I did listen to the Diabelli Variations today, with Backhaus. So did a
couple of customers in my store, though they were a captive audience while
they looked for albums by Poco and such.
David Neal Lewis
On Sat, Dec 16, 2017 at 3:51 PM, Frank Forman <[log in to unmask]> wrote:
> Thank you all for the replies, upon which I shall comment upon later.
> The being the Great Man's 247's birthday, I sent the following to my own
> list and to two Usenet groups, rec.music.classical and rec.music.classical
> The feature for you is my listing of the first recordings of Beethoven's
> Opp. 61-70. I give my always-fallible identifications of first recordings,
> for your thoughts.
> Not sure how to proceed. I do need to better specify recording and release
> dates and to suspect errors. For example, the small Gramophone Shop may
> just list what they were keeping in their stock. So one or both of the two
> recordings of the Ghost Trio may in fact be earlier than the Bern-Hirt
> Trio, which right now I said was the first recording.
> I am not sure whether an ARSC Journal article would be appropriate (if it
> would be accepted), since finding errors and omissions will be continuous
> and never ending. Should I just make a bare-bones listing or expand an try
> to add birth and death dates or each performer?
> I am pretty certain that http://unheardbeethoven.org would be willing to
> consider running changes. I will omit my own personal favorites which may
> reflect my having heard only a small fraction of the various recordigs.
> Maybe The Beethoven Society would be interested.
> The Great Man's 247th Birthday
> Today, I listen to Op. 61-70. Here's a sample from a forthcoming listing
> the first recordings of each of Beethoven's works. Compiling this list is
> exacting work! My own "Acoustic Chamber Music (1899-1926): A Discography,"
> Journal of the Association for Recorded Sound Collections, Vol. 31n1-2 and
> 32n1 (2000-2001), yields nothing in this Opus range. For acoustic
> orchestrals, I rely on Claude Arnold, The Orchestra on Record, 1896-1926
> (Westport, CT: Greenwood Press, 1997) for Op. 61, 62, 67, and 68. For the
> vocals, I am combing through Voices of the Past and compendia by Bauer and
> Hirst. Later, I shall repair to James Creighton's recordings for the violin
> and try to find firsts, since he rarely gives dates. Then there are label
> discographies for Odeon and Parlophon.
> Recordings after the close of WERM in 1955 give other challenges. I have
> Kurtz Myers for U.S. issued LPs through 1977. Unlike Schwann, subscription
> labels, like the Concert Hall Society. Of course, I have to go through all
> the Schwann's I own and the various Gramophone annual catalogs. I suspect
> that the largest collections of firsts are in the DGG "Complete"
> Bicentennial issue. I shall visit the library at the University of Maryland
> and expect to be instantly granted the privilege of entering a locked room
> to go through this set, which is plainly visible but kept locked. I expect
> to be couped by finding firsts on LPs, like "The Comic Beethoven", which is
> older than the "Complete" Bicentennial issue.
> What about piano rolls, music boxes, and even movies? I would bet even
> money that there is a music box of the first movement of the Moonschein
> sonata. Schnabel's 1922 Ampico recordings include the Rondo in G, Op. 51#2
> and the Minuet in G, K. 10#2.
> What about spurious and doubtful works, which go back to the acoustic
> days, such as two records of the so-called Mödlinger Waltzes (Arnold, p.
> You have ONE guess what both Kinsky Anhang and Hess Anhang No. 1 is.
> NO MSS OF THE DIVINE COMEDY SURVIVES THAT RESERVES A TENTH CIRCLE OF HELL
> FOR THOSE PUT UP DISCOGRAPHICALLY INCOMPETENT RECORDINGS ON YOUTUBE.
> I invite all to visit http://unheardbeethoven.org
> LISTEN to Beethoven's music today. Worry about discographies later!
> Beethoven, Opp. 61-70, first recordings
> 061 Concerto, violin, in D (Source: Arnold, p. 16)
> mvts. 2,3 abridged. Jan Rudényi, with orchestra. Pathé 2101
> Complete: Juan Manén, Concordio Gelabert, Orquesta Sinfónica de Barcelona.
> Cadenzas by the Soloist. Gramophone 067913/20. 14.i.16;vi/17 (i.e.,
> recording and release dates).
> Frank's oldest recording is the acoustic Isolde Menges (his favorite lady
> violinist), which is quite good.
> Frank's favorite is Guila Bustabo, Willem Mengelberg, Concertgebouw, live
> 061A Piano arrangement, by Beethoven, of the Violin Concerto
> Arthur Balsam, Clemens Dahinden, Winterthur Sym. LP: Concert Hall Society
> F 10. WERM 2:26
> Frank's favorite is Daniel Barenboim, slow and majestic.
> 062 Coriolan Overture in e (Source: Arnold, p. 16)
> abridged Sir Henry J. Wood and His Orchestra (mx 6677-2). English Columbia
> L1021 xi.15; ii/16
> complete Otto Urack, Odeon Streich-Orchester Odeon AA57706/7. 1913
> Frank's oldest and his favorite is Willem Mengelberg, Concertgebouw
> 063 Trio, piano, in Eb, after String Quintet, Op. 4 (Spurious). Hess
> Appendix 14. (Source: James F. Green, The New Hess Catalog of Beethoven's
> Works (West Newerry, VT: Vance Brook Publishing, 2003), p. 200.)
> Orsirus Trio (Peter Brunt, v., Larissa Groeneveld, c., Ellen Corver. p.).
> 2003. CD: Raptus Records 3036834
> This is the only recording, which Frank owns.
> 064 Sonata, cello, in Eb, after String Trio, Op. 3 (not even approved by
> Hess Appendix 15. (Source: James F. Green, The New Hess Catalog of
> Beethoven's Works (West Newberry, VT: Vance Brook Publishing, 2003), p.
> Viviane Spanoghe, cello, Andre de Groote, piano. P1984. $(stereo LP)
> Terpsichore (Belgium) 1982 035
> Not having heard any of the more recent recordings, it is Frank's favorite
> by default.
> 065 Ah, perfido!
> Evan Williams, tenor (80 rpm) 02156 (C6375) 1908, Vlt.Red. Pre-dog black
> label. (Sources: John R. Bennet, Voices of the Past, vol. 1, p. 79, AND
> Bauer, p. 471.)
> Frank does not have it. No particular favorite.
> 066 Variations (12) on Ein Mädchen oder Weibchen, from Mozart: Opera
> 21 (cello and piano) no. 3 in F
> abridged (omits Var. 1, 9, 11) Lionel Tertis, viola & pf. EngColumbia
> L2172. WERM 53, before 1936
> complete A. Navarra & J. Benvenuti. Pathé PDT 107. WERM 53, after 1936.
> Frank owns the Navarra. His favorite is Casals, Serkin, 1951, Perpignan
> 067 Symphony no. 5 (old no. 6) in c. (Source: Arnold, p. 24)
> Friedrich Kark, Grosses Odeon-Streichorchester, Berlin. XX76147/8,
> Rxx79153/4, Rxx74149/52. 1910. Reissued on CD: Wing (Japan) WCD 62
> Frank owns the CD. His favorite is the live Mengelberg.
> 068 Symphony no. 6 (old no. 5) in F (Source: Arnold, p. 26)
> Grosses Odeon-Streichorchester, Berlin. Odeon XX76292/76301 (10 sides).
> Frank's favorite is the live Mengelberg.
> 069 Sonata, cello, no. 3 in A
> Felix Salmond, cello, and Simeon Rumschisky, piano. EngColumbia L 1935/7.
> AmColumbia. set M38
> Frank's favorite is the deathly slow live recording, Casals and Cortot in
> Music & Arts CD 1113. The great Leslie Gerber said it should never have
> been published! Cortot's slowing down for the old man is sheer magic.
> 070n1 Trio, piano, no. 05 in D (Ghost)
> Bern-Hirt Trio (Franz-Joseph Hirt, pf., Alphons Brun, vn., Lorenz Lehr,
> cello). Polydor 95346/9
> NOTE: This is in the small Gramophone Shop Encyclopedia for 1931. The
> other two in WERM as before 1936 are not, though they could be, so I merely
> list them here. They are Italian Trio (Poltroneiri, Bonucci, Casella).
> C.GQX 10132/3; Brunswick B-90285/8; Amsterdam Concertbouw Trio. Parlophone
> E 11154/6; Odeon O-6797/9; Odeon O-170134/6
> Frank's favorite is the splendidly vigorous old-fashioned Amersterdam
> Trio. I don't know the names of the players.
> 070n2 Trio, piano, no. 06 in Eb
> Grinke Trio. Decca.K 1069/71. WERM 52, as after 1936
> Frank does not own this recording. His favorite is Eugene Istomin,
> Alexander Schneider, and Pablo Casals, from the Perpignan Festival in 1951