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December 31st and January 1st
Henry Wood conducts Vaughan Williams’s Serenade to Music, Greensleeves Fantasia and Wasps Overture
Malcolm Sargent conducts Mendelssohn’s Ruy Blas Overture
Jascha Horenstein conducts Haydn’s Surprise Symphony
December 24th
Henry Wood conducts Vaughan Williams’s A London Symphony (1936 version)
Eugene Goossens conducts the same work (1920 version)
November 23rd
November 11th
September 12th
Leo Blech’s 1927 Schubert Great C major
Konstantin Ivanov conducts the Czech PO in Glazunov’s 5th Symphony
August 15th
Pauline Aubert plays music by the Couperin dynasty
Charles Munch conducts Haydn’s Symphonie Concertante
August 2nd
The Floral Dance and The Lute Player – recordings by Peter Dawson, Frederick Ranalow and Robert Easton (with an extra by Thorpe Bates)
LP transfers still on site
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December 31st 2008 and January 1st 2009
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To round off this Vaughan Williams anniversary year, here are the remainder of Henry Wood’s recordings of Vaughan Williams’s music: The Serenade to Music, The Wasps Overture and the Fantasia on Greensleeves. To complement these, there is another recording of the Greensleeves Fantasia from around the same time, this one conducted by Reginald Jacques, who also leads us into 2009 with some anniversaries – 70 years since the death of John Faulds, 250 years since Handel’s death and 350 years since Purcell’s birth.
And finally, two more anniversaries being celebrated in 2009 – the bicentenary of Mendelssohn’s birth, for which we have Malcolm Sargent conducting Ruy Blas, and the bicentenary of Haydn’s death, with Jascha Horenstein conducting the Surprise Symphony. Both recordings are 80 years old in 1929.
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Mediafire link for Vaughan Williams - Serenade to Music, Wasps, Greensleeves - Henry Wood
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Vaughan Williams – The Wasps – Overture
Vaughan Williams – Fantasia on Greensleeves
Originally issued on Decca K.821/2
Matrices TA 2136, 2137, 2138 (The Wasps), TA 2139 (Greensleeves)
Recorded 22nd April 1936
The Queen's Hall Orchestra, Sir Henry J. Wood
George Stratton, leader
The present transfers are made from the Decca Ace of Clubs LP reissue, ACL 255.
Vaughan Williams – Serenade to Music
Originally issued on Columbia LX 757-8
Matrices CAX 8367, 8368, 8369, 8370
Recorded 15th October 1938
BBC Symphony Orchestra, Sir Henry J. Wood
Isobel Baillie, soprano - Lilian Stiles Allen, soprano - Elsie Suddaby, soprano - Eva Turner, soprano
Margaret Balfour, contralto - Muriel Brunskill, contralto - Astra Desmond, contralto - Mary Jarred, contralto
Parry Jones, tenor - Heddle Nash, tenor - Frank Titterton, tenor - Walter Widdop, tenor
Norman Allin, bass - Robert Easton, bass - Roy Henderson, baritone - Harold Williams, baritone
The present transfer is made from the Columbia 7” 45rpm reissue on SED 5553. A better transfer, from the original 78s is now available on the main page.
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Download - Mendelssohn - Ruy Blas Overture - Malcolm Sargent
(mp3 files – right click the link, then select “Save as”)
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Mendelssohn – Ruy Blas - Overture
His Master’s Voice C 1813
Matrices Cc 17933-II, 17934-I (32-1065/6)
Recorded 16th December 1929, Kingsway Hall, London
London Symphony Orchestra, Malcolm Sargent
(The orchestra is credited on the record labels only as “Symphony Orchestra”)
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Mediafire link for Haydn - Surprise Symphony - Jascha Horenstein
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Haydn – Symphony No.94 in G major “The Surprise”
I. Adagio cantabile – Vivace assai (2 sides)
II. Andante (2 sides)
III. Menuetto (Allegro molto) and Trio (1 side)
IV. Allegro di molto (1 side)
Polydor 66914-6
Matrices 132, 133, 134½, 135, 136, 137½ BV VI (B 21217/22)
Recorded 1929, Berlin
Berlin Philharmonic Orchestra, Jascha Horenstein
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December 24th 2008
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As we approach the end of the year, it’s time to remember a composer who died fifty years ago: Ralph Vaughan Williams. There have been many reissues in connection with this, including, from Symposium, Dan Godfrey’s premiere recording of A London Symphony – both his earlier recording of the first (abridged) and third movements, and the “complete” recording that followed. The abridged first movement was one of the records recommended by Percy Scholes in his “Second Book of the Gramophone Record”. Godfrey’s recording used the 1920 version of the score. Vaughan Williams published an updated version of the score in 1936, and it is this that was used by Sir Henry Wood in his recording the same year. However, by a curious quirk, when Eugene Goossens recorded the work in 1941 with the Cincinatti Symphony Orchestra, he used the 1920 version. It is also noteworthy, that both Wood and Goossens omit the repeat of the first section of the Scherzo, which Godfrey included in both his acoustic recordings of the movement. There can be no doubt that both conductors would have had room for it: Wood’s side lengths are fairly short, and breaks between movements occur during sides; and Goossens’s recording takes 9 sides, with the 10th taken up by a 1938 recording with the LSO of Bizet’s Farandole!
These recordings, then, by Wood and Goossens provide an opportunity to compare the two versions of the work. It’s also an instructive comparison of recording styles. Wood rarely approaches a true pianissimo, particularly where the lower instruments are concerned, perhaps continuing the habits from around 1916 when he started conducting for records. Goossens for Victor has a much more natural recorded sound, allowing for a wide dynamic range.
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Mediafire link for Vaughan Williams - A London Symphony - Henry Wood
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Vaughan Williams – A London Symphony
I. Lento – Allegro risoluto (3½ sides)
II. Lento (2 sides)
III. Scherzo (Nocturne) (1½ sides)
IV. Andante con moto – Maestoso alla Marcia. (2 sides)
Epilogue – Andante sostenuto (1 side)
Decca X.114-8
Matrices TA 2126-III, 2127-II, 2128-II, 2129-II, 2130-II, 2131-III, 2132-I, 2133-III, 2134-2, 2135-II
Recorded 21st April 1936
Issued June 1936
The Queen's Hall Orchestra, Sir Henry J. Wood
George Stratton, leader
There is a deterioration in sound quality for the last two sides, as the final disc in my copy of the set of 78s has a crack from label to rim. I have done my best to alleviate the effects of this.
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Mediafire link for Vaughan Williams - A London Symphony - Eugene Goossens
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Vaughan Williams – A London Symphony
I. Lento – Allegro risoluto (3 sides)
II. Lento (2 sides)
III. Scherzo (Nocturne) (1 side)
IV. Andante con moto – Maestoso alla Marcia. (1½ sides)
Epilogue – Andante sostenuto (1½ sides)
RCA Victor Red Seal DM-916 (11-8253/7)
Matrices 062506/14
Recorded 19th and 20th February 1941, Cincinatti
Cincinatti Symphony Orchestra, Eugene Goossens
Bizet – L’Arlésienne Suite No.2 – 4. Farandole
RCA Victor Red Seal 11-8253
Matrix 2EA 6311-II, 073028
Recorded 9th May 1938, Abbey Road Studio 1, London
London Symphony Orchestra, Eugene Goossens
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November 23rd
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Luella Melius is a far from well known singer.
“Luella Melius, soprano, born 21st August 1892, Appleton, Wisconsin. Date of death unknown. Her actual name was Mrs. W. Fulton Melhuish. She began her training in Chicago as a child, and then studied under Jean de Reszke in Paris. She debuted at the Vienna Volksoper under Weingartner at the start of the 1920s and gave guest appearances in Paris, Madrid, Naples and Berlin, including Gilda at the Paris Opera in 1924. In the 1925/6 season she was at the Chicago opera as Gilda in “Rigoletto” and as Rosina in “Il Barbiere di Siviglia” (alongside Schipa and Bonelli). She guested in 1926 at the San Francisco Opera as Lucia di Lammermoor and as Gilda. As her career developed she broadcast for the BBC, and then American radio. She took part in numerous opera broadcasts in the 1920s. In 1926-27 she was a guest artiste at some German houses. In 1932 she created a vocal school in New York, at which such important figures as Marguerite Sylva, Adamo Didur, Carolina Lazzari and EH Gauthier taught. Records: First acoustics in England with HMV (1925); later in the USA early electrical Victors. All show a technically confident coloratura soprano.”
Time Magazine notes in October 1923 that she was heading to Europe for a year of concerting, including Gilda in Paris. On November 30th 1925, Time had this to say:
“It is rapidly becoming a convention for the critics of Chicago to hail every week as a great artist some singer hitherto ungraced by U.S. laurels. Two weeks ago it was Baritone Bonelli. Last week it was Luella Melius, coloratura singer, born in Appleton, Wis. She made her debut in Rigoletto. Staid people have been foolish enough to believe that a modern audience could not be more than politely moved by the graceful insipidities of the old score - that the days were past when a perfect trill was a signal for young men in evening clothes to unhitch the horses of a prima donna's carriage and pull her home themselves. The Chicago enthusiasts stopped short of this. But they held up the performance after she had sung the "Caro Nome," and gave Luella Melius ten curtain calls at the end of the act. Old Critic Glenn Dillard Gunn declared that he remembered only three such scenes in the last 25 years; others compared Miss Melius with Gali-Curci. Even the most reserved could not help agreeing that her voice is very good.”
There are notes of concerts in various parts of the USA in the late 1920s.
It may be that Melius’s visit to Europe was longer than planned, or that she returned in 1925. Certainly the Gramophone Company made a number of recordings with her, starting with tests in May of that year, and six issued sides in August.
- 8th May 1925: LUELLA MELIUS with Mme ADAMI, piano
Cc 6101-1, -2 Verdi - La Traviata: Ah, fors’è lui (in Italian)
Cc 6102-1, -2 JB Wekerlin - Fleur des Alpes (Swiss echo song) (in French)
(Test matrices)
- 5th August 1925: LUELLA MELIUS, with Orchestra conducted by George W Byng
Cc 6439-1▲?, -2▲? Delibes - Lakmé: Pourquoi dans les grands bois
Cc 6444-1▲?, -2▲? Delibes - Lakmé: Bell song - Where is the young Hindu maid
- 6th August 1925: LUELLA MELIUS, with Orchestra conducted by George W Byng [B Studio]
Cc 6452-1▲?, -2▲? JB Wekerlin – Les fleurs des Alpes, Swiss echo song (in French)
Cc 6453-1▲?, -2▲? Benedict – La capinera (in French) with GORDON WALKER, flute
- 6th August 1925: LUELLA MELIUS, with Orchestra conducted by George W Byng [Room 1]
Bb 6454-1, -2 JB Wekerlin – Les fleurs des Alpes, Swiss echo song
Take 2 issued on 7-33071 DA722
Bb 6455-1, -2 Benedict – La capinera with GORDON WALKER, flute
Take 1 issued on 7-33072 DA722
- 10th August 1925: LUELLA MELIUS, with Orchestra conducted by George W Byng [Room 1]
Cc 6474-1, -2 Delibes - Lakmé: Pourquoi dans les grands bois
Take 2 issued on 2-033103 DB883
Cc 6475-1, -2, -3 Delibes - Lakmé: Where is the young Hindu maid (Où va la jeune hindoue)
Take 3 issued on 2-033102 DB883
Bb 6476-1, -2 Mozart - Il Flauto Magico: Aria di Pamina - Ah lo so
Take 1 issued on 7-53091 DA723
Bb 6477-1, -2 Mozart – Il Flauto Magico: Aria della Regina della Notte - Gli angui d‘inferno
Take 1 issued on 7-53092 DA723
It’s curious that in these last days of acoustical recording at Hayes, Melius attempted four items electrically, but that her issued HMV recordings were ultimately made acoustically – and in fact the acoustic recordings of the Wekerlin and Benedict items were preferred over the electrical versions recorded the same day. On Melius’s final HMV recording day, Noel Coward was recording electrically at Hayes, as were Jack Hylton's Kit Kat Band. And it appears that Melius was followed into the studio by tenor Tudor Davies who made 4 unissued acoustic sides, before going into Studio B and recording two of the same items electrically, one of which was issued.
Melius also made at least two issued sides for Victor – 1927 Polonaise from Mignon and Valse from Mireille (takes 54 and 34 respectively!).
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Download - Luella Melius sings Ach, ich fühl's
Download - Luella Melius sings Der Hölle Rache
(mp3 files – right click the link, then select “Save as”)
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Il Flauto Magico - Ah! lo so, piu non m'avanza (Pamina's Aria)
Il Flauto Magico - Gli angui d'inferno (Queen of the Night Aria)
His Master's Voice DA 723
Matrices Bb 6476-1, 6477-1 (7-53091/2)
Recorded 10th August 1925 in Room 1 at Hayes
Orchestra, George W. Byng
Luella Melius, soprano
Pamina’s aria plays in score pitch at 78rpm, and the Queen of the Night Aria plays in C minor (a transposition of a tone downwards) at the same speed, so that Melius produces a string of top E flats, rather than top Fs.
Pamina’s aria has the following text visible under the label, inscribed into the was master:
BB6467
10 Aug 25
I
5/6/25
Palmina's Aria
Magic Flute
Luella Melius
(And “Palmina” is what actually appears there, it’s not my misprint!)
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November 11th
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Safford Cape and the Pro Musica Antiqua of Brussels recently appeared on this site on an Anthologie Sonore 78 of works by Dufay and Isaac. Cape and his group returned to the Dufay in 1950 – it was one of thirteen items on an LP of Dufay’s secular works which he recorded for Elaine Music Shop.
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Mediafire link for Dufay secular works directed by Cape
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Guillaume Dufay – Secular Works
Elaine Music Shop EMS206
Matrices E1-LQC-15052-1A, 15053-1B
Recorded in the Fall of 1950
Pro Musica Antiqua (Brussels), Safford Cape
Maria Ceuppens, soprano
Jeanne Deroubaix, contralto
Louis Devos, tenor
Franz Mertens, tenor
Albert van Ackere, baritone
Charles Koenig, recorder
Rachel van Hecke, treble viol
Jean-Christophe van Ecke, tenor viol
Alphonse Bauwens, tenor viol
Suzanne Bouquette, minstrel's harp
Michel Podolski, lute
(only Bauwens features on the early Anthologie Sonore recording)
Side 1:
- Resvelons-nous, amoureux
- Pouray-je avoir vostre mercy
- Hé! Compaignons
- La belle se sied au pie de la tour
- Adieu, m'amour
- Ce moys de May
Side 2:
- Je donne a tous les amoreux
- Bon jour, bon mois
- Par droit je puis bien complaindre et gemir
- Ce jour de l'an
- Mon cuer me fait tousdis penser
- Je languis en piteux martire
- J'atendray tant qu'il vous playra
This early LP is rather worn and noisy in places, but I’ve tried to remove the most obvious thumps and bumps.
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September 12th
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A few recordings by Leo Blech have appeared previously on this site, and it seemed time for another – his 1927 account of Schubert’s Great C major Symphony with the London Symphony Orchestra.
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Mediafire link for Blech’s 1927 Schubert C major
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Schubert – Symphony No.7 in C major “Great”
His Master's Voice D1390-5 (Album Series No.59)
Matrices CR 1587-I, 1588-IA, 1589-IIA, 1590-II, 1591-IA, 1592-II, 1593-IA, 1594-IA, 1595-IIA, 1596-IA, 1597-IA, 1598-IIA (5-0735, 5-0693/9, 5-0714, 5-0711/3)
Recorded 15th November 1927, Queen’s Hall, London
London Symphony Orchestra, Leo Blech
I. Andante - Allegro ma non troppo (3 sides)
II. Andante con moto (4 sides)
III. Scherzo - Allegro vivace (2 sides)
IV. Finale - Allegro vivace (3 sides)
The first record in my copy of this album is cracked right across, being held together mainly by the record label. I have done my best to remove the resultant heavy clicks.
It’s curious to note that in this set, record 1 contains sides 1 and 2, and record 2 contains sides 3 and 12. This ensures that the next two records can include the slow movement, and that the two sides of the scherzo fit on one record. There is, however, a significant cut in the reprise of the scherzo.
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Konstantin Ivanov’s 1963 EMI/Melodiya recording of Glazunov’s Symphony No.5 is well-regarded, but his earlier account for Supraphon with the Czech PO is little known. This issue appears in the WERM 1951-2 supplement as a reissue, so the LP would appear to be from around 1950, and the timing of one or two conspicuous edits suggest a 78rpm source.
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Mediafire link for Ivanov’s Glazunov 5
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Glazunov - Symphony No.5 in Bb major Op.55
Supraphon D LPM-18 (matrices MM43/4)
Recorded c1950
Czech Philharmonic Orchestra, Konstantin Ivanov
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August 15th
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Pauline Aubert has appeared here already in a number of Anthologie Sonore recordings. The present set is slightly later, probably about 1950, on a Classics Club LP. Aubert plays music of “The Couperin Dynasty”.
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Mediafire link for Pauline Aubert recordings of Couperin dynasty
(These are zip files – left click the link, download the files, then unzip when downloaded)
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The Couperin Dynasty
The Classics Club – Counterpoint X52
Matrices CCHN52A1, 52B1 (CPTM 30053A, 30053B)
Recorded c1950
Pauline Aubert, harpsichord
Armand-Louis Couperin:
Les cacqueteuses
The Four Nations: Italy
The Four Nations: England
The Four Nations: Germany
The Four Nations: France
Gervase François Couperin:
Variations on "Ah! ça ira"
Jacques Champion de Chambonnières:
Pavan
Louis Couperin:
Fantaisie
The Tomb of Monsieur Blancrocher
François Couperin:
8 Preludes to the Art of Playing the Harpsichord
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Haydn’s wonderful Symphonie Concertante in C was recorded by L’Oiseau-Lyre, and provides another chance to hear the French bassoon sound of Fernand Oubradous, and an early example of Charles Munch conducting.
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Mediafire link for Haydn - Symphonie Concertante - Munch
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Haydn – Symphonie Concertante in C major for Violin, Cello, Oboe and Bassoon
L’Oiseau-Lyre OL.83-85
Matrices PART 1285-1, 1286-1, 1287-1, 1288-1, 1289-1, 1290-1 (M6-96308/9, 96311/4)
Recorded October 1938
Myrtil Morel, oboe
Fernand Oubradous, bassoon
Roland Charmy, violin
André Navarra, cello
Orchestra, Charles Munch
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August 2nd
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Katie Moss’s 1911 song “The Floral Dance” was first recorded by Peter Dawson in 1912, and its popularity has endured. Dawson recorded four commercially released versions of it, and two broadcasts survive. The first recording of September 1912 was followed by a 10” version on the cheaper Zonophone label before the end of the year. His later electrical version was coupled with Frances Allitsen’s “The Lute Player” in 1927, a coupling that was repeated in 1934. The pairing of the two songs seems to have been so popular on HMV that other labels emulated it – Frederick Ranalow on Metropole, and Robert Easton (under the nom de disque Graham Stewart) for Broadcast Twelve.
When Dawson’s first recording of the Floral Dance was released it was coupled with Slaughter’s “The Dear Homeland,” sung by the baritone Thorpe Bates. Thomas Thorpe-Bates, FRAM, FGSM (London, 11th February 1883 – London, 23rd May 1958). Bates studied at the Guildhall and the Royal Academy of Music. He married Edith Helena Leech, and by 1935 they had a son and a daughter. He sang as principal baritone at provincial Music Festivals, Choral Societies, Promenade Concerts and the Hallé and Brand Lane Concerts, Manchester. He played in “The Yankee Princess” in New York in 1922. He also appeared in “The Maid of the Mountains,” “The Rebel Maid” and many other plays. As of 1935 he lived at Westerley, 10 Salmon St, London NW9. Bates’s daughter was the actress Peggy Thorpe-Bates, perhaps best remembered as one of three actresses who played Hilda Rumpole in the TV adaptations of John Mortimer’s “Rumpole of the Bailey” novels.
Frederick Baring Ranalow, FRAM (Dublin, 7th November 1873 – London, 8th December 1953) was taken to England at a young age, becoming a chorister at St. Paul’s. He was educated at the Royal Academy of Music. He married Lilian Mary Oates, with whom he had, by 1935, produced a son and a daughter. He became a professor at the RAM with a focus on opera. He appeared at the Queen’s Hall and the principal festivals of the UK and at the Royal Albert Hall. He also composed light songs. He took many parts in the Beecham Opera Company, and played Macheath in the Beggars’ Opera over 1400 times. He toured Australia and New Zealand with Nellie Melba. He also appeared in several films including Autumn Crocus (1934). His recreations are listed as golf and motoring, and he was a member of the Garrick club. He lived at 12 Argyll Road, Kensington W8.
Ranalow’s recordings, though extensive, are little remembered now. He recorded for HMV, Columbia, Edison Bell, Vocalion and Metropole. He was Sharpless in the complete English Madam Butterfly with Rosina Buckman, and took part in the acoustic recording of the Beggars’ Opera under Richard Austin. He recorded excerpts from Ethel Smyth’s “The Boatswain’s Mate” with Rosina Buckman – they had been in the premiere together. He also took part in the complete acoustic HMS Pinafore of 1922-3 singing part of Sir Joseph Porter’s role.
Ranalow’s operatic repertoire included Prince Igor, Figaro, Sachs, Papageno and roles in La Boheme, Falstaff, Segreto di Susanna, Tannhauser and Tristan. After his marathon run in the Beggars’ Opera from 1920, he turned more to light opera.
Robert Easton (Sunderland, June 8th 1898 – 26th May 1987) was a British bass of the mid–twentieth century. As a boy, he sang in his local church choir. He joined the BEF in 1915, and was severely wounded while on service in Flanders. He had a long convalescence, and had a leg amputated. After that he wore an artificial leg. He claimed to have drifted into singing, eventually studying in London with Bozelli, Norman Notly, Harry Plunket Greene and Dinh Gilly.
In 1922 he sang in several concerts with the National Sunday League. He made his Prom debut in 1926, where one of the items he sung was “I am a roamer” from Mendelssohn’s "Son and Stranger" – this was to become a regular feature of his concert programmes. His range enabled him to cope with ease in the wide two-octave leaps and even at a rapid speed his impeccable enunciation made the words clear. In 1929 he replaced Harold Williams in the annual Crystal Palace performance (under Beecham) of "Messiah". Between 1933 and 1939 he sang at Covent Garden, appearing as Sparafucile, Titurel, the King in Aida, the Father in "Louise", Colline and Fafner. In 1938 he was chosen as one of the 16 soloists in Vaughan Williams's "Serenade to Music."
Easton was a versatile singer, equally successful in opera, oratorio, recitals and as a concert artist. He was a true basso profondo, with a highly individual, instantly recognisable, dark timbre and rapid flickering vibrato. His range was from F# above middle C, down to a low Bb below bottom C. He was one of Columbia’s exceptional trio of 'profondos' in the inter-war years, along with Norman Allin and Malcolm McEachern. He recorded for Vocalion between 1923 and 1925 and then for Broadcast and Regal Zonophone. For these labels he had to use pseudonyms, so he also appears as Robert Merlyn, Robert Raymond and Graham Stewart.
In 1930 he was chosen by Beecham to sing Mephistopheles in the English language recording of Gounod’s "Faust" with Licette and Nash. He also sang in Stanford Robinson’s complete recording of Stainer's "Crucifixion." In 1938 he was involved in the famous “Lisa Perli” deception, and featured as Colline in Beecham’s recording of Act 4 of La Boheme.
After 1940 Easton confined himself to broadcasts, concerts and oratorios and during the 2nd World War made concert tours with ENSA and CEMA, appearing in France, Belgium and Germany, as well as in Britain. A 1969 broadcast showed him to have lost no vocal quality over the years and he continued to make occasional concert appearances as late as 1985, mainly for the Council of Music in Hospitals. He was a frequent festival adjudicator, on one occasion according a prize to Janet Baker.
He spent his later years at his home in Haslemere, Surrey with his wife of 60 years, and his daughter Margaret.
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Mediafire link for Floral Dance and Lute Player recordings
(These are zip files – left click the link, download the files, then unzip when downloaded)
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Slaughter – The Dear Homeland
Thorpe Bates, baritone with anonymous pianist
Matrix Ai 6268f (single-side number 02394)
Recorded 13th May 1912, 81rpm in Eb major
Moss – The Floral Dance
Peter Dawson, bass-baritone, with Kennedy Russell, piano
Matrix z 6557f (single-side number 02426)
Recorded 10th September 1912, 81rpm in Db major
Both from His Master’s Voice C 441
Moss – The Floral Dance
Allitsen – The Lute Player
His Master’s Voice C 1313
Matrices Cc 8106-X, Cc 8101-VA (single-side numbers 2-02207, 2-02208)
Recorded 14th January 1927, 78rpm in Db major and C minor respectively
Peter Dawson, bass-baritone
Gerald Moore, piano
Moss – The Floral Dance
Allitsen – The Lute Player
Broadcast Twelve 5032
Matrices LO116X, LO117
Recorded September 1928, 78rpm in Bb major and B minor respectively
Robert Easton, bass (credited as Graham Stewart)
with harp, piano and violin accompaniment
Moss – The Floral Dance
Allitsen – The Lute Player
Metropole 1126
Matrices 1538-2, 1539-2
Recorded c1930, 78rpm in C major and C minor respectively
Frederick Ranalow, bass-baritone
with Orchestra
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Recordings digitized using Stanton ST.150 turntable with Stanton 500 cartridge. Various styli supplied by Expert Stylus Company. Digital sound processing, including equalization, filtering to remove rumble and hum, speed adjustments and dehissing, using DC6, by Diamond Cut productions. Declicking and decrackling using ClickRepair. Re-equalisation using HarBal.
All recordings remastered from original analogue recordings, out of copyright in the UK (1959 or earlier), and hosted in the UK.
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