Historical Reissue Classical CDs, LPs, 78s, Related Books & Ephemera
Since 1972

Auction Number 151 ­-
AUCTION Closing Date: Tuesday, 26 November, 2019

Regarding AUCTION #151 (Closing Date: Tuesday, 26 November, 2019), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Section V - Swedish, Norwegian, Danish, Finnish, Czech & German 78rpm records Nos. N0754 – N0757, plus N0823 - N0911

N0754. ERNA BERGER, w.George Schick (Pf.): Suleika, I & II; w.David Oppenheim (Clarinet): Der Hirt auf dem Felsen (all Schubert); w.Oscar Shumsky (Violin): Il Re Pastore - L'amerò, sarò costante (in German) (Mozart), 6s. 3-12” RCA 12-1317/19, only form of issue, 1950, in Orig. Album DM 1423. M-A, exemplary copy. This magnificent rarity is seldom encountered, in Catalogue very briefly at end of 78rpm era. MB 125, the Set.

N0755. ERNA BERGER, w.Schüler Cond. Berlin Staatsoper Ensemble: Ines de Castro – Non paventar mia vita (in Italian) (von Weber), 2s. 12” dark-green German Polydor 57083, POM-1937. M-A, exemplary copy. MB 25

N0756. EDITHA FLEISCHER: Die Lustige Witwe – Vilja-Lied (Lehár) / 'Tis the last rose of summer (interpolated in Flotow's Martha as a 'Volkslied’). 10” black V 77856, only form of issue, 29 Sept., 1924. M-A, extraordinary copy of an Elusive late AC issue! MB 35

N0757. EDITHA FLEISCHER & MAX BLOCH: Schwarzwaldmädel – POM-30 Dec., 1924. Elusive late AC issue with very brief Catalogue Life!] A-B, very decent copy has very lt. rubs & scrs, only occasionally faintly audible. MB 15

“Editha Fleischer began her career as a principal artist at the Berlin State Opera and at the Salzburg Festival. She was a leading soprano at the Metropolitan Opera from 1926-1936, and at the Teatro Colón in Buenos Aires from 1934 until her retirement from the stage in 1949. She enjoyed the distinction of singing Hansel in the Met Opera’s initial Saturday afternoon broadcast, 25 Dec., 1931. The above are two of her extremely scarce records.”

- Butinsky

N0823. EDITH OLDRUP, w.Hye-Knudsen Cond.: Den Lille pige med svovlstikkerne (Enna), 2s. 12” plum HMV Z.239, POM-c.1937. M-A MB 10

N0824. EDITH OLDRUP, w.Felumb Cond.: Die Fledermaus – Mein Herr Marquis / The Champagne Galop – Britta polka (Lumbye). 12” Danish Tono X 25092, only form of issue, 1947. Irresistibly charming! M-A MB 15

N0825. EDITH OLDRUP, w.Egisto Tango Cond.: Carmen - Je dis que rien ne m'épouvante / OTTE SVENDSEN: Air de la fleur (both in Danish). 12” Danish Tono X 25021, only form of issue, 1 June / 14 Sept.,1943. M-A MB 12

N0826. EDITH OLDRUP, w.Egisto Tango Cond.: La Boheme – Mi chiamano Mimi / OTTE SVENDSEN: Che gelida manina (both in Danish). 12” Danish Tono X 25017, only form of issue, 1 June, / 14 Sept., 1943, resp. M-A MB 12

N0827. EDITH OLDRUP, w.Hye-Knudsen Cond.: Madama Butterfly - Un bel dì / La Boheme - Quando m'en vò (both in Danish). 12” Danish Tono K 9521, POM-1944. M-A MB 12

N0828. EDITH OLDRUP-PEDERSEN, w.Hye-Knudsen Cond.: Drot og Marsk - Det var sig Humleranken; Jeg kender af navn kun Guldet (Heise) / EDITH OLDRUP, POUL WIEDEMANN & MARIUS JACOBSEN: Ungdom og Galskab – Jeg er endnu i livets vaar (Dupuy). 12” plum HMV Z.284, POM-1940. M-A MB 10

N0829. EDITH OLDRUP & AKSEL SCHIØTZ; w.Hye-Knudsen Cond.: Liden Kirsten - Tavlebordsduetten (Hartmann) / AKSEL SCHIØTZ, w.INGEBORG STEFFENSEN (C) & EINAR NØRBY (B), w.Hye-Knudsen Cond.: Maskarade - Magdelones dansescene (Nielsen). 12” HMV DB 5237, only form of issue, 1939. M-A MB 12

N0830. EDITH OLDRUP & EINAR NØRBY, w.Felumb Cond.: Nozze – Crudel, perchè finora / Così – Il core vi dono (both in Danish). 12” Danish Tono X 25104, only form of issue, 1947. M-A MB 15

N0831. EDITH OLDRUP & OTTE SVENDSEN, w.Egisto Tango Cond.: La Boheme - O soave fanciulla / Don Pasquale - Tornami a dir (both in Danish). 12” Danish Tono X 25031, POM-24 Feb., 1944. Exquisite renditions! M-A MB 12

N0832. OTTE SVENDSEN, w.Felumb Cond.: Martha – M’appari / Les pêcheurs de perles – Je crois entendre (both in Italian). 12” Danish Tono X 25110, POM-1944. The sole copy ever to have come through here! M-A MB 15

N0833. OTTE SVENDSEN, w. Sid Merrimann Cond.: Der Zarewitsch – Wolgalied (Lehár) / Fuglekræmmeren - Schenkt Man Sich Rosen In Tyrol (Zeller). 12” Danish Tono 15012, only form of issue, 1947. The sole copy ever to have come through here! M-A MB 15

N0834. BRITA HERTZBERG, w.Grevillius Cond.: Tosca - Vissi d'arte / La Boheme – Mi chiamano Mimi (both in Swedish). 12” red HMV M 110, POM-18 Sept., 1928. Exquisitely beautiful and sensitive performances! M-A MB 10

N0835. EINAR NØRBY, w.Egisto Tango Cond.: Die Jahreszeiten – Schon eilet froh der Akkersmann / The Creation – Rolling in foaming billows (both in Danish) (both Haydn). 12” Danish Tono X 25162, only form of issue, 1944. M-A MB 10

N0836. EINAR NØRBY, w.Schreiber Cond.: Ol’ man river / EDITH OLDRUP & OTTE SVENDSEN: Show Boat – Make believe (both in English). 12” Danish Tono X 25036, only form of issue, 17 Jan., 1945. M-A MB 15

N0837. EINAR NØRBY, w.Hye-Knudsen Cond.: Porgy and Bess – I got plenty o’ nuttin’ / w.ELSE BREMS: Bess, you is my woman now (both in Danish) (Gershwin). 12” Danish Tono X 25028, only form of issue, 1944; Nørby & Brems were in the 1943 production, Copenhagen. M-A MB 20

N0838. EINAR NØRBY, w.Byrding, Jacobsen, Wiedemann & Foss; Egisto Tango Cond.: Maskarade – Jeronimus Sang; Flogging court scene; Finale, Act. I (Nielsen), 4s. 2-12” Danish Tono X 25077/78, only form of issue, 1946. M-A MB 15, the Pair.

N0839. EINAR NØRBY, MARGHERITA FLOR & JONNA NEIIENDAM, w.Hye-Knudsen Cond.: Elverhdj (The Elf Hill) – Potpourri (Kuhlau), 2s. 12” MasterWorks Col. 9144-M, POM-22 Nov., 1934. M-A, beautiful copy has infinitessimal incipient hlc, beg. Sd.2, hardly worth mention. MB 12

N0840. LORRI LAIL, w.Curt Akerlind Ensemble: Amarilli (Caccini) / Plaisir d’amour (Martini). 10” plum HMV X.7173, only form of issue, 1946. A to M-A MB 10

N0841. LORRI LAIL, w.Gerald Moore (Pf.): Dors mon enfant; Mignonne; Attente; Der Tannenbaum (all Wagner); Die Sommernacht; Die fröhen Grüber; Die Neigung; Der Jüngling; Schlachtgesang; PILGREMEN VON MEKKA - Einem Bach der Fliesst (all Gluck); Abends; Ständchen; Das Macht das dunkelgr�ne laub; Die Helle Sonne leuchtet; Die blauen Fruhlingsaugen (all Franz), 12s. 6-10” Private Gramophone Shop Issue HMV GSC 25/30, only form of issue, 1947, in Orig. Album GSC 4, w.Brochure, Texts & Translations. M-A MB 25, the Set.

N0842. LORRI LAIL, w.Else Marie Bruun & Julius Koppel (Violins), w. Finn Viderø (Organ): Contralto Cantatas by Buxtehude & Schütz, 12s. 6-12” Private Gramophone Shop Issue HMV GSC 59/64, only form of issue, 1951, in Orig. Album GSC 10. M-A MB 25, the Set.

“The Norwegian mezzo-soprano with a deep and attractive voice sings with great commitment. She made her debut as a concert singer around 1935. Her operatic roles included Ulrica in Verdi's UN BALLO IN MASCHERA and Bianca in Britten's THE RAPE OF LUCRETIA, but she is mainly remembered as a recitalist and oratorio singer. Lorri Lail made several North American concert tours with great success (the first in 1948). From around 1950 to 1968 she lived in England, touring Europe and America as well as making recordings.”

- Butinsky

N0843. LEA PILTTI: Rosen aus dem Süden (Johann Strauss), 2s. 10” PW plum HMV EG 6425, POM-1939. M-A MB 10

“Lea Piltti, the great Finnish coloratura, was an artist Strauss admired (she recorded some of Strauss’ Lied, with him accompanying)….a beautiful, floated high register and an artistic, sincere style of singing.”

- Nicholas E. Limansky, THE RECORD COLLECTOR, 1995

N0844. KIRSTEN FLAGSTAD, w.Eyvind Alnaes (Pf.): Saeterjentens Sondag (Ole Bull) / Lykken Mellem to Mennesker (Acc.by the Composer). 10" mauve & gold HMV AGSA 34, POM-19 Jan., 1929. M-A MB 15

N0845. KIRSTEN FLAGSTAD, w.Eyvind Alnaes (Pf.): Sne (Lie) / Peer Gynt – Solvejg's Song (Grieg). 10" mauve & gold HMV AGSA 35, POM-19 Jan., 1929. M-A MB 15

N0846. POVLA FRIJSH, w.Daisy Bucktrout (Pf.): Songs by Cui, Kricka, Schubert & Grieg, 2s. 12” HMV DB 1923, only form of issue, 30 Dec., 1933 – a veritable recital in its own right – this disk is positively captivating! M-A MB 15

N0847. POVLA FRIJSH, w.Elof Nielsen (Pf.): Dans les ruines d’une Abbaye (Fauré). 10" S/S vinyl pressing of OB 6683-1, POM-6 May, 1933 (issued as V 1653). M-A MB 15

“Our critical faculties were suspended, and we engaged upon an experience for the next two hours which was much more than that of a mere song recital.”

- Wallace Fowlie, JOURNAL OF REHEARSALS, pp.34-36

N0848. POVLA FRIJSH, w.Elof Nielsen (Pf.): Dans les ruines d'une abbaye (Fauré) / Med en vandlilje (Grieg). 10” Orth Vla 1653, POM-6 May, 1933. M-A MB 15

N0849. POVLA FRIJSH, w.Elof Nielsen (Pf.): L'Hiver (Koechlin); La Pluie (Georges). 10" PW V 1652, POM-6 May, 1933. M-A MB 15

N0850. POVLA FRIJSH, w.Celius Dougherty (Pf.): Die Stadt; Der Schmetterling (both Schubert). 12” S/S Special vinyl Pressing of Unpublished CS-046415-1, POM-11 Jan., 1940. MINT MB 35

N0851. POVLA FRIJSH, w.Celius Dougherty (Pf.): Poèmes Juifs - Chant de nourrice (Milhaud). 12” S/S Special vinyl Pressing of Unpublished CS-048933-1, POM-19 April, 1940. MINT MB 35

N0852. POVLA FRIJSH, w.Celius Dougherty (Pf.): Art Songs, Volume I, incl. Songs by Fauré (2), Gluck, Sinding, Gröndahl, Grieg, Schumann (3) & Schubert, 6s. 2-10" PW V 2078/79; 1-12" PW V 16149, only form of issue, 1939-40, in Orig. Album M 668, w.Brochure. M-A MB 45, the Set.

N0853. POVLA FRIJSH, w.Celius Dougherty (Pf.): Art Songs, Volume II, incl. Songs by Dvorák (3), Clarke, Naginski, Dupont, Randall Thompson, Hahn, Chausson, Duparc, Ravel & Debussy, 8s. 2-10" PW V 2157/58; 2-12" PW V 18052/53, only form of issue, 1940, in Orig. Album M 789. M-A MB 35, the Set.

“I advise you to order set M 789 [above] without delay. Most of the songs will be unknown to you, but don't let that put you off....Who else could make Fauré's 'Automne' so vivid that one smells the falling leaves?....every single song in this set is a pure gem."

- Leo Riemens, RECORD NEWS, June, 1950

N0854. POVLA FRIJSH, w.Celius Dougherty (Pf.): Psalm #114 / Psalm #137 (Bloch), 3s. 2-12” Harrison private acetates of private recordings, 21 Oct. (or 9 Dec.), 1940. A-, excellent copies have faintest rubs and a few marks, positively audible. MB 25, the Pair.

N0855. POVLA FRIJSH, w.Celius Dougherty (Pf.): Jomfru, du ma a ikke sove (Henriques) / Knud Lavard (Gade). 12” Melotone private acetate of private recordings, 31 May, 1941, somewhat distant but clear. A to M-A, excellent copy has faintest rubs, inaud. MB 30

N0856. POVLA FRIJSH, w.Celius Dougherty (Pf.): Jeg bærer med smil min byrde (Nielsen) / Sildig (Grondahl). 12” Melotone private acetate of private recordings, 31 May, 1941, somewhat distant but clear. A to M-A, excellent copy has faintest rubs, inaud. MB 30

N0857. POVLA FRIJSH, w.Herman Newman Cond. WNYC Concert Orch.: Tu lo sai (Torelli) / Jeg elsker dig; En drom (both Grieg). 12” Harry Smith private acetate of live broadcast, 5 June, 1938 (Danish Independence Day), w.announcements. B-, very decent copy has rubs and a few marks, minimally audible. MB 20

“Povla Frijsh, the Danish singer of rare intelligence and individuality, gave the first of four recitals last night in Aeolian Hall. This artist has never been content to follow the beaten track, either as interpreter or in the selection of her songs, and interested her audience immediately….her performances with few exceptions were examples of the way in which an interpreter with feeling for words as well as music may color her tones and communicate to her listeners the inner image of two arts.”

- THE NEW YORK TIMES, 18 Jan., 1927

N0858. AKSEL SCHIOTZ, w.Hye-Knudsen Cond.: Faust – Salut! demeure / Eugen Onégin - Whither have you gone (both in Danish). 12” Scandinavian HMV DB 10523, only form of issue (Scandinavia only), 1944. Exceedingly elusive & beautiful! M-A MB 25

N0859. AKSEL SCHIOTZ, w.H.D. Koppel (Pf.): The Foggy, foggy dew / The Water is wide (both arr.: Britten) (both in impeccable English). 10” plum HMV X.8009, only form of issue, 25Aug., 1950, Copenhagen. Most Elusive & an absolute delight! M-A MB 15

N0860. AKSEL SCHIOTZ, w. ThomsenCond.: Night and day (Cole Porter) / Trees (Rasbach) (both in impeccable English). 10” plum HMVX.6694, only form of issue, 2 Sept. / 26 June, 1941, Copenhagen. M-A Most Elusive & an absolute delight! MB 15

“Schiotz was a remarkable artist, and his distinctive timbre and superb powers of interpretation have secured cult status for him among connoisseurs of the voice. Like his near-contemporary Jussi Björling, Schiøtz possessed an exciting, ringing sound, but what distinguished him from his colleagues was a seemingly preternatural connection with the music he performed, a highly personal interpretive sense that came straight from the heart. But it is the tenor's idiomatic crooning of Cole Porter's ‘Night and Day’ that really beguiles."

-David Mermelstein, THE NEW YORK TIMES, 11 Jan., 1998

N0861. SAMUEL HYBINETTE: Süsse Träume (Elling) / Rigoletto – La donna e mobile (in Italian). 10” black Stockholm Concert Gram. G.C.-4–42550/2–52855 (5373/72), POM-28 Aug., 1913. A to M-A, lovely copy has faintest rubs, inaud. MB 25

“Samuel Hybinette was a surgeon as well as a fine concert tenor, a semi-professional singer who had a beautiful voice, gave many concerts and recitals in Scandinavia in 1916, [followed by] a 1919 Danish concert tour….Hybinette studied medicine and became a surgeon….A noted doctor, he became physician to the King of Sweden.”

– Richard T. Soper, NORDIC VOICES, p.243

N0862. JUSSI (age 9), OLLE & GÖSTA BJÖRLING as ‘JUVENILE TRIO’: I himmelen / Guda rena lamm oskyldig (Decius). 10” green Col. E4691 (85781/82), only form of issue, 1920. A-, lovely copy has faint runbs, inaud. Exceedingly Elusive! MB 150

N0863. SIGRID ONÉGIN: The Fairy Pipers (Brewer) / The blind ploughman (Clarke). 10” purple Bruns. 10125, POM-28 April / 5 March, 1924. M-A Elusive! MB 25

N0864. SIGRID ONÉGIN: Caro mio ben (Giordani) / Dormi pure (Scuderi) (AC Versions). 10” purple Bruns. 10161, only form of issue, 31 Dec., 1923. M-A MB 15

N0865. SIGRID ONÉGIN: Caro mio ben (Giordani) / Dormi pure (Scuderi) (EL Versions). 10” gold Bruns. 15156, only form of issue, 24 Feb., 1927. M-A MB 15

N0866. SIGRID ONÉGIN: Herdegossen (Berg) / w.Michael Raucheisen (Pf.): Vaggvisa (1923 Versions). 10” purple Bruns. 10118, POM-20 / 3 Dec., 1923. A to M-A, lovely copy has faint rubs, inaud. MB 12

N0867. SIGRID ONÉGIN: Herdegossen (Berg) / w.Frederic Fradkin (Violin): Vaggvisa (1926 Versions). 10” gold Bruns. 13137, POM-11 / 12 March, 1926, only form of issue, Sd.2. M-A MB 12

N0868. SIGRID ONÉGIN: Die Lotosblume (Schumann) / Auf Flügeln des Gesanges (Mendelssohn). 10” purple Bruns. 10213, only form of issue, 17 Nov., 1925. M-A, lovely copy has very sl.grainy surface. MB 12

N0869. SIGRID ONÉGIN: Der Lindenbaum (Schubert) / Es ist bestimmt in Gottes Rath (Mendelssohn). 10” gold Bruns.15062, POM-3 Dec., 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 12

N0870. SIGRID ONÉGIN: Sapphische Ode / Auf dem Kirchhofe (AC Versions) (both Brahms). 10” gold Bruns. 15048, only form of issue, 1922/’23. M-A MB 12

N0871. SIGRID ONÉGIN: Sapphische Ode / Auf dem Kirchhofe (EL Versions) (both Brahms). 10” purple Bruns. 10279, POM-24 Feb., 1927. A to M-A MB 12

N0872. SIGRID ONÉGIN: Erlkönig (Schubert) / Rinaldo – Lascia ch’io pianga (Handel). 12” purple Bruns. 30114, only form of issue, 12 March, 1926. A to M-A MB 15

N0873. SIGRID ONÉGIN: Die Mainacht / Von eiger Liebe (both Brahms). 12” red Schall. Gram. 72687 (1464/59s), POM-1919. A to M-A, lovely copy has very few minuscule nicks, very occasionally minimally audible. MB 15

N0874. SIGRID ONÉGIN: Wiegenlied (1923 Version) (Flies) / Exsultate, jubilate – Alleluia, K.165 (1923 Version) (Mozart). 10” gold Bruns. 15070, POM-31 Dec., 1923. A to M-A MB 12

N0875. SIGRID ONÉGIN: Wiegenlied (1926 Version) (Flies) / Exsultate, jubilate – Alleluia, K.165 (1925 Version) (Mozart). 10” purple Bruns. 10234, only form of issue, 10 March, 1926 / 4 Nov., 1925. M-A, lovely copy has, Sd 2 only, infinitesimal scr, inaud. MB 10

N0876. SIGRID ONÉGIN: Ave Maria (Sung by the Composer) / Der Kreuzzug (Schubert). 12” heavy vinyl BIRS Historic Masters HM 207, POM-1920 (1293m/1461s). M-A MB 15

“…it would not be rash to suggest that among recorded contraltos, [Onégin’s] is the most beautiful voice.”

- J. B. Steane THE GRAND TRADITION, p.206

N0877. SIGRID ONÉGIN: Vier Ernste Gesänge – O Tod, wie bitter bist du / Wenn ich mit Menchen (Brahms). 12” red German Polydor 72920 (792/93as), POM-1922. M-A, exemplary copy has faintest pap. rubs, inaud.; Sd.2 only has faint inaud. impression, surely not a hlc. MB 25

N0878. SIGRID ONÉGIN, w.Franz Rupp (Pf.): Sérénade du passant / w.Frederic Fradkin (Violin): Ouvre tes yeux bleus (both Massenet). 10” gold Canadian Bruns. 15154, only form of issue,18 Feb., 1927. M-A, lovely copy has faintest rubs, inaud. Elusive! MB 35

N0879. SIGRID ONÉGIN, w.Franz Rupp (Pf.): Das Veilchen, K.476 / Sehnsucht nach dem Frühling, K.596 (both Mozart). 10” Orth Vla 1556, POM-13 Dec. / 4 Sept., 1929. M-A Glorious hall ambiance! MB 13

N0880. SIGRID ONÉGIN, w.Franz Rupp (Pf.): Erlkönig / w.Schmalstich (Pf.): Das Lied im Grünen (both Schubert). 12” Orth Vla 7657, POM-13 Dec., 1929 / 31 Oct., 1930, Sd.2 is Onégin’s final recording. M-A MB 12

N0881. SIGRID ONÉGIN, w.Fritz Huebsch (Pf.): Du bist die Ruh’ (Schubert) / Die Lorelei (Liszt). 12” PW V 7075, POM-11 Jan., 1929. M-A MB 12

N0882. SIGRID ONÉGIN, w.Franz Dorfmüller (Pf.): Impromptu #1 in A-flat, Op.29 (Chopin) / Leggiero invisibile (Bolero) (Arditi). 12” Orth Vla 6842, POM-6 / 7 Feb., 1928. M-A MB 15

N0883. SIGRID ONÉGIN, w.Singer Cond. Berlin Staatsoper Orch: Alto Rhapsodie (Brahms), 4s. 2-12” Orth Vla 7417/18, on ‘Z’ shellac,POM-28 Oct., 1929. M-A, beautiful copy has, Sd.3, faintest rubs, inaud. MB 35, the Pair.

N0884. SIGRID ONÉGIN: Lucrezia Borgia – Il segreto (1920 Version) / MARIA OLSZEWSKA: Il Trovatore – Condotta all’era in ceppi (both in German). 12” red German Polydor 72752 (357as/749av), POM-1920. M-A MB 45

N0885. SIGRID ONÉGIN: Lucrezia Borgia – Il segreto (1922 Version) / Il Trovatore – Stride la vampa! (1922 Version). 10” gold Bruns. 15039, only form of issue, 1922. M-A MB 15

N0886. SIGRID ONÉGIN: Lucrezia Borgia – Il segreto (1926 Version) / Il Trovatore – Stride la vampa! (1926 Version). 10” gold Bruns. 15110, only form of issue, 10 March, 1926. A to M-A MB 12

N0887. SIGRID ONÉGIN: Lucrezia Borgia – Il segreto (Brindisi) / Exsultate, jubilate – Alleluia, K.165 (Mozart) (1929 Versions). 10” PW V 1367, POM-7 Feb., 1928 / 11 Jan., 1929. M-A MB 8

N0888. SIGRID ONÉGIN: Le Prophète - Ah, mon fils! (1923 Version) / Samson et Dalila – Amour, viens aider. 12” gold Bruns. 50028, only form of issue, 1923. M-A MB 15

N0889. SIGRID ONÉGIN: Le Prophète - Ah, mon fils! / Samson et Dalila – Amour, viens aider (1926 Versions). 12” gold Bruns. 50076, only form of issue, 10 / 11 March, 1926. A to M-A MB 15

N0890. SIGRID ONÉGIN: Le Prophète - Ah, mon fils! / Orfeo - Che farò senza Euridice. 12” Scroll V 6803, POM-7 / 6 Feb., 1928, on ‘Z’-type shellac. M-A, choice copy has faintest rubs, inaud. MB 15

N0891. SIGRID ONÉGIN: Le Prophète - Ah, mon fils! / Orfeo - Che farò senza Euridice (1928 Versions). 12” red PW Electrola DB 1190, POM-7 / 6 Feb., 1928. M-A MB 12

N0892. SIGRID ONÉGIN: Les Huguenots - Nobles Seigneurs, salut! / Le Prophète - O Prêtres de Baal. 12” PW V 7146, on ‘Z’ shellac, POM-11 Jan. / 21 March, 1929. M-A MB 20

"When I listen to Sigrid Onegin, I am reminded of the stories of Maria Malibran and Pauline Viardot, those fabulous daughters of Manuel Garcia, with their three octaves of scales and their ability to compass any role....Mme Onegin's illimitable voice achieves the prodigious peculiarity of seeming to be both a contralto and a soprano, and its astonishing flexibility (who since Melba and Tetrazzini has displayed such a trill?) places the most florid music easily within her scope."

- Pitts Sanborn

N0893. SIGRID ONÉGIN: Der Evangelimann - O schöne Jugendtage (Kienzl). 12” red Schall.Gram 72734 (356as), POM-1923. M-A MB 45

N0894. SIGRID ONÉGIN: Orfeo – Che farò senza Euridice / La Gioconda – Voce di donna. 12” gold Bruns. 50039, only form of issue, 1922. A to M-A, choice copy has faintest rubs, inaud. MB 15

N0895. SIGRID ONÉGIN: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix (1919 Versions) (in German). 12” red Schall. Gram. 72695 (1469/65½s), POM-1919. M-A, beautiful copy has harmless wee triangular hlc, inaud.; beg.Sd.1 has pressing bump, ltly auduble a few turns. MB 15

N0896. SIGRID ONÉGIN: Samson et Dalila –Mon coeur s’ouvre à ta voix (1919 Version) (in German). 12” red Schall. Gram. 72705 (1465½s), POM-1919. A to M-A, choice copy has one inaud. grey trace on peak. MB 20

N0897 SIGRID ONÉGIN: Samson et Dalila - Mon coeur s'ouvre à ta voix / Carmen – Les tringles des sistres (1922 Versions) (in French). 12” gold Bruns. 50018, only form of issue, 1922. M-A MB 15

N0898. SIGRID ONÉGIN: Samson et Dalila - Mon coeur s'ouvre à ta voix / Carmen – Les tringles des sistres (1926 Versions) (in French). 12” gold Bruns. 50077, only form of issue, 11 March, 1926. M-A MB 15

N0899. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in French). 12” PW V 7320 (CLR 5800-1 / 5799-2), POM-19 Nov., 1929. M-A MB 15

N0900. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in German). 12” Swiss HMV DB1420 (CLR 5800-3 / 5799-3), on ‘Z’ shellac, POM-19 Nov., 1929. M-A MB 15

N0901. SIGRID ONÉGIN, w.Blech Cond.: Samson et Dalila - Mon coeur s'ouvre à ta voix / Printemps qui commence (1929 Versions) (in German). 12” Orth Vla 7305 (CLR 5800-2 / 5799-3), POM-19 Nov., 1929. M-A MB 12

N0902. SIGRID ONÉGIN: Carmen – Habañera / En vain pour éviter (in German). 12” red Schall. Gram. 72693 (1467/68s), POM-1919. A-, lovely copy has hint of grey on peaks, inaud.; wee label scr., Sd.2. MB 15

N0903. SIGRID ONÉGIN: Carmen - Séguedille / Habañera. 10” gold Bruns 15128, POM-17 Feb., 1927. A to M-A MB 12

N0904. SIGRID ONÉGIN: Don Carlos – O don fatale / La Favorita – O mio Fernando. 12” red PW Electrola DB 1292, POM-4 March, 1929. M-A, superb copy of this Electrola pressing! MB 15

N0905. SIGRID ONÉGIN: Don Carlos – O don fatale / La Favorita – O mio Fernando. 12” PW V 7191, POM-4 March, 1929. M-A MB 12

N0906. SIGRID ONÉGIN & MARIO CHAMLEE: Il Trovatore – Ai nostri monti / Mal reggendo. 10” gold Bruns. 15093, POM-5 March, 1924. M-A MB 12

“Sigrid Onégin had the finest and most highly trained contralto voice since Schumann-Heink. It is a sumptous voice of velvety and metallic color at the same time. There is an extraordinary flexibility which is so characteristic for her. The most famous examples are the vocalise of Chopin’s Impromptu in A flat which was especially arranged for her. Even more thrilling is Arditi’s ‘Leggiero invisibile’. Two of her most superb recordings are ‘O prêtres de Baal’ from Meyerbeer’s LE PROPHÈTE and the Brindisi from Donizetti’s LUCREZIA BORGIA (cadenzas!). Her trill was phenomenal. She could move from note to note like a string instrument, her range was of almost three octaves (!).”

- Andrea Shum-Binder, subito-cantabile

N0907. KARIN BRANZELL: Wesendonck Lieder – Träume (Wagner) / Still wie die Nacht (Bohm). 12” red Decca-Odeon 25091, POM-1927. M-A MB 12

N0908. KARIN BRANZELL: Synnoves Sang (Kjerulf) / Saetergjentens Sondag (Bull). 10” purple Bruns. 10122, POM-1924. M-A, choice copy has faintest rubs, inaud. MB 12

N0909. KARIN BRANZELL: To A Wild Rose / Thy Beaming Eyes (both MacDowell). 10” purple Bruns. 10207, POM-1924. M-A MB 12

N0910. KARIN BRANZELL: The Moon drops low (Cadman) / Roses of forgiveness (D'Hardelot). 10” purple Bruns. 10228, POM-1926. M-A, as unplayed! MB 12

N0911. KARIN BRANZELL: Med en Vandlilje (Grieg) / Mot kveld (Backer-Grøndahl). 10” black Nordisk Polyphon Aktieselskab S 4011/12 (174/175ax), only form of issue, 1914. Rare example of the very young Branzell, in Copenhagen. A to M-A, choice copy has faint rubs, inaud. MB 15

N0912. KARIN BRANZELL: Ich liebe dich / Ein Traum (both Grieg). 10” black PW Austrian Polydor 62666 (BM178586), POM-1928. M-A MB 12

N0913. KARIN BRANZELL: Gesang Weylas (Wolf) / Ave Maria (Bach-Gounod). 10” dark-blue PW German Polydor 90078 (1266/1784bk), POM-1928. M-A MB 12

N0914. KARIN BRANZELL: Der Tod und des Mädchen (Schubert) / Ein Wanderer (Brahms). 12” brown Lindström Parlophon P.9811, POM-1927. MB 12

N0915. KARIN BRANZELL: La Gioconda - Voce di donna / Il Trovatore - Condotta ell'era in ceppi. 12” purple Parlophone E 10719, POM-1927. M-A, choice copy has very faintest rubs, inaud. MB 12

N0916. KARIN BRANZELL: Der Evangelimann - O schöne Jugendtage (Kienzl) Sublimely beautiful rendition! 12” S/S Special vinyl pressing of Mx.1462 BM, POM-1928. MINT MB 8

N0917. KARIN BRANZELL: Der Evangelimann - O schöne Jugendtage (Kienzl) / Das Rheingold – Weiche, Wotan, weiche. 12” black PW German Grammophon 66853 (1462/1463bm), POM-1928. M-A, lovely copy has very faintest rubs, inaud. MB 12

N0918. KARIN BRANZELL: Le Prophète - Ah, mon fils! / Orfeo ed Euridice - Che farò senza Euridice. 12” black PW German Polydor 66690 (624/629bm), POM-1928. M-A, choice copy has very faintest rubs, inaud. MB 12

N0919. KARIN BRANZELL: Le Prophète - Donnez, donnez (Meyerbeer) / Mignon - Connais-tu le pays? 10” gold Bruns. 15180, POM-1928. M-A MB 12

N0920. KARIN BRANZELL: Faust - Faites-lui mes aveux / Si le bonheur à sourire t'invite. 10” gold Bruns. 15190, POM-1928. M-A, choice copy has faintest rubs, inaud. MB 12

N0921. KARIN BRANZELL: Samson et Dalila – Amour! Viens aider / Mon coeur s’ouvre à ta voix. 12” black PW German Grammophon 66689 (625/520bm), POM-1928. M-A, superlative copy. MB 12

N0922. KARIN BRANZELL: La Favorita - O mio Fernando / Samson et Dalila - Printemps qui commence. 12” gold Bruns. 50158, POM-1927. M-A MB 12

N0923. KARIN BRANZELL: Sadko - Chanson indoue / KARIN BRANZELL & EMMY BETTENDORF: Les Contes d’Hoffmann – Barcarolle. 12” red Decca-Odeon 25115, POM-1927. M-A MB 12

N0924. KARIN BRANZELL & EMMY BETTENDORF: Lohengrin - Ortrud! Wo bist du?; Du Ärmste, 2s. 12" dark-blue PW Parlophone E 10852, POM-28 Nov., 1928. M-A, as unplayed! MB 12

“Karin Branzell, for 21 seasons a leading contralto at the Metropolitan Opera, was a member of the Stockholm Royal Opera from 1912 to 1918, then was with the Berlin State Opera in 1919–23, joining the Metropolitan Opera in 1924. In one of the Metropolitan's greatest Wagnerian eras Miss Branzell sang Venus when Lauritz Melchior made his debut here as Tannhäuser. She also sang Brangäne to his Tristan and Kirsten Flagstad's Isolde in the performance that ended the 1938 season. At the final curtain, the audience applauded for 15 minutes until the lights were dimmed. Miss Branzell won immediate recognition here for the smoothness of her voice and for her musicianship.

Miss Branzell taught in 1946 at the Juilliard School but devoted herself for many years to private pupils three of whom - Mignon Dunn, Nell Rankin and Jean Madeira - followed her at the Metropolitan Opera. In 1951, Miss Branzell agreed to return to sing Erda in SIEGFRIED at the Metropolitan under Rudolf Bing for a season. It was, in a sense, her 22d with the company.”

- THE NEW YORK TIMES, 16 Dec., 1974

N0925. OTTILLE METZGER: Der Tod und das Mädchen (Schubert) / Les Dragons de Villars – Denkt nur, vor dem Eremiten (Maillart). 12“ Art Label (Girl holding phonodisc at morninglory gramophone by window) Parlophon P.1211/10, POM-28 Feb.,1912, only form of issue, Sd.2. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has few lt. scuffs & scrs, mainly cosmetic; alas, tiny hlc, primarily Sd. 2. MB 12

N0926. OTTILLE METZGER: Orfeo ed Euridice - Che farò senza Euridice / MARGARETE MATZENAUER: L’Africaine - l'Air du sommeil (both in German). 12” green Schall. Gram. 15885 (2173/2117c), POM-21 Jan., 1911 / 7 Dec., 1910. M-A, a spectacular copy! MB 35

N0927. OTTILLE METZGER: Orfeo ed Euridice - Che farò senza Euridice / Deh! Placatevi con me (in German). 12” AC pink Lindström Parlophon P.9275(1131/1213), POM-28 Feb., 1912. A-, very decent copy has lt. rubs, inaud. MB 20

N0928. OTTILLE METZGER:Der Evangelimann – O schöne Jugentage (Kienzl) / Il Trovatore – Stride la vampa (in German). 12“ AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Parlophon P.614/617, POM-1911. A-, very decent copy has lt. rubs & superficial scr., inaud. MB 20

N0929. OTTILLE METZGER: Aida – già I sacerdoti . . . Di mia discolpi (as a solo, in German) / Chorus. 10” black Dog-Less Concert Gram. G.C.-2-43379/44604 (15314b/9772u), POM-21 Jan., 1911. A-, very decent copy has lt. rubs, inaud.; slightly scuffed labels. MB 15

N0930. OTTILLE METZGER: Samson et Dalila – Amour, viens aider / Printemps qui commence (in German). 10” black Berlin Concert Gram. G.C.- 2-43102/00 (7294/95L), POM-1908. A to M-A, beautiful copy has, Sd.2, faintest rubs, inaud. MB 25

N0931. OTTILLE METZGER: Samson et Dalila – Mon coeur s’ouvre à ta voix (in German) / PAUL NELVA: Sag mir nur einmal (Herrmann). 10” black Pat.’10 V 16595 (7294/95L), POM-1908/1910 [Sd.2 released as a Pantgograph pressing as well]. A to M-A, lovely copy has very faintest rubs, inaud. MB 15

N0932. OTTILLE METZGER: Le Prophète - Ah, mon fils! / Samson et Dalila – Amour, viens aider (both in French). 12” Tri-Color Col. A5565 (36924/65), only form of issue, 1914. [Interesting to note that this is missing in the definitive Lotz discography!] A to M-A, lovely copy has faintest rubs, inaud. MB 25

N0933. OTTILLE METZGER: L’Africaine - (in German). 10” black Berlin Concert Gram. G.C.- 2-43102/00 (7294/95L), POM-1908. A to M-A, beautiful copy has, Sd.2, faintest rubs, inaud. MB 25

N0934. OTTILLE METZGER: Carmen – En vain pour éviter / OTTILIE METZGER & EDUARD ERHARD: Si tu m’aimes (both in German). 10” black Concert Gram. G.C.-2-46227/44496 (6671½/69h), POM-25 Nov., 1908. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has faint nr, ltly audible. MB 15

“Metzger sang at Bayreuth in 1901, 1902, 1904 and 1912, where she was most noted for her stately interpretations of Waltraute in GÖTTERDÄMMERUNG and Erda in SIEGFRIED. In the early 1920s, she toured the United States in Leo Blech’s distinguished German Opera Company (his casts also included Seinemeyer, Alsen, Schorr and Kipnis), and in the late 1920s was a member of Gadski’s German Grand Opera Company. She taught in Berlin until her being Jewish made escape necessary; she fled to Brussels. She was then deported to Auschwitz in late 1942 where she died a year later. It becomes clear almost instantly that Metzger took her records quite seriously, and it is probably fair to assume we are left with a relatively accurate account of what was heard by her audiences. On records, Metzger displays the sort of otherworldly, deep and compelling voice needed for Wagner’s earth mothers and all-knowing goddesses.”

- Andrea Shum-Binder, subito-cantabile

N0935. MARGOT GUILLEAUME: Ave Maria (Bach-Gounod) / Xerxes – Ombra mai fu (Handel). 10” salmon German Polydor 48644, POM-15 Nov., 1951. M-A, as New! MB 12

N0936. MARGOT GUILLEAUME & RUPERT GLAWITSCH, w.Spitz Cond.: Die Czardasfürstin – Machen wir’s den Schwalben nach / RUPERT GLAWITSCH: Joi, joi maman (Kálmán). 10” salmon German Polydor 48035, POM-4 May, 1954. M-A, as New! MB 12

N0937. MARGOT GUILLEAUME, w.Spitz Cond.: Der Vogelhändler – Ich bin die Christel von der Post / MARGOT GUILLEAUME & RUPERT GLAWITSCH: Schau mir nur recht in’s Gesicht (Zeller ). Truly enchanting!!! 12” yellow DGG 57357, POM-17 Nov., 1948. M-A, as New! MB 12

N0938. MARGOT GUILLEAUME, w.Lutze Cond.: Mignon – Connais-tu le pays? / 'Tis the last rose of summer (interpolated in Flotow's Martha as a 'Volkslied’) (both in German). 12” dark-blue German Telefunken E 3928. M-A, as New! MB 12

N0939. MARGOT GUILLEAUME, w.Lutze Cond.: Zauberflöte - Ach, ich fühl's / Nozze - Deh, vieni, non tardar (in German). 12” dark-blue German Telefunken E 3927. M-A, as New! MB 12

N0940. RIA GINSTER, w.Oskar Kromer (Viola) & Paul Baumgartner (Pf.): Gestillte Sehnsucht (Brahms), 2s. 12” Swiss HMV DB 10098, only form of issue, 1944, Zürich. M-A Exceedingly elusive! MB 65

N0941. RIA GINSTER, w.Oskar Kromer (Viola) & Paul Baumgartner (Pf.): Geistliches Wiegenlied, 2s. (Brahms). Swiss HMV DB 10099, only form of issue, 1944, Zürich. Inexplicably, this is far rarer than its counterpart, 10098, above! M-A MB 85

N0942. RIA GINSTER, w.Emil Fanghänel (Clarinet) & Paul Baumgartner (Pf.): Der Hirt auf dem Felsen (Schubert), 2s. 12” EL Swiss HMV DB 10080, only form of issue, 1943, Zürich. M-A, a gleaming copy. Exceedingly elusive! MB 65

N0943. RIA GINSTER, w.Karl Matthaei (Organ): Ode on St Cecilia's Day - But oh! what art can teach (in German) / w.Karl Matthaei (Organ) & Peter Rybar (Violin): Süsse stille, sahfte Quelle (both Handel). 12” EL Swiss HMV DB 10102, only form of issue, 1944, Zürich. M-A MB 65

N0944. RIA GINSTER, w.Hans Vollenweider (Organ): Messiah - I know that my Redeemer liveth (in German), 2s. 12” Swiss HMV DB 10060, only form of issue, 1943, Zürich. M-A MB 35

N0945. RIA GINSTER, w.Hans Vollenweider (Organ): Dem Unendlichen (Schubert) / Semele – Where'er you walk (in German). 12” Swiss HMV DB 10044, only form of issue, 1943, Zürich. The Semele aria is a supreme example of beautiful portamento. M-A MB 25

“Deeply human and powerfully affecting … affords interpretative pleasure far, far beyond the commonplace.”

- Jonathan Woolf – MusicWebInternational

N0946. RIA GINSTER, w.Paul Baumgartner (Pf.): Ich Hört’ ein Bächlein rauschen / Die Forelle (both Schubert). 10" Swiss HMV DA 6010, only form of issue, 1943, Zürich. M-A MB 25

N0947. RIA GINSTER, w.Gerald Moore (Pf.): Schafe können sicher wieden (Sheep may safely graze / Hört doch der sanften Flöten Chor (both Bach). Exquisitely beautiful! 12” PW V 14385, POM 1937. M A, exceptional copy has reviewer’s ‘X’ in labels. MB 35

N0948. RIA GINSTER, w.Gerald Moore (Pf.): Schöne Fremde; In der Fremde; Geisternähe / Meine Rose (all Schumann). 12” Scroll V 14025, on ‘Z’-type shellac, POM 1932. M-A MB 25

N0949. RIA GINSTER, w.Gerald Moore (Pf.): Abendempfindung / Der Zauberer; Als Luise die briefe (all Mozart). 12” PW V 14824, POM 1937. M-A MB 15

N0950. RIA GINSTER, w.Gerald Moore (Pf.): Auflösung / Liebesbotschaft (both Schubert). 10" Scroll V 1737, POM 15 Jan., 1935. M A MB 35

N0951. RIA GINSTER, w.Oskar Holger Cond.: Zauberflöte - Ach, ich fühl's / w.Sargent Cond.: Nozze - Non so più. 10" PW HMV DA 1326, POM-1933. M-A MB 25

N0952. RIA GINSTER, w.Sargent Cond.: Idomeneo – Zeffiretti lusinghieri (in German) / Se il padre perdei (in Italian). 12” PW HMV DB 1870, POM-13 Jan., 1933. M-A MB 15

N0953. RIA GINSTER, w.Oskar Holger Cond.: Misera dove son! / Vorrei spiegarvi o Dio! (both Mozart). 12” Scroll V 8871, on ‘Z’-type shellac, POM 1933. M-A MB 35

N0954. RIA GINSTER, w.Felix Günther Cond.: Mass in c - Et incarnatus est / Exsultate Jubilate - Alleluja (both Mozart). 12” dark-blue PW Parlophone E 11249 (H-M 406/409-3), POM-1929, Homocord (w.Ginster’s signature embossed within inner margin). M-A, choice copy has, Sd.1 only, infinitessimal dust mk, barely visible & inaud. MB 25

“After enjoying much success as a violinist in her youth, Ria Ginster gave her first concerts in 1923. She soon gained international reputation in concert. She rarely appeared on the operatic stage. She performed in Germany, Austria, Belgium, Holland, England, France and Switzerland in the concert hall. From 1934 to 1939 she regularly visited the USA and Canada. In 1938 Ria Ginster took over a class for concert singing at the Music Academy of Zürich where she remained more than 30 years.”

- Charles Rhodes, GREAT SINGERS OF THE PAST

N0955. TIANA LEMNITZ, w.Lutze Cond.: Ave Maria (Bach-Gounod) / Ave Maria (Schubert). 10" dark-blue Eng.Telefunken GF.63018, only form of issue, 28 April., 1951. M-A, bright copy has very occasional faint rub., inaud. MB 15

N0956. TIANA LEMNITZ, w.Seidler-Winkler (Pf.): Nachtgruss / Die Kleine (both Wolf). 10" red Electrola DA 4491, only form of issue, 1940. M-A, bright copy has very occasional faint rub., inaud. MB 25

N0957. TIANA LEMNITZ, w.Seidler-Winkler (Pf.): Immer leiser wird mein schlummer / Von ewiger liebe / Die Kleine (both Brahms). 12" red Electrola DB 5540, only form of issue, 1940. M-A, bright copy has very occasional faint rub., inaud. MB 25

N0958. TIANA LEMNITZ, w.Orthmann Cond.: Il Trovatore - D'amor sull'ali rosee / Tacea la notte (in German). 12” red Electrola DB 7656, only form of issue, 1941. Exceedingly Rare! M-A, bright copy has very occasional faint rub., inaud. MB 45

“Tiana Lemnitz sings [the above] with more beauty and as great an accuracy as Perard-Petzl; indeed she fulfils Verdi’s markings throughout both arias, suggests the right ‘face’, and knows as much as any so-called Golden-Age soprano about trills and graces. She sings the cadenza of ‘D'amor sull'ali rosee’ as written and again makes Verdi’s case for him.”

- Alan Blyth, OPERA ON RECORD, I, p.233

N0959. TIANA LEMNITZ, w.Leopold Ludwig Cond. Berlin Staatsoper Orch.: Tannhäuser – Allmächt’ge Jungfrau, 2s. 12” Swiss HMV DB 6809, only form of issue, 2 Feb., 1948. M-A MB 35

N0960. TIANA LEMNITZ, w.Blech Cond. Berlin Staatsoper Orch.: Der Freischütz – Wie nahte mir der Schlummer; Leise, leise, fromme Weise / Und ob die Wolke (1935 Version). 12” burgundy Brunswick-Polydor 95032, POM-18 Jan., 1935. M-A, gleaming copy of choice mid-1930s Columbia pressing. MB 15

N0961. TIANA LEMNITZ, w.Leopold Ludwig Cond.: Der Freischütz – Wie nahte mir der Schlummer; Leise, leise, fromme Weise / Und ob die Wolke (1948 Version). 12” Electrola DB 11523 (2RA6153-1/54-1), only form of issue, 20 Feb., 1948; Sd.1 is 'Take' 1, of two issued 'Takes'. M-A, beautiful copy has, Sd. 1 only, 3 infinitesimal dust scrs, positively inaud. MB 35

It is quite extraordinary to have this entire LOHENGRIN scene [below] which was contemporaneously Unpublished. It is a fabulous performance!

N0962. TIANA LEMNITZ & MARGARETE KLOSE, w.Schüler Cond.: Lohengrin – Euch Lüften, die mein Klagen (Part I). 12” S/S white HMV Shellac Test Pressing for Unpublished Mx.2RA.6110, POM-30 Jan., 1948. M-A MB 75

N0963. TIANA LEMNITZ & MARGARETE KLOSE, w.Schüler Cond.: Lohengrin – Euch Lüften, die mein Klagen (Part II). 12” S/S white HMV Shellac Test Pressing for Unpublished Mx.2RA.6111, POM-30 Jan., 1948. M-A MB 75

N0964. TIANA LEMNITZ & MARGARETE KLOSE, w.Schüler Cond.: Lohengrin – Euch Lüften, die mein Klagen (Part III). 12” S/S white HMV Shellac Test Pressing for Unpublished Mx.2RA.6112, POM-30 Jan., 1948. M-A MB 75

N0965. TIANA LEMNITZ & MARGARETE KLOSE, w.Schüler Cond.: Lohengrin – Euch Lüften, die mein Klagen (Part IV). 12” S/S white HMV Shellac Test Pressing for Unpublished Mx.2RA.6113, POM-30 Jan., 1948. M-A MB 75

“[In the Unpublished Scene, above] Lemnitz retains her youthful virginal quality, so right for Elsa, while Klose’s familiar Ortrud enlivens the scene…which positivele leaps forth from the speakers.”

- Charles Osborne, OPERA ON RECORD, I, pp.357 & 359

N0966. TIANA LEMNITZ & MARGARETE KLOSE, w.Ludwig Cond.: Orfeo ed Euridice – Viens! Suis un époux qui t'adore / Quelle épreuve cruelle (in German). 12” Swiss HMV DB 6801, only form of issue, 4 Feb., 1948. M-A MB 25

“Tiana Lemnitz and Margarethe Klose, a partnership of long standing, were recorded [in the above] in 1948…[their manner] is stately, the spanning and interweaving of the lines magisterial….”

.

- Max Loppert, OPERA ON RECORD, I, p.36

N0967. TIANA LEMNITZ & TORSTEN RALF, w.Seidler-Winkler Cond. Berlin Staatsoper Orch.: Otello – Già nella notte densa (Act I) (in German), 2s. 12” red Electrola DB 4668, POM 1939. M-A MB 15

“Ralf and Lemnitz are most poetic [in the above]: how wonderful to hear the closing phrases for once sung pianissimo as written.”

- Alan Blyth, OPERA ON RECORD, I, p.329

N0968. TIANA LEMNITZ & HELGE ROSWAENGE, w.Eduard Künneke Cond.: Die Grosse Sünderin – Immerzu singt dein Herz / HELGE ROSWAENGE (Solo): Das Lied vom Leben (both Cond. by the Composer). 12” yellow DGG 15099, POM-24 March, 1935. (Creator Recording, 31 Dec., 1935, Berlin Staatsoper.) M-A MB 15

"Listening to Lemnitz/Roswaenge makes clear that this was meant to be the total elevation of ‘operetta’ to higher regions, one of the central goals of the Nazi regime. Later singers tackled this duet too, without quite catching Lemnitz’s soprano magnificence."

- Kevin Clarke; Operetta Research Center, 14 Oct., 2017

N0969. LULA MYSZ-GMEINER: Das Veilchen (Mozart) / Auf flügeln ges Gesanges (Mendelssohn). 10” black & red German Polydor 62535 (3568/69ar), POM-1924. M-A, choice copy has, Sd.2 only, infinitessimal pressing bump momentarily audible. MB 15

N0970. LULA MYSZ-GMEINER: Seligkeit / Die Forelle (both Schubert). 10” green German Grammophon 21450, POM-1928. M-A MB 15

N0971. LULA MYSZ-GMEINER: Die Sterne / Die Tod und das Mädchen (both Schubert). 10” green German Grammophon 21457, POM-1928. M-A MB 15

N0972. LULA MYSZ-GMEINER: Litanei / Nacht und Träume (both Schubert). 10” green German Polydor 21458, POM-1928. M-A MB 15

N0973. LULA MYSZ-GMEINER: Im Hain / Das Echo (both Schubert). 10” green German Polydor 21459, POM-1928. M-A MB 15

N0974. LULA MYSZ-GMEINER, w.Waldemar Lischowsky (Pf.): Quella fiamma (in Italian) (Marcello) / Heimweh (1926 Version) (Wolf). 10” black German Polydor 62547 (205/206bk), POM-1926. M-A MB 15

N0975. LULA MYSZ-GMEINER, w.Julius Dahlke (Pf.): Heimweh (1928 Version) (Wolf) / Schwesterlein (Brahms). 10” green German Polydor 23108, POM-1928. M-A, lovely copy has faint rubs, inaud. MB 15

N0976. LULA MYSZ-GMEINER, w.Julius Dahlke (Pf.): At the ball (in German) (Tschaikowsky) / Wer hat dies Liedlein erdacht (Mahler). 10” green German Polydor 23106, POM-1928. M-A, lovely copy has faint rubs, inaud. MB 15

“The most famous professor in the vocal faculty was Frau Lula Mysz-Gmeiner. Now in her late fifties, she had been an adored mezzo and Lieder singer since her first Berlin recital in 1900, and the occasional concerts she gave were always sold out. Lula Gmeiner had been a pupil of Etelka Gerster in Berlin, and of Lilli Lehmann (at Brahms' recommendation). She had been so highly regarded by both Brahms and Hugo Wolf that, it is claimed, they accompanied her at the remarkably early age of nineteen or twenty in recitals of their own Lieder. In 1933 Elisabeth Schwarzkopf had been to a Mysz-Gmeiner recital at the Berlin Philharmonie….her ’application of expression', according to Schwarzkopf, was the singer's more remarkable aspect, by which she means Mysz-Gmeiner's ability to colour and underline the songs' innermost meaning by purely vocal (and facial) resources. This certainly left its mark after the concert which Schwarzkopf attended….When it came to interpretation and colouring of phrases, Mysz-Gmeiner could bring tears to the eyes.”

- Alan Jefferson, ELISABETH SCHWARZKOPF, p.24

N0977. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Warnung (Mozart) / Love’s Labour’s Lost – When daisies pied; The Tempest – Where the bee sucks (in English) (both Arne). 10” Eng. Col. LB 73, POM-2 Oct., 1947. M-A MB 8

N0978. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Der Zauberer (Mozart) / Da unten im Tale (Folk Song, arr.: Brahms). 10” Eng.Col.LB 118, POM-29 Nov., 1951. M-A MB 8

N0979. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Der Nussbaum / Aufträge (both Schumann). 10” Eng.Col.LB 122,POM-29 Nov., 1951. M-A MB 8

N0980. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Schlechtes Wetter; Hat gesagt, bleibt's nicht dabei (both Strauss) / Wiegenlied am Sommer; Mausfallen - Sprüchlein (both Wolf). 12” Eng. Col. LX 1577, POM-1952, unknown in this 78rpm format. M-A MB 12

N0981. ELISABETH SCHWARZKOPF, w.Gerald Moore (Pf.): Bist du bei mir (Bach) / Abendempfindung (Mozart). 12” Eng.Col.LX 1580, POM-1952. M-A MB 8

N0982. ELISABETH SCHWARZKOPF, w.Vienna Staatsoper Orch.: Stille Nacht (Gruber) / O Tannenbaum. 10” Eng.Col.LC 32, POM-3 March, 1949. M-A MB 8

N0983. ELISABETH SCHWARZKOPF, w.von Karajan Cond. Vienna Phil.: Nozze – Dove sono, 2s. 12” Eng. Col. LX 1575, POM-1953, only form of 78rpm issue. M-A MB 12

N0984. ELISABETH SCHWARZKOPF, w.von Karajan Cond. Vienna Phil.: Gianni Schicchi – O mio babbino caro / w.Böhm Cond. Vienna Phil.: Turandot – Tu chi di gel sei cinta (both in Italian). 10” Eng. Col. LB 85, POM-6 Nov., 1948 / 16 March, 1949. M-A MB 10

N0985. ELISABETH SCHWARZKOPF, w.Galliera Cond. Philharmonia Orch.: Madama Butterfly - Un bel dì / La Traviata - Addio del passato (both in Italian). 12” Eng.Col.LX 1370,POM-18 / 19 Oct., 1950. M-A MB 12

N0986. ELISABETH SCHWARZKOPF, Galliera Cond. Philharmonia Orch.: Turandot – Signore, ascolta! / La Boheme – Donde lieta uscì (both in Italian). 10” Eng.Col.LB 110, POM-1950. M-A MB 12

N0987. ELISABETH SCHWARZKOPF, w.Ackermann Cond. Philharmonia Orch.: Die Lustige Witwe – Vilja / ELISABETH SCHWARZKOPF & ERICH KUNZ: Heia, Mädel, aufgeschaut (Lehár). 12” Eng.Col.LX 1597, POM-1953. M-A MB 12

N0988. ADOLF HITLER: AUFRUF AN DAS DEUTSCHE VOLK, Nur als Bestandtell des Buches: Czech-Jochberg, Vom 30.Januar zum 21 Marz - Ansprache de Reichskanzlers Adolf Hitler bei Ubernahme der nationalen Regierung am 31 Jan., 1933. (Speech by the German Chancellor Adolf Hitler on taking over the national government), 4s. 2-10” dark-blue NS-Schellackplatten Qu 553-556, POM-31 Jan., 1933. A to M-A, beautiful copy has faintest rubs, inaud. Exceedingly Rare! MB 195, the Pair.

“Hitler explains the ideological reasons for the Nazi rise to power and their main political aims. He announces the indictment of the politicians responsible for the evils of the Weimar Republic and promises to 'resurrect' a Neue Deutsche Reich [new German Empire] undivided and rooted in 'healthy' soil. He does not openly address the Jewish question. Hitler closes with the last words of the Lord's Prayer and Amen. The audience of civilians and uniformed SA and SS rises, cheers, shouts 'Heil', and gives the Nazi salute (several times).”

N0989. ELISABETH SCHUMANN, w.Gerald Moore (Pf.): Schubert Recital, 12s, incl. An die Musik & Der Tod, das ist die kühle Nacht, (both thought to have been issued as HMV DA 1525, actually only form of issue); every Song herein represents Schumann's sole recording. 4-10" PW V 1932/35; 2-12” PW V 15167/68, POM-1936 & 1937, in Orig. Album M 497, w.Brochure. Exceedingly elusive! M-A MB 150, the Set.

Elisabeth Schumann’s lieder singing was revered, and while the passage of time has dimmed its allure somewhat, enough of her abundant charms continue to cast a spell….And yet nobody ever loved Schumann (and she was loved by her audiences) for her technical aplomb. Her trump card was charm, the kind that comes from an obvious, freely communicated joy of singing, not the sickly kind laid on with a trowel. She wisely chose her programs to fit her vocal limitations….When singer and song bond, as in ‘Du bist die Ruh’, we get a rapt, inward performance. In that song, she intensifies the emotional impact by fining her voice down to a thin line.”

- Dan Davis, ClassicsToday.com

N0990. KARL ERB, w.Seidler-Winkler (Pf.): A Lieder Recital, incl. Schubert, Schumann, Brahms, Wolf & Loewe, 12s. 6-10" PW V 4398/4403, POM-1935-37, in Orig. Album M 501, w.Brochure. M-A MB 35, the Set.

“Hans Pfitzner himself was the one who elevated Erb’s unique interpretation of the title rôle in his Palestrina to a position high in the heavens of his admiration. The remarkable thing about Erb’s song interpretation was that it was not just the sheer beauty of his voice that made all the difference…it was also his interpretative acumen. I had the good fortune to be able to learn and profit from the impressions any number of great recitalists made on me in the course of my long life, but ultimately it was Paul Bender and Karl Erb who sparked my great love for the art song.”

- Hans Hotter, MEMOIRS, pp.122-23

N0991. EGON FUCHS, w.Simrock Cond.: Biblische Lieder- Nos. 2, 4, 5 & 9 (in Czech) (Dvorák). 2-10" plum PW Czech HMV AM 2911/12, only form of issue, 1930, Prague. Exceedingly elusive! MB 25, the Pair.