilation CD, Released 2013, Tk 1, Apple
Scherchen’Thémine 2004, Furtwängler une CD-graphie (in French), furtwangler
A Tribute to Wilhelm Furtwängler: For the 40th Anniversary of His Death, worldcat
Wilhelm Furtwängler, Berlin Philharmonic Orchestra, Fingal’s Cave Overture by Seven Conductors (9:20), YouTube
(◄COMPLETE AUDIO SAMPLE)
Wilhelm Furtwängler, The Early Recordings, 1926-1937, Amazon
Wilhelm Furtwängler, Essential Recordings, Société Wilhelm Furtwängler, furtwangler
Wilhelm Furtwängler Conducts Romantic Music CD, Allmusic (◄AUDIO SAMPLE)
________________________________
LA GROTTE DE FINGAL
CL – Band
Perf: THE HOME GUARDS BAND
Cond: (?)
Prod. Co: British Homophone Co. Ltd., London
Time: (?)
1. 78: Sterno TF 505
2. 78: Sterno 8005
Spec: 12" 78rpm (Sd 1 & 2)
Notes: This was the third band version of the overture to be recorded.
“The Sterno label was used by the British Homophone Company, launched in 1926, and recorded by the
Gramophone Company at its studios in Middlesex, UK.” (Stone n.d.)
In a slightly different story concerning British Sterno Records, Weindling wrote that a building in Kilburn was
– “a recording studio for the British Homophone Company Ltd. William Sternberg was the director of a
company that had been selling gramophones under the trade name of Sterno for some years. They had
used the masters and distributed records of the Homophon Company of Berlin since 1906, and also
produced Sterno records from 1926 to 1935.” (Weindling 2013)
The Sterno label shown here is not this piece of music; it is only shown to illustrate the label style.
Ref: Barr, Steven C. 1992, The Almost Complete 78 RPM Dating Guide (II), Huntington Beach, CA, p.144
Esmetron Records, 78 Record Catalogue, esmetronrecords
Field, Norman 2012, British Record Labels – The First 25 Years, 1898-1923: H, normanfield
Stone, Peter n.d., Sterno 78 Label, The Stone Collection, 78-records
Weindling, Dick 2013, Making Music in West Hampstead and Kilburn, blogspot.fr
________________________________
CL-FG-P1-17 United Kingdom
1930
FINGAL'S CAVE OVERTURE ("THE HEBRIDES")
LA GROTTE DE FINGAL
CL – Orchestral
Perf: THE ORCHESTRA OF THE STATE OPERA HOUSE, BERLIN
Cond: Josef ROSENSTOCK
Prod. Co: The Parlophone Co. Ltd.; London
Rec. Date: June 3, 1929
Matrix: 2-21469; 2-21470; & 2-21471
Time: Approx. 9:00
A. British 78: (Part 1) Parlophone E11053
(Part 2) Parlophone E11053
(Part 3) Parlophone E11054
B. French 78: Parlophone 57062, 57063, & 57064
Spec: (Both) 2X 12" 78rpm (Sides 1, 2, & 3)
Notes: As a Polish Jew in Berlin Josef Rosenstock had to leave in exile in 1938 and during World War II he
conducted the Japan Symphony Orchestra in Tokyo. Then in 1948 he went to New York to work as a
conductor with the New York City Opera.
It is assumed that the Orchestra of the State Opera House in Berlin is none other than the Staatskapelle
Berlin, the orchestra of the Berlin State Opera (Berliner Staatsoper Unter den Linden).
Ref: Gray 2009, Mendelssohn – Fingal’s Cave Overture, AHRC Research Centre for the History and Analysis of
Recorded Music (CHARM), p. 2, King’s College London, rhul.ac.uk
Josef Rosenstock, Bio, Wikipedia
Josef Rosenstock, Orchestra of the State Opera House, Berlin, honkingduck
Répertoire Phonographique, Mai 1932, Paris, p.196
Settlemier, Tyrone & Lachowitz, Robert 2012, Numerical Listing pf Parlophone (British) 78rpm E105000-11000,
78discography
Staatskapelle Berlin, Wikpedia
________________________________
Paddle Steamer S.S. Fusilier – Valentine postcard – ca.1909
________________________________
“DIE HEBRIDEN” FINGALS-HÖHLE
CL – Orchestral
Perf: BERLINER PHILARMONIKER (Berlin Philharmonic Orchestra)
Cond: Leo BLECH
Prod. Co: Telefunken
Rec. Date: Apr. 5, 1932
Matrix: 018299 & 018300
Time:
A. German 78: Telefunken E 1090 & Ultraphone E 1090
B. French 78: (1933) Ultraphone EP 859
C. Other 78: Polydor 95470
Spec: (All) 12" 78rpm (Sd 1 & 2)
Notes: Leo Blech was yet another German Jewish conductor who, starting in 1926, worked with the
“Staatsoper unter den Linden (Berlin State Opera), where he remained until Adolf Hitler’s anti-Semitic
policies forced him in 1937 into exile in Riga [capital of the Baltic state of Latvia], where he conducted the
Latvian National Opera and Ballet Theatre.” (Anon. 2013)
Ref: Anon. 2013, Leo Blech, Bio, Wikipedia
Berlin Philharmonic Orchestra, History, Wikipedia
Répertoire Phonographique, Mai 1932, Paris, p.196
Telefunken, History (in German), Wikipedia & (in English) Wikipedia
Zwarg, Christian 2012, Die Hebriden, Leo Blech, Telefunken Matrix Numbers – 18204 to 18999, phonomuseum
________________________________
CL-FG-P1-19 Italy Prior.1932
LA GROTTA DI FINGAL – OUVERTURE ("LE EBRIDI")
CL – Orchestral
Perf: ORCHESTRA DEL TEATRO "LA SCALA"
Cond: Ettore PANIZZA
Prod. Co: Societa Anonima Nazionale del Grammofono; Milan
Rec. Date: Apr. 1, 1928
Matrix: (Le Voce del padrone) CF 1641 & CF 1642
(Grammofono) 5-0888 & 5-0889
Time: (?)
A. Italian Releases:
1. 78: Le Voce del padrone (?)
2. 78: Grammofono AW 3984
B. German 78: Electrola EJ 353
Notes: Ettore Panizza was an Argentinean conductor, one of the
leading conductors of the early 20th century. Panizza possessed
technical mastery and was popular and influential during his time, also
widely admired by Richard Strauss. (Anon. 2013)
“By 1908 Panizza was conducting at La Scala, Milan, reappearing there
during World War I; and when, after the war, a new management
structure was created at the theatre, he conducted half of the first
season’s productions (five out of ten) alongside Toscanini, who
conducted the balance and retained a controlling influence over all of
La Scala’s activities…. Throughout Toscanini’s period as chief
conductor, which ended in 1929, and beyond, until 1932, Panizza
remained as a devoted assistant to him, conducting numerous
productions at La Scala.” (Patmore 2013)
The German release is shown here.
Ref: Anon. 2013, Ettore Panizza, Bio, Wikipedia
Ettore Panizza, Grotta di Fingal, Grammofon, culturaitalia.it & internetculturale.it
Recorded Music (CHARM), p. 1, King’s College London, rhul.ac.uk
Patmore, David 2013, Ettore Panizza, Naxos A-Z of Conductors, naxos
________________________________
OVERTURE “FINGAL'S CAVE”
CL – Orchestral
Perf: B.B.C. SYMPHONY ORCHESTRA
Cond: Sir Adrian BOULT
Prod. Co: The Gramophone Co. Ltd.; London
Matrix: 2B 4688 - 2B 4165
(US) 2B4687-II & 2B4688-IIA
Rel. Date: Apr. 1934
Time: 8:57 or 9:01
A. British Releases:
1. 78: His Master's Voice (Gramophone) DB 2100
2. Reissue on CD: BOULT’S SCHUBERT (2001)
Beulah 3PD12 (Tk 6)
B. American 78: Victor 11886
Notes: “When the British Broadcasting Corporation appointed him [Boult] director of music in 1930, he
established the BBC Symphony Orchestra and became its chief conductor. The orchestra set standards of
excellence that were rivalled (sic) in Britain only by the London Philharmonic Orchestra (LPO), founded two
years later.” (Anon. 2013)
The Worldcat site gives the recording date as Oct. 20, 1933.
Ref: Adrian Boult Discography, Wikipedia
Adrian Boult, Fingal’s Cave Overture, BBC Symphony Orch., worldcat
Sir Adrian Boult, Fingal’s Cave Overture, BBCSO, 1934, Extract sample
(4:37), YouTube (◄AUDIO SAMPLE)
Sir Adrian Boult, Fingal’s Cave Overture, BBCSO, RCA Victor Release
(8:57), (Hear surface crackles), 78rpmcommunity (◄COMPLETE AUDIO
SAMPLE)
Anon. 2013, Adrian Boult, Bio, Wikipedia
Boult’s Schubert CD, CDUniverse (◄AUDIO SAMPLE)
Mendelssohn, Hebrides Overture “Fingal’s Cave,” Compilation CD, Released 2013,
Tk 2, Apple
________________________________
CL-FG-P1-21 United Kingdom Prior 1933
[HEBRIDES OVERTURE (FINGAL'S CAVE)]
CL – Orchestral
Perf: (BERLIN SYMPHONY ORCHESTRA)
Cond: Fritz SWEIG
Prod. Co: British Homophone Co. Ltd., London
Time: (?)
Label: Homochord 4-8972
Spec: 12" 78rpm (Sides 1 & 2)
Notes: Fritz Sweig’s career is yet another case of a Jewish conductor
who was Czech and had to flee Nazi Germany.
In 1932 he was at the Staatsoper Unter den Linden in Berlin. Then –
”1933 verlor er seine Arbeitsmöglichkeit in Deutschland und floh zunächst
nach Frankreich. Ab 1934 wirkte er als Dirigent am Deutschen Theater in
Prag, musste jedoch 1938 erneut fliehen und ließ sich in Paris nieder. Dort dirigierte er an der Oper und bei
Gastspielen u. a. in London und Moskau. Nach der Besetzung Frankreichs ging er schließlich ins Exil in die
USA, wo er seine Tätigkeit als Dirigent erfolgreich fortsetzte.” (Anon. 2013)
[In 1933, he lost his job opportunity in Germany and fled first to France. From 1934 he worked as a
conductor at the German Theater in Prague, but had to flee again in 1938
and settle in Paris. There, he conducted at the Opera and did guest
performances including London and Moscow. After the occupation of
France, he eventually went into exile in the United States, where he
successfully continued his activity as a conductor.]
From this brief biographical sketch it is clear that he had to record this
version with the Berlin Symphony Orchestra sometime before 1933-34.
The Homochord label shown here is not this piece of music; it is only
shown to illustrate the label style.
There is considerable confusion regarding the Homochord label. Some
discographers say it’s a German label and others say it’s a British label,
actually it’s a bit of both.
“The gramophone records by Homokord (after 1923 some labels say also Homocord) were manufactured
by German company Homophon Company GmbH established in 1905. The company headquarters was
located at Alexandrienstrasse in the part of city of Berlin known as Kreuzberg. .... It is said that a big
English company The Gramophon Company Ltd had disliked the Homophon label very soon because of
too close similarities with their own label Zonophone. Consequently, Homophon has been forced by the
court to change the name and also the graphical label on its own recordings. Recordings of this company
were then published with changed label Homokord.” (Anon. n.d.)
A British discographer, Norman Field, provides the history of the British Homophone Company – “In 1921
or 1922 a new British Homophone Company was founded by one William Sternberg, who had been
involved in the gramophone trade for some years. The label, unsurprisingly, was Homochord. The discs
were pressed at the Universal Music Co., factory at Hayes, Middlesex, and drew on material available from
the Aeolian Co’s Vocalion masters, which allowed U.S. material to appear. But they also made their own
recordings too, soon gaining a good reputation for the quality of their piano discs, the piano being
notoriously difficult to record well. 10" discs were in a H-100 series, and the quite elusive 12" were in an
HB-2000 series. The new company kept up, at least to start with, the old tradition of putting dates in the
wax of their own recordings, though now handwritten. They are probably not recording dates, but e.g. a
stamper plating date; still, they give us a ball-park date for the disc. The company made Homochord
records until about 1933, then Sterno (which they began in 1929) until about 1936/7.” (Field 2012)
Ref: Anon. 2013, Fritz Sweig, Bio (in German), Wikipedia
Anon. n.d., Homocord Records, songster.de
Dordick, Johanna 2010, Los Angeles Opera Theater Dedicates Its Third Season, Fritz Zweig, laoperatheater
Field, Norman 2012, British Record Labels – The First 25 Years, 1898-1923: H, normanfield
Fritz Sweig, Biographie, uni-hamburg.de
Fritz Sweig, Katalog der Deutschen Nationalbibliothek, dnb.de
78 Record File Card ca.1978, Fingal’s Cave Overture, Gramophone Exchange Store, 80 Wardour St., London W1
________________________________
THE HEBRIDES OVERTURE (FINGAL'S CAVE)
CL – Orchestral – Cave Pic Cover
Perf: LONDON PHILHARMONIC ORCHESTRA
Cond: Sir Thomas BEECHAM
Prod. Co: The Columbia Graphophone Co. Ltd.; Hayes, Middlesex
Rec. Loc: EMI Studio No. 1, Abbey Road; London
Rec. Date: Oct. 3, 1938
Matrix: CAX 8171 & CAX 8172 (Take 3A)
Time: 9:00
A. British Releases:
1.Original 78: Columbia (London) LX 747
2. Reissue on EP: MENDELSSOHN – OVERTURE
THE HEBRIDES (1958) (PC-RE# )
Fontana CFE 15004
7” 45 rpm (Sd 1)
B. French 78: Columbia LFX 556
C. Italian 78: Columbia GQX 10988
D. American Releases on 78s:
1. Columbia 69400-D
2. Columbia 71621D
3. Part of Set: Columbia M552
E. Argentine 78: Columbia 264945
Notes: One of Sir Thomas Beecham's greatest achievements was the founding of the London
Philharmonic Orchestra in 1932. He remained at the head of this orchestra until 1940, so it is safe to say
that this recording was made sometime during those 8 years.
Ref: Anon. 2013, Thomas Beecham, Bio, Wikipedia
Sir Thomas Beecham, The Hebrides Overture, London Philharmonic Orch., deezer (◄AUDIO SAMPLE)
________________________________
DIFFERENT VERSIONS OF
This discography continues in Parts 2, 3, 4, & 5
caveinspiredmusic.com

1909 - 1939 - caveinspiredmusic.com

Transcription

Similar documents

Overture to William Tell, by Rossini, transcription by Liszt, Courtesy

18 september

Rossini 3SE THE RABBIT OF SEVILLE “I Think I`m in Love with You

Orchestra KlangVerwaltung - Künstlersekretariat Buchmann GmbH

Guest artist to offer taste of ProMusica Chamber Orchestra`s future

Summer Symposium Flyer_2015_v1.pub

2015 Annual Report - Overture with the Arts

NYOJ Launches KC Melbourne Centre! Luthier`s Workshop Anna

BerLin UrBAn Living- De ZwArTe HonD ArcHiTecTs