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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. best, 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 > recordings. > > 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. > > Frank > > --- > > 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. > 30)? > > 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 > (acoustic). > > 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 > Beethoven) > Hess Appendix 15. (Source: James F. Green, The New Hess Catalog of > Beethoven's Works (West Newberry, VT: Vance Brook Publishing, 2003), p. > 200-1.) > 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 > Festival. > > 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). > 1913 > > 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 > August. >