German Vocal 78rpm records Nos. P1095-P1139

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Auction Number 147 ­- AUCTION Closing Date: Wednesday, 18 May, 2016

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Section VIII: German Vocal 78rpm records: Nos. P1095 - P1139

P1095. FRANZ STEINER, w.Bruno Weyersberg (Pf.).: Die Mainacht (Brahms) /
Der Neugierige (Schubert). 12” ‘Art Label’ (Musicians’ Trio) Anker 5162 [10028/29], POM-1911. A-, Bright copy has lt.rubs; Sd.2 only has lt.s cr, positively inaud. MB 45

“[Franz Steiner is the acknowledged successor to the great Messchaert and has, for many years, been Richard Strauss’ favourite interpreter of his own Lieder. Kammersänger Steiner has toured the whole Continent with Richard Strauss as accompanist]….I tried to study singing with Franz Steiner, a good friend of Richard Strauss and undoubtedly the foremost interpreter of Strauss Lieder….”

- Rudolf Bing,A KNIGHT AT THE OPERA, p.85

P1096. FRANZ STEINER, w.Bruno Weyersberg (Pf.).: An die Musik /
DIE SCHÖNE MÜLLERIN – Trockne Blumen (both Schubert).
12” ‘Art Label’ (nude boy playing pipes) Anker 9451 [05491/04702],
POM-1911. A-, Bright copy has a few isolated scrs, positively inaud. MB 45

“Baritone Franz Steiner, one of the leading baritone singers of the early 20th century, first studied with Johannes Ress in Vienna, then with Johannes Messchaert in Frankfurt. From 1906 onwards he toured the world as a concert singer. He was particularly known for his readings of Schubert and the ‘late romantics’ such as Wolf or Strauss. In fact, Richard Strauss often accompanied him. While living in Vienna he also was a sought-after teacher, two of his best known pupils being tenor Trajan Grosavescu and baritone Marko Rothmüller. Being Jewish, he fled Austria in 1938 and finally settled in Mexico City, where as a teacher he played an important part in the early years of the Mexico City Opera.”

- Ned Ludd

P1097. HERMANN JADLOWKER: WINTERREISE – Gute Nacht (Schubert).
12” red German Dog-Less Gram. 72673 [1140m], only form of issue, 1916.
A to M-A, lovely copy has infinitesimal pap. scr., inaud. MB 15

Dalla sua pace (both in German). 12” red German Polydor 72538 [966/67m],
POM-1916. M-A, a spectacular copy. MB 25

FRA DIAVOLO – J’ai revu nos amis (in German).
12” white Archive HMV VB 54, POM-1912/’13, resp.MINT MB 6

P1100. HERMANN JADLOWKER: IDOMENEO – Fuor del mar (in German).
12” red Schall. Gram. 72663 [1151m], Original 1913 Issue. A to M-A, beautiful copy
has 2 tiny rubs, barely visible & inaud. [Unliklely to ever find a better copy!] MB 195

“Hermann Jadlowker was one of the most unusual tenors of the twentieth century. His recorded voice has a slightly baritonal timbre, but he also was able to produce high notes with ease and exhibit unbelievable agility. His ‘Ecco ridente in cielo’ from Rossini's BARBER OF SEVILLE (one of the finest tenor records of all time) abounds in trills and runs, while his exceedingly rare ‘Fuor del mar’ from Mozart's IDOMENEO demonstrates his coloratura singing.”

- Lawrence F. Holdridge, Program Notes to Marston’s Jadlowker Issue

“The two Mozart arias are virtually 'hors concours'. No other version of the IDOMENEO aria offers anything remotely comparable to Jadlowker’s coloratura. It is equally in evidence in the arias from FRA DIAVOLO and IL BARBIERE DI SIVIGLIA."
- Stanley Henig

Amis, la matinée est belle (in German) (Auber). 12” red Schall. Gram. 042436 [1181s], POM-23 Sept., 1913. A to M-A, lovely copy has faint rub, inaud. MB 15

Du pauvre seul (in German) (Auber). 12” red Monarch Gram. 042437 [1215s],
POM-20 Oct., 1913. A to M-A, lovely copy has faintest pressing bumps. MB 15>

Amis, la matinée est belle / Du pauvre seul (in German) (Auber).
12” vinylHistoric Masters HMB 49, POM-1913. MINT MB 8

P1104. HERMANN JADLOWKER: LA BOHEME – Che gelida manina (in Italian).
12” red Schall. Gram. 72582 [C-11683], POM-15 March, 1912. M-A, exemplary. MB 12

P1105. HERMANN JADLOWKER, w.Steinberger (Pf.):
Vittoria mio core (Carissimi) / w.Paul Godwin (Violin): Caro mio ben (Giordani).
12” black German Polydor 66633, POM-1927. M-A, an exceptional copy. MB 85

P1106. HERMANN JADLOWKER, w.Steinberger (Pf.):
Der Lindenbaum / Abschied (both Schubert). 12” black German Polydor 66634,
only form of issue, 1927.M-A, an exceptional copy. MB 85

P1107. HERMANN JADLOWKER, w.Steinberger (Pf.):
Pur dicesti (Lotti) / Amarilli (Caccini). 12” black German Polydor 66666,
only form of issue, 1927.M-A, an exceptional copy. MB 95

P1108. HERMANN JADLOWKER, w.Steinberger (Pf.):
Stornellata Marinara (Cimara-Pesci) / E canta il grillo (Billi).
12” black German Polydor 66667, only form of issue, 1927.
M-A, an exceptional copy. MB 95

P1109. HERMANN JADLOWKER, w.Steinberger (Pf.): Aime-moi /
Désespérance (both Bemberg). 12” black German Polydor 66668,
only form of issue, 1927.M-A, an exceptional copy. MB 95

P1110. HERMANN JADLOWKER, w.Steinberger (Pf.):
Von ewiger Liebe / Ständchen (both Brahms). 12” German Polydor 66821,
only form of issue, 1928.A-, lovely copy has pap.rubs, inaud. MB 75

P1111. HERMANN JADLOWKER: OTELLO – Niun mi tema (in German).
12” black on blue Lyre-playing nude Opera Disc 72539 [969m], POM-1916.
M-A, exemplary copy. MB 15

Lebe wohl, mein flandrisch Mädchen (Lortzing). 12” red Schall. Gram. B 22002 [415as], POM-1912. M-A, exceptional copy has sev. infinitesimal pressing bumps. MB 12

P1113. HERMANN JADLOWKER: RIENZI – Allmächt’ger Vater.
12” red Schall. Gram. 72525 [1339s], POM-10 Feb., 1914.
A to M-A, lovely copy has sev infinitesimal pap. scrs, inaud. MB 15

(1st 1912 Version). 12” Pat.’12 V 76026, Orig. ‘A’ Plate Issue, POM-7 March, 1912.
M-A, exceptional copy. MB 12

(2nd 1912 Version). 12” red Schall. 042375 [286ai], POM-28 Oct., 1912.
M-A, exceptional copy has faintest pap. rub, inaud. MB 12

P1116. HERMANN JADLOWKER: LA TRAVIATA - De’ miei bollenti spiriti (in Italian).
12” Pat.’12 V 76024, POM-7 March, 1912. M-A, exemplary copy. MB 12

P1117. HERMANN JADLOWKER: ROMÉO - Ah! lève-toi, soleil! (in French).
12” Pat.’12 V 76025, POM-7 March, 1912. M-A, exceptional copy. MB 12

P1118. HERMANN JADLOWKER: CARMEN – La fleur que tu m’avais jetée (in French).
12” Pat.’12 V 76027, POM-7 March, 1912. A to M-A, lovely copy has lt.,rubs. MB 10

P1119. HERMANN JADLOWKER: MARTHA – M’appari (in Italian) /
DIE MEISTERSINGER – Am stillen Herd. 10” PW HMV DA 432 [13200r / 1794ak], POM-1913/’12, resp. M-A MB 10

CAVALLERIA – Tu qui Santuzza (in Italian), 2s. 12” vinyl Historic Masters HM 2088,[1397s/1250m], POM-c.1919. MINT MB 12

(both in Italian). 12” red German Polydor 72996 [1249m/1389s],
POM-1917/’18, resp. M-A, superlative copy. MB 25

FORZA – Solenne in quest’ora (in Italian). 12” black on blue Lyre-playing nude
Opera Disc 77530 [1389s], POM-1918. A to M-A, lovely copy has
faintest pap. rubs & wee pressing bump, inaud. MB 15

MARTHA – Ja, seit frühester Kindheit Tagen. 12” red Schall. Gram. 044255 [1187s], POM-26 Sept., 1913. A to M-A, choice copy has faint pap. rub, inaud. MB 12

LE DONNE CURIOSE – Il cor nel contento (Wolf-Ferrari). 12” Pat.’08 Vla 88359,
Orig. ‘A’ Plate Issue, POM-21 Feb., 1912. M-A, exemplary copy. MB 15

“Jadlowker's many recordings, made in the early years of the last century (1908-1924) prove that there is no reason why voices capable of singing Wagner should not also be able to sing the pyrotechnics of Mozart or Rossini. Jadlowker had a melting messa de voce, a sweet head voice and a trill to rival that of any coloratura soprano. His recordings are of great importance.”

- Nicholas E. Limansky, Classical Singer, April 2000

“A major new opera house had opened in Stuttgart in 1912. To mark the occasion, Richard Strauss composed his ARIADNE AUF NAXOS for that city and selected Jadlowker for the role of Bacchus. There is reportedly a letter from Strauss to Jadlowker, imploring him to sing Bacchus again, since no one else was as fine a singer.”

- Tom Kaufman, Program Notes for Marston’s Jadlowker CD

P1125. FELIX & CLARA SENIUS: Wo du hingest (Ries) / JULIA CULP: Du bist die Ruh’ (Schubert). 12” Art Label (nude boy playing pipes) Anker E 9508 (04974/04853),
POM-c.1910/’08, Berlin. B, very decent copy has various ltly audible scrs. MB 35

P1126. MARGARETHE SIEMS: DER ROSENKAVALIER – Kann mich auch an ein Mädelerinnen (Marschallin’s monologue) (Creator Record, 26 Jan., 1911, Dresden) / EMMY DESTINN: ZAUBERFLÖTE – Ach, ich fühl’s (1908 Version).
12” vinylHistoric Masters HMB 55, POM-25 Aug., 1911 / 1908. MINT MB 6

LES HUGUENOTS – Ah! Wär' ich so wie and're Frauen (in German) (Meyerbeer).
12” black Prague Gram. Monarch 044034 (233y), only form of issue, 1903.
A-B, excellent copy has very lt.rubs, inaud.; minor ‘heat’ mk at edge, audible only during initial turns; uncommonly bright label. [Siems’ delightfully shaded trills
resonate most clearly! An exquisitely enchanting performance!] MB 850

“Siems was a pupil of Aglaia von Orgeni, who in turn had been a pupil of Pauline Viardot. Siems made her 1902 début at the German Theatre in Prague as Marguerite de Valois in LES HUGUENOTS, remaining there until 1908. Later that year, she was engaged by the Dresden Hofopera as the successor to Irene Abendroth. Siems was on the roster there until 1922. She took part in the world premieres of three important Richard Strauss operas: Chrysothemis in ELEKTRA (25 January 1909, Dresden Hofopera); the Marschallin in DER ROSENKAVALIER (26 January 1911, also at Dresden); and Zerbinetta in ARIADNE AUF NAXOS (25 October 1912, Stuttgart Hoftheater). On 29 January 1913, Siems made her Covent Garden début as the Marschallin in the London premiere of DER ROSENKAVALIER under Sir Thomas Beecham. In 1920, she took a teaching position at Berlin’s Stern Conservatory, while continuing to make concert appearances. She returned to Dresden and continued to teach there and in Warsaw until 1940. Siems’ first recordings were made for G&T in Prague in 1903, followed by a second group of discs in 1906. Outstanding among these are her duets with tenor, Desider Aranyi, which are certainly her rarest records. A few years later, she recorded for HMV, Parlophone, Odeon, and Pathé.

Aranyi’s real name was Desider Goldberger. He was the son of a cantor, studied with Bellovicz in Budapest and made his début in 1890 as Raoul in LES HUGUENOTS in Brno. He sang at Brno until 1892, then appeared for a season at the Kroll Opera in Berlin. After further study in Milan with the pedagogue Rossi, he performed at the Budapest Opera from 1893 to 1900. In 1894 he made guest appearances at La Scala in Milan and in Genoa. He then sang at the Theater am Westens in Berlin (1901-02) and sang the role of Don Ottavio in DON GIOVANNI at the 1901 Salzburg Festival. He was engaged by the German Theater in Prague in 1902, and while there created the role of Pedro in d'Albert's TIEFLAND on 15 Nov., 1903. He returned to the Budapest Opera in 1904, where he began to sing roles of a more dramatic nature. Further guest appearances brought him to Frankfurt, Vienna, Berlin, Dresden, and to Holland and Norway. After retirement from the stage, Aranyi was active as a teacher. Aranyi's recordings are very hard to find.”
- Ashot Arakelyan

P1128. MARGARETHE SIEMS: LES HUGUENOTS – O beau pays de la Touraine;
A ce mot seul (w.cabaletta) (in German), 2s. 12” black Art Label (Girl holding phonodisc at morninglory gramophone by window) Lindstrom Parlophon P.574/75,
recorded 1911, Berlin; only form of issue, Sd.2. A to M-A, a glorious copy of this rarity.
[Here is Siems’ greatest single disc, only Sd.1 of which was ever otherwise issued. Aside from Siems’ exquisite phrasing, messa di voce, morendo, fil di voce and remarkable breath control, she exhibits her legendary 20-second shaded trill prior to a stunning high D! Without reservation, this is a glorious ‘Desert Island’ disk!] MB 850

P1129. MARGARETHE SIEMS: LA TRAVIATA – Ah! fors’ è lui (in German) / GIUSEPPE LENGHI-CELLINI: De’ miei bollenti spiriti (in Italian). 12” lilac Lindstrom Parlophon P.250, POM-1911/’12, only form of issue. A-, beautiful copy has faint rubs, inaud.; Sd 1 only has tiny scr which ticks ltly a very few times. Contemporaneous Berlin label stickers. [Siems’ Violetta is a technical masterpiece; the aria proper is sung with exceptional depth of feeling – a duly sensitive performance!] MB 650

“Lenghi-Cellini made his début in 1907 at Pistoia (near Florence), in RIGOLETTO, after which he appeared in several important towns of Italy in different principal roles. He initially appeared in London, 9 Oct., 1909, and then sang at principal provincial and London concerts. In 1912 sang at Royal Opera, Covent Garden, as principal tenor in the roles of Don Jose and Canio. His favourite role was the Duke in RIGOLETTO. Much of his activity in England was on the concert stage. He toured Australia in 1924 as a member of the ‘Cellini-Zacharewitsch-Cimara’ Concert Company.”

- Andrea Shum-Binder, subito-cantabile

Nacht der Liebe. 12” black Wien G & T 044039 (55HP), only form of issue, 1903.
C, considerably greyed copy has tiny pressing bump & few audible lt. scrs. MB 45

P1131. LUCIE WEIDT: DER FREISCHÜTZ – Und ob die Wolke /
OBERON – Ozean, du Ungeheuer. 12” black Wien Gram. Monarch 043140/41 (01209/10v), only form of issue, 1904. A to M-A, excellent copy has faintest rubs, inaud.; Sd.1 only has microscopic pressing bump, ltlly audible just a few turns. MB 250

P1132. LUCIE WEIDT: DIE WALKÜRE - Der Männer Sippe sass hier im Saal / SIEGFRIED – Ewig war ich, ewig bin ich. 12” black Wien Gram. Monarch 043142/43 (01205/06v), only form of issue, 1904. A to M-A, an extraordinary copy. MB 350

“Lucie Weidt was a dramatic soprano at the Vienna Hofoper for the better part of a quarter of a century. She studied with Rosa Papier-Paumgartner in Vienna and made her operatic début at Leipzig in 1900. Elisabeth in TANNHÄUSER was her Vienna début rôle in 1902. While the Hofoper remained the center of her activities until her retirement in 1926, Weidt’s remarkable dramatic soprano voice led to engagements in Paris, Milan, Amsterdam, Brussels, Buenos Aires and New York. The Marschallin and Kundry were generally regarded as her finest interpretations. In 1919 she created to role of ‘The Nurse’ (Amme) in DIE FRAU OHNE SCHATTEN.

In Vienna, Lucie Weidt did a very admirable job of withstanding the competition of Sophie Sedlmair and the formidable Anna Bahr-Mildenburg. Gustav Mahler was especially enthralled with Weidt’s voice. It is unfortunate that she chose the legendary 1909 - 1910 New York musical season to make her only appearances at the Metropolitan. That season saw an influx of operatic performances in the city that has yet to be matched. Lost in the crowd, Weidt failed to make much impression in DIE WALKÜRE or the SIEGFRIED Brünnhilde, or Elisabeth; in a less crowded season she probably would have created a sensation.

In Agathe’s great scene from DER FREISCHÜTZ, recorded in 1904, she uses a lovely tone to produce a true piece of poetry set to music. Elsewhere from the RING, Weidt’s dignified and heart-felt account of Sieglinde’s ‘Der Männer Sippe sass hier im Saal’ is one of the finest on early records, if not the finest. As the SIEGFRIED Brünnhilde, her rendition of ‘Ewig war ich, ewig bin ich’ is delivered in the bel canto style Wagner so longed for, with a dazzling trill on the word ‘heiter’ and an easily delivered high C.”

- Andrea Shum-Binder, subito-cantabile

P1133. LOLA ARTÔT de PADILLA: DON GIOVANNI – Batti, batti, o bel Masetto / Vedrai carino (in German). 12” black Schall Gram. 043280/81 (914/915m), POM-1915.
M-A MB 45

KÕNIGSKINDER – Bin ein lust’ger Jägersmann (Humperdinck), 2s. 12” blue Victor 55071 (25½ /26AL), POM-13 Oct., 1911. A to M-A MB 15

“Lola Artôt de Padilla was the daughter of the famous Belgian mezzo-soprano Désirée Artôt and the Spanish baritone Mariano Padilla y Ramos. Her real name was Dolores de Padilla. She studied exclusively with her mother and in 1902 made her début in Thomas’ MIGNON at the Hoftheater Wiesbaden. After her retirement she became a well-known teacher in Berlin. She is a very fine lyric soprano of a pure and sweet color. Most of the recorded arias are sung in German but she sings them with perfect legato, the tone is superbly carried on the breath. She also recorded some duets with Karl Jörn and Björn Talen.”

- Andrea Shum-Binder, subito-cantabile

P1135. IRENE EDEN: MIREILLE – O légère hirondelle / RIGOLETTO – Caro nome (both in German). 12” black Schall. Gram. 65734 (511½/348as).
A-B, lovely copy has lt. rubs & scrs, mainly cosmetic. Elusive! MB 25

P1136. IRENE EDEN: LAKMÉ – Où va la jeune Hindoue / MIGNON – Je suis Titania (both in German). 12” black Schall. Gram. 65694 (1045/717as). A-B/A-, lovely copy has, primarily Sd. 1, lt. rubs & scrs. Elusive! MB 25

“Irene Eden, the German soprano and producer was born in Munich and studied in Berlin, then in Milan with Tersa Arkel. She made her début in Zürich in 1915, and after engagements in Mannheim and Munich, joined the Berlin State Opera in 1924, remaining a member of the company until 1929 singing Oscar, Zerbinetta and other coloratura soprano roles. For many years she was vocal adviser and assistant producer at Bayreuth, and resident producer at Saarbriicken, where she also taught singing. She also held similar positions at the Berlin State Opera.”
- OPERA, Oct., 1975

P1137. THERESE BEHR-SCHNABEL, w.Artur Schnabel (Pf.):
Der Doppelgänger / Die Stadt (both Schubert). 12” PW HMV DB 1833,
only form of issue, 16 Nov., 1932. M-A, as New. MB 45

P1138. THERESE BEHR-SCHNABEL, w.Artur Schnabel (Pf.): Der Schatzgräber /
Der Soldat; Frühlingsnacht (all Schumann). 12” PW HMV DB 1834, only form of issue, 17 Nov., 1932. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 35

P1139. THERESE BEHR-SCHNABEL, w.Artur Schnabel (Pf.): Der Kreuzzug /
Gruppe aus dem Tartarus (both Schubert). 12” PW HMV DB 1835, only form of issue, 17 Nov., 1932. M-A, exemplary copy has, Sd.2 only, faintest pap.rub. MB 35

“…the contralto Therese Behr, an artist of uncommon appeal, who, even after the all too early loss of her full vocal resources, commanded great respect as an interpreter.”

- Carl Flesch, MEMOIRS, p.257