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How to sum up this set? Try: twenty-two CDs worth of composer-conducted/performed music of the last century issued from the EMI vaults. It also serves as a tribute to far-sighted engineers and entrepreneurs both anonymous and celebrated who made momentous and probably bitterly-fought decisions over the last eight decades. In this connection Fred Gaisberg rubs shoulders with Joe Batten and with Lawrance Collingwood - who also conducts the Dohnanyi piece. Some composers - Hindemith and Stravinsky - get two discs a piece, others just one disc or they share space with another composer.

These discs were first issued as individual full price CDs during 1994-1997. They were and remain a luxury product. The notes for those discs have not survived the translation to this bargain box. They were splendid and of palatial length. Many were of such length that the girth of the booklets strained at the lugs of the jewel case. Those discs basked briefly in the shop-front sunshine then disappeared only to be fought over on e-bay. Perhaps EMI executives have reissued these discs because they are now so fiercely sought after. The only one I bought while it was still new was the Medtner. Later I heard the Khachaturian when reissued by Archiv. Otherwise I have bayed after the Roussel/Schmitt and Pfitzner discs but never been able to track them down or my e-bay bids were hopelessly inadequate.

The buzz on the classical recordings newsgroup was that this was a box looking for an audience that is no longer there. I doubt that this right. True, the old hands will have already tracked down the discs they wanted. There are however emerging new generations out there and for them this is another signal bargain of fascinating material in overflowing quantity. It is a box that affords the pleasure of old friends, familiar works in composer-played/directed performances and of works not heard before. The rub comes with the occasionally distressed sound quality but that is a small price to pay for that authentic ring.

Allowing for the ancient Granados tracks the oldest recording is from 1926. That’s the one that has Strauss conducting Rosenkavalier in its film music adaptation. The latest is the 1958 one of Milhaud conducting Le Boeuf sur le Toit and Shostakovich in his piano concertos and solo pieces (CD14). All of which reminds me that the most fragmentary discographical documentation relates to those sessions taken down in France. Otherwise the recording details are recounted in princely detail. Speaking of Paris, the two Stravinsky discs present Pathé Marconi recordings from the 1930s. Samuel Dushkin, dedicatee and first champion of the Stravinsky Violin Concerto, is common to many of those Paris Stravinsky collaborations.

Bartók is caught in sessions from London and Budapest. The sound is slightly treble-starved but the febrile rhythmic flight of the piano music is caught just as faithfully as the vibrant folk-authentic singing of Vilma Medgyaszay, Maria Basilides and the penetrating tone of the tenor Ferenc Szekelyhid. We hear the husky volatility of Szigeti with the composer in the Rumanian and Hungarian folk-tunes. It is interesting how many of these tracks make Bartók sound more like Kodály than he did in the works for which Bartók is better known.

Dohnanyi was no revolutionary; Bartók was. Dohnanyi was very much the Brahmsian as we can tell from this set of Variations where Dohnanyi's Hungarian roots are cloaked in a weightily shadowed Brahmsian fabric. There's humour in Twinkle Twinkle Little Star being juxtaposed with so much Sturm und Drang. As we know from his two each: symphonies (Chandos), piano concertos (ASV) and violin concertos (ASV Naxos), Dohnanyi was very much at home with the grand manner. Lawrance Collingwood - also a producer with EMI - conducts the LSO. He produces with the composer some magical effects including the enchanted music-box Variation VI. I have never heard it done so well.

Hindemith's 1934 viola solos are typically severe but adept and flowing in the most challenging of elbow gymnastics. Interesting to hear him with Feuermann and Szymon Goldberg recorded in London in 1934. There the works are touched lightly with the Schoenbergian manner.

Twenty-two years later the famous Philharmonia Hindemith sessions are represented y the chummy clarity of Nobilissima Visione, the silvery flow and occasional sternness of Serena, the wild and woolly liberation of the Clarinet Concerto, the Dennis Brain-lofted trajectory of the Horn Concerto and the earnest desperation of Concert Music. You can hear all of the pieces recorded in those stereo sessions in 1956 on an EMI Classics double.

The Khachaturian London recordings sound very well indeed. Grainy but vibrant they have a gritty thrusting immediacy. Sounding a mite less grainy and certainly 'cleaner' the Violin Concerto is played by its dedicatee. It's a well known piece with spiralling alternately kinetic energy with swooning romance. After the concerto comes a goodly portion of Gayaneh. This taps into the folk atmosphere of Armenia, Georgia, and the Ukraine. It's light but by no means insubstantial and inhabits another world from the OTT Masquerade music. Unmissable.

On CD 5 the warm Mediterranean-basking of Honegger's Pastorale d’été is of a piece with the lulling sweet yet emotion occluded Cello Concerto. Maréchal lays into the allegro marcato with a will though I can imagine a more energetic attack. Still he projects a lovely line in the earlier two movements.

We then turn to Poulenc in Paris in 1928, 1932 and 1934 for his fresh and treble rich Mouvements perpetuels. These are lilting and effervescent without braggartry. The trio for piano, bassoon and oboe is a work of frost-bound hesitancy, music-hall sentimentality and chuckling bonhommie. The other piano solos are fractals shot through with shafts of emotion - often sensitive and touching. The Aubade for piano and eighteen instruments, in the hands of the composer, sounds excellent by comparison with the busy surfaces of the other recordings.

Interesting to hear Widor in his famous Toccata recorded at Saint Sulpice in 1932. This is not as winged as I had expected - more lead-weighted and plodding. Vierne in his Marche Episcopale takes the stride in unhurried imperial finery. Marcel Dupré's Berceuse rocks the cradle with secure and self-hypnotic confidence. Then comes the rending of the curtain from ceiling to flagstone as propelled by Messiaen. The composer’s recording of the terrifyingly spangled sunshine of Transports from L'Ascension was made 12 years after the work was written.

I am in a minority of one in finding the Menuhin-Elgar nowhere near as exciting as later versions of the Violin Concerto. Contrary to all my usual preconceptions my preference is for the extraordinary Heifetz with Sargent in the 1950s (Naxos). I also rate highly Nigel Kennedy’s two versions. Still, this much lauded version documents a moment in history and is well worth your attention. Then from 78s we hear Beatrice Harrison in the Cello Concerto. This is so much better … and fascinating too. It comes all the way back from 1928 - four years before the Menuhin Violin Concerto recording. It's value remains as a glowing insight and catches Harrison's spirited and emotionally rounded reading. Even were the sound better than this I would however still prefer the Dupré Philadelphia version (Sony-CBS) recorded in the early 1970s.

CD 8 - continuing the organ connection there is more from Messiaen. There’s a whole disc full of those 1956 recordings in Eglise de la Sainte Trinité. These also appear in the new 14 CD Messiaen set from EMI. Messiaen floods his scores with light - a master worker captured here as both volatile technician and creator.

On CD 9 we encounter Collingwood as producer rather than conductor in the splendid Prokofiev Piano Concerto No. 3. The conductor is Piero Coppola who takes this most Ravelian of the Prokofiev concertos by the scruff of its unruly neck. Not that he starves the ice-delicate fantasy of the second movement. Fairy-tale grotesquerie haunts the piano solos until we get to the classical magic of the transcribed Gavotte from the Classical Symphony.

As Bartók is to Dohnanyi so Prokofiev is to Glazunov. The latter recorded The Seasons during one of his world tours in 1929 for his established home in Paris. Give me instead the Melodiya version once available on LP from Boris Khaikhin – never reissued on CD. This version is however very handsome and well-turned. Wonderful to hear the 65 year old composer directing this magically spun work which along with the treasurable violin concerto and the zestful Fourth Symphony is among his masterworks. If Autumn sounds a little leaden and under-urged it still cuts the ice and a measure of exuberance is recaptured in the Finale. It can also be heard scrubbed and cleaned on Dutton and in all its top end brilliance amid whiskery surface noise on Pearl.

The Villa-Lobos recordings are familiar from so many different guises of reissue. The Bachianas Brasileiras No 2 is the most life-enhancing recording so far and for 1956 has wonderful glow, lustre and presence as does the recessed-discreet De Los Angeles BB5. Frederick Fuller, recorded in London in 1948, has a creditable snatch at idiomatic singing of the two Villa-Lobos songs but he falls short because of that oh-so-English accent. Momoprecoce and Choros 10 are suitably feral, dangerous, jungle unchained and overwhelmingly uncivilised.

The Pfitzner disc includes the oldest recording here - the 1927 Christelflein overture. This is placid and centred music with a lighter than usual Teutonic innocence about it. The sessions took place in 1927 in Berlin. The sound is really quite respectable. Four years later the composer also conducted the three Preludes from his grand philosophical opera Palestrina. The first and last are Tallis-like while the second is irate and even ruthless with a Straussian caste to the language. The busily lyrical Duo is heart-warming and prompts thoughts of the Brahms Double Concerto and Howells' Elegy. It also reminded me yet again of Roham de Saram's Radio 3 broadcast, all of thirty years ago, when he made such a fine case for Pfitzner's First Cello Concerto - I have never heard its like since. Then for the second half of the disc there are 12 songs in which Gerhard Husch is accompanied by the composer. They stand in that grand lieder tradition established by Schubert and moved forward only a shade by Pfitzner. These are lovely songs, mined from the same deep and wide lyrical fleuve which empowers Pfitzner's wonderful cantata Von Deutsche Seele – the latter recently issued by Phoenix Edition.

After Poulenc – not that we have finished with him - and Honegger we come to an all-Milhaud disc in CD 12. Nine years after it was written Milhaud took La Création du Monde into the studio in Paris. The results are raucous and a shade dissolute - just as they should be. In 1938 the composer joined Marcelle Meyer in the brightly entertaining Scaramouche with its South American accenting. 1956 saw the composer in Hollywood to record the Saudades do Brasil and the Suite Provencale. In the Saudades one can cut the street fragrance with a knife - exotica and danger and delight. Perhaps a touch too of that port back-alley ambience so aptly caught by Ibert in his Escales. It's all a bit raucous but there's seduction as well as a sinister blare - try Corcovado for size. Suite Provencale bursts and wheezes with countryside pride and bombast. It sounds at one moment just a little like Bizet's l'Arlésienne yet in contemporary weeds and at another like Warlock's Capriol. The most recent track on CD 12 is the jazzy Le Boeuf sur le Toit. The sessions occurred in 1958 in Paris. It predates La Création by four years.

Poulenc returns for CD 13 with his chansons sung by Pierre Bernac. These range from the odd-ball strange Le Bestiaire to the dramatic smooth Le front comme un drapeau perdu.

I am doubly unfortunate in the second part of CD 13 which is all-Britten. These songs fail to speak to me. The effect is exacerbated by Pears’ voice which, even caught in his greenest days, remains nasal, vinegary and unpleasing. This is an obstacle even in a rather fine song like Rendete a gli occhi miei (tr. 24). If this is repertoire that you appreciate - and most people do - then be aware that Pears has no trace of the bray he later developed and the recording quality is clear as a bell. For me, poor benighted me, this remains bleached and etiolated music-making.

Shostakovich the pianist dominates CD 14 in recordings made in Paris in 1958. The First Concerto is quirky and feelingly done. It is in bright superficial circus mood - very Parisian-silly it sounds here. The Second Concerto is loads of fun and always was. I got to know it in Leonard Bernstein's peerless version - the one in which he both plays and conducts. It is a fine piece of romantic entertainment where expressive means match the musical substance in perfect equipoise. The movement to sample is the first in which a master-craftsman has been at work. Populism meets art without doing too much damage to art. Wonderful fun and the composer achieves a fine frenzy at the end of the first movement. For a modern recording try the superb Hyperion version - however the Bernstein on Sony-CBS remains Hall of Fame material. For gentler and more nuanced music-making try the first of the Three Fantastic Dances. More meditative and rounded are the selection of five Preludes and Fugues from the sequence of twenty-four. Previously issued on EMI GROC

The next two discs are devoted to Stravinsky recordings made in Paris predominantly in the early 1930s. The first and last are exceptions. Les Noces was recorded in London in 1934 in a bowdlerised English text. However it cracks along eagerly recalling, from time to time, Orff's Carmina trilogy. The pioneering sense of these two discs is strong indeed. Notable is the 1931 recording of the Symphony of Psalms with the Walther Straram orchestra. I was expecting a monumental effect but at the end I was more aware of the calming qualities of the work. The Pastorale creaks with hurdy-gurdy redolence and even a shade of the Canteloube Auvergne. Later he found classical poise in the arrangements from Pulcinella of which we hear two from the Suite Italienne. From rustic magic Dushkin strikes sparks and smithereens and inveigling enchantment around the composer's transcriptions of two Firebird excerpts. He returns to Russian traditional spirit for the Danse Russe from Petrushka. Dushkin was a mighty fiddler and his articulation in particular has a refreshing joyous precision. You can hear that in the two segments from Le Chant du Rossignol. Ragtime is upbeat, wheezy, urgent and abrasively jazzy. Piano-rag-music sounds a mite shattery. From 1938 comes the intriguing Concerto played here with his son Soulima. Try sampling the Quattro variazioni movement. By the way it takes some getting used to that Stravinsky is heard on EMI. He's a name overwhelmingly associated with CBS - witness the massive Sony box sets recently reviewed here.

Richard Strauss is represented by his often overblown Alpensinfonie which is handsomely tracked - one for each of the 22 programmatic episodes. It's a wartime recording made in Munich. The music has a grand and confident sweep even when in its gentler pictorial Manfred aspects. Listening to the cataracts of sound in The Thunderstorm segment I made mental comparison with a work written some five years later - the prelude to Sibelius’s The Tempest. The result was much in Sibelius's favour although Strauss does provide a strong imaginative response. This recording dates from 1941. The other Strauss work is from 1926 - its a confection boiled up from the Rosenkavalier music for a film of the 1910 opera. There are some movingly fragile moments in The Presentation of the Silver Rose and the Act 3 Trio.

A Spanish composers disc miraculously lets us here the playing of Granados although the El pelele has suffered real surface damage which compromises the effect a little. De Falla's music offers us the at times tempestuous, penetrating and moving soprano of Maria Barrientos. The nicest of her nine tracks is Jota where her nightingale blue-sky trills are strongly memorable. She darkens her voice for Polo and lightens it again for Cancion del fuego fatuo. De Falla's Stravinskian Harpsichord Concerto chimes relentlessly and links with the Parisian desiccation of Martinů and other composers inveigled by the barren neo-classical sirens. Fascinating stuff even if the charms are that of mechanical artifice. Mompou came to London in 1950 and recorded a selection of his music for solo piano. It's precious stuff and full of yielding delights - sincere and free of contrived emotion. Nin recorded these six songs from his 20 Cantos Populares Espanolas in Paris in 1929 with Ninon Vallin. There are some similarities in vocal character with the voice of Maria Barrientos. These are pleasing pieces of considerable charm rather than emotional transfiguration.

Elgar and Holst vie side by side on CD19 in two completely well known recordings. Elgar pushes the RAH Orchestra in Enigma but nothing sounds rushed. In fact it is very entertaining except that the rowdier movements such as WMB and Troyte can sound a mite splintery and gabbled. Much to my surprise I found myself being reminded of Beecham's underrated version of Enigma. This one has the same speed of despatch - joy in both virtuosity and poetry.

Holst's own Planets has been repeatedly reissued most recently on Naxos Historical paired with Vaughan Williams conducting his own Fourth Symphony. That discs's coupling offers a better symmetry in that Holst and RVW were close friends separated only by Holst's death in 1934. For a fine modern recording of The Planets at an inexpensive price tab try Handley and the RPO on blessèd Regis. Do however keep on the look-out for George Hurst's exceptional recording with the Bournemouth orchestra once issued on a Contour LP circa 1974. Listening to the Holst version again one can only express admiration for the LSO who performed the piece with astounding élan and attention to detailing and grand sweep. Interestingly the Elgar and the Holst were recorded the same year. The Holst sounds in much better heart.

Lehár is represented by almost 78 minutes of operetta material much of it taken down inside Nazi Germany. It is sumptuous and feathery stuff done with great gusto by those who knew and made the idiom. And with voices such as those of Maria Reining (tr. 4) and Esther Rethy (tr. 6) this disc is one of the succulent treasures amid the fascinating and the merely historical-significant. The same can be said of the perfection of Tauber's Dein ist mein ganzes herz - pity about the tendency of the sound to fragment under such ecstatic pressure. But then this was made in 1929. Whether it is Rethy, Reining, Novotna or Vera Schwarz there is no trace of the affected flutter which more modern operetta singers regard as de rigueur and stylish.

The last two discs in the chest are treasure indeed. The first of these is occupied by Medtner recordings. It’s just a selection of those made in the mid-1930s and also at the end of the composer's life in England. They came about with financial assistance  from the Maharajah of Mysore. APR have done those even more methodically over four discs. It is such a pity that EMI did not include the Piano Quintet which I understood at one time had been recorded by the composer as part of the Mysore project. Testament have for many years had the two last piano concertos, as recorded by the composer, on one CD. Strange that the composer’s First Piano Concerto recording has been terribly neglected though it can be heard on a private Pine Trees label recording sometimes offered on E-bay.

The Russian Round Dance with Moisweitsch as primo is full of glinting life sometimes sounding very close to Arthur Benjamin. Still awaiting the sort of intégrale treatment that the Rachmaninov songs have received are Medtner's many romances. They need a Graham Johnson to document them as well as totally idiomatic performers – the sort of choices made by Martin Anderson;s Toccata when recording rare Russian repertoire. Meantime the seven songs taken by Slobodskaya and the 14 German language songs (including several sung in jewel-etched English translation) assigned to Schwarzkof offer an indispensable link back to the true tradition. Most of these tracks are from the post-war years but some of the piano solos, including the totally captivating Allegro con espressione were recorded by the composer with Collingwood as producer in 1936. The Schwarzkopf recordings sound magnificent - a marvel of the engineer's craft at the time and in the restoration.

Roussel rubs shoulders with Schmitt. Roussel's Festin is typically delicate and resilient but the 1929 technology, for all that it sometimes surprises, is put under strain. Completely successful is the rapid-fire Danse de l'Ephémère which I have never heard done so well. It is as if Golovanov had been set loose upon it. By contrast the finale, where night and sleep begin to suffuse the garden, is just that shade too urgent. Claire Croiza sings five songs accompanied by the composer. The finest piano tracery in Le Jardin is matched by Croiza. The big Lento from Schmitt's Piano Quintet is here played by the composer and the Calvet quartet. It’s a tranced movement - what a pity that only this movement was recorded. The six movement Tragédie de Salomé again deploys the Walther Straram orchestra, by now familiar from other tracks on this set (the Stravinsky Symphony of Psalms and Capriccio and Poulenc's Aubade). They make a sultry fist of this piece of finely spun exotica. The magical melody in the first movement, with all its Baxian aspiration, is nicely rolled and emoted. Schmitt comes out of the juxtaposition with Roussel with nothing to blush about.

Many of these recordings have been re-mastered from original sources and, we are told, have been selected and handed with great care by Ken Jagger (1945-2007), the moving force behind the series. Not all have been taken from master sources. Thus, for example, two rare songs by Poulenc have been transcribed expertly from 78s loaned to EMI by Richard Bebb

At this bargain price you have make some sacrifices. The box is a little insubstantial - more stiff card than robust cardboard. By comparison with the original single CDs the notes are scant indeed. What you get is a track-list and a good and compact yet inevitably generalised essay by Julian Anderson. The originals had full texts and translations. No texts here. To remind yourself try to have a look at the splendid original booklets - if you can find them – for the Medtner and Pfitzner volumes.

Much to discover and celebrate here. A rewarding bargain of recordings with that authentic ring.
 
Rob Barnett
 

 
Composers In Person - Detailed Track-List
 

CD 1 P 1994* 75.30 Béla Bartók 1881–1945
14 Bagatelles Op.6/Sz38/BB50 (1908) † 1 No.2: Allegro giocoso 0.48
10 Easy Pieces Sz39/BB51 2 No.5: Este a székelyeknél (Evening in Transylvania) 2.39
3 No.10: Medvetánc (Bear Dance) 1.39
2 Romanian Dances Op.8a/Sz43/BB56 (1910) 4 No.1: Allegro vivace 4.12
3 Burlesques Op.8c/Sz47/BB55 (1911) †
5 No.2: Kicsit ázottan... (A bit drunk…) 2.03
6 Allegro barbaro Sz49/BB63 (1911) 2.26
Suite Op.14/Sz62/BB70 (1916) 7 I. Allegretto 1.51
8 II. Scherzo 1.49
9 III. Allegro molto 2.01
10 IV. Sostenuto 2.29
Recorded: 5.XI. 1929 & †20.XI. 1929, Budapest
Mikrokosmos Sz107/BB105 (1926–39) 11 Staccato (Allegretto mosso) , Vol.V, No.124 1.14
12 Ostinato (Vivacissimo) , Vol.VI, No.146 2.14
Recorded: 5.II. 1937, Abbey Road Studios, London
13 5 Hungarian Folk Songs from Sz33/BB97 (1906, reV. 1928) 5.34 No.1: Elindultam szép hazámbol
No.2: Által mennék én a Tiszán ladikon
No.3: A gyulai kert alatt
No.4: Nem messze van ide kis Margitta
No.5: Végigmentem a tárkányi
Vilma Medgyaszay soprano
Recorded: 5.XII. 1928, Budapest
8 Hungarian Folk Songs Sz64/BB47 (1907–17) 14 No.1: Fekete fód – No.2: Istenem, istenem –
No.3: Aszszonyok, aszszonyok – No.5: Ha kimegyek arr’ a magos tetóre 5.02
Mária Basilides contralto
15 No.6: Tóltik a nagy erdo útját – No.7: Eddig való dolgom – No.8: Olvad a hó 3.53
Ferenc Székelyhid tenor
Recorded: 7.XII. 1928, Budapest
16 7 Hungarian Folk Tunes 7.33
(transcribed 1926, by Joseph Szigeti from 7 pieces from For Children, 1909, for piano, Sz42)
17 6 Romanian Folk Dances 5.23
(transcribed 1925, by Zoltán Székely from 6 Romanian Folk Dances, 1915, for piano, Sz56)
Béla Bartók piano, Joseph Szigeti violin (16 & 17) Erno Dohnányi 1877–1960
Variations on a Nursery Song Op.25
18 Introductions (Maestoso) 3.02
19 Theme (Allegro) 0.44
20 Variation I (Poco più mosso) 0.35
21 Variation II (Risoluto) 0.30
22 Variation III (L’istesso tempo) 1.08
23 Variation IV (Molto meno mosso – Allegretto moderato) 1.00
24 Variation V (Più mosso) 1.00
25 Variation VI (Ancora più mosso – Allegro) 0.43
26 Variation VII (Waltzer – Tempo gusto) 1.42
27 Variation VIII (Alla marcia – Allegro moderato) 1.26
28 Variation IX (Presto) 1.44
29 Variation X (Passacaglia – Adagio non troppo) 3.42
30 Variation XI (Chorale – Maestoso) 1.31
31 Finale fugato (Allegro vivace) 2.57
Erno Dohnányi piano
London Symphony Orchestra/Lawrence Collingwood
Recorded: 21 & 23.II. 1931, Kingsway Hall, London
Producers: unknown, Balance engineers: F.C. Bulkley (1–10) ; A.D. Lawrence (13–15) ; unknown (16–31)
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios, London, by Andrew Walter & Paul Baily
 
CD 2 78.05 Paul Hindemith 1895–1963
Sonata for solo viola Op.25 No.1 (1922) * 1 I. Breit – 1.31
2 II. Sehr frisch und straff 1.53
3 III. Sehr langsam 5.45
4 IV. Rasendes Zeitmaß. Wild. Tonschönheit ist Nebensache 1.51
5 V. Langsam, mit viel Ausdruck 4.25
Paul Hindemith viola
Recorded: 23.I. 1934, No.3 Studio, Abbey Road, London
Producer: Joseph Batten, Balance engineer: unknown
6 Scherzo for viola and cello (1934) * 3.24 Paul Hindemith viola, Emanuel Feuermann cello
Recorded: 23.I. 1934, No.3 Studio, Abbey Road, London
Producer: Joseph Batten, Balance engineer: unknown
Nobilissima visione – Suite P 1958

from the dance legend in six scenes (1938)
7 I. Einleitung und Rondo 8.55
8 II. Marsch und Pastorale 9.11
9 III. Passacaglia 6.55
Philharmonia Orchestra/Paul Hindemith
Recorded: 21.XI. 1956, Kingsway Hall, London
Producer Walter Legge, Balance engineer: Douglas Larter
Symphonia serena (1946) P 1959 10 I. Moderately fast 10.48
11 II. Geschwindmarsch by Beethoven (Rather fast) 3.31
12 III. Colloquy 10.01
13 IV. Finale (Gay) 9.30
Philharmonia Orchestra/Paul Hindemith
Recorded: 21.XI. 1956, Kingsway Hall, London
Producer: Walter Legge, Balance engineer: Douglas Larter
 
CD 3 P 1994* 78.55 Paul Hindemith
String Trio No.2 (1933) † 1 I. Mäßig schnell 7.55
2 II. Lebhaft 6.36
3 III. Langsam – Schnelle Halbe – Langsam –
Schnell, wie vorher – Äußerst lebhaft 8.40
Szymon Goldberg violin, Paul Hindemith viola, Emmanuel Feuermann cello
Recorded: 21.I. 1934, No.3 Studio, Abbey Road, London
Producer: Joseph Batton, Balance engineer: unknown
Clarinet Concerto (1947) P 1958 4 I. Ziemlich schnell 8.27
5 II. Schnell 2.07
6 III. Ruhig 7.09
7 IV. Heiter 6.29
Louis Cahuzac clarinet
Philharmonia Orchestra/Paul Hindemith
Recorded: 22.XI. 1956, Kingsway Hall, London
Producer: Walter Legge, Balance engineer: Douglas Larter
Horn Concerto (1949) P 1959 8 I. Moderately fast 3.21
9 II. Very fast 1.55
10 III. Very slow – Moderately fast – Fast – Lively – Very slow 9.39
Dennis Brain horn
Philharmonia Orchestra/Paul Hindemith
Recorded: 19.XI. 1956, Kingsway Hall, London
Producer: Walter Legge, Balance engineer: Douglas Larter
Concert music for brass and strings Op.50 (1930) 11 I. Mäßig schnell, mit Kraft – Sehr breit, aber stets fließend 8.05
12 II. Lebhaft – Langsam – Lebhaft 8.05
Philharmonia Orchestra/Paul Hindemith
Recorded: 22–24.XI. 1956, Kingsway Hall, London
Producer: Walter Legge, Balance engineer: Douglas Larter
Original STEREO tapes digitally remastered at Abbey Road Studios, London, by Paul Baily
†MONO. Transferred from 78s, digitally remastered and audio restoration carried out at
Abbey Road Studios by Andrew Walter
 
CD 4 P 1994* 78.31 Aram Khachaturian 1903–1978
Masquerade – Suite (1944)
from the incidental music (1941) to Lermontov’s play
1 I. Waltz 4.15
2 II. Nocturne 4.37
3 III. Mazurka 2.27
Recorded: 27.XI & 4.XII. 1954
Violin Concerto in D minor (1940) † 4 I. Allegro con fermezza – Cadenza (by David Oistrakh) 14.08
5 II. Andante sostenuto 12.02
6 III. Allegro vivace 9.23
26–27.XI. 1954
Gayaneh – Orchestral Suite (1943)
from the ballet in four acts (1939–42), Scenario by Derzhavin
7 I. Dance of the Rose-Maidens 2.07
8 II. Ayesha’s Awakening and Dance 5.31
9 III. Lullaby5.11
10 IV. Gayaneh’s Adagio 4.18
11 V. Lezghinka 2.38
12 VI. Lyrical Duet (of Ayesha and Armen) 5.10
13 VII. Dance of the Old Men and Women 4.21
14 VIII. Sabre Dance 2.10
24. & 27.XI. 1954
†David Oistrakh violin
Philharmonia Orchestra/Aram Khachaturian
Recorded: Kingsway Hall, London, recording dates as shown
Producer: Walter Legge, Balance engineer: Harold Davidson
Digitally remastered at Abbey Road Studios, London by Andrew Walter and Paul Baily
 
CD 5 P 1994* 75.54 Arthur Honegger 1892–1955
1 Pastorale d’été (1920) 7.49 Orchestra conducted by Arthur Honegger
Cello Concerto (1929) 2 Andante 5.56
3 Lento – Cadenza (by Maurice Maréchal) 5.46
4 Allegro marcato 5.35
Maurice Maréchal cello
Orchestre de la Société des Concerts du Conservatoire/Arthur Honneger
Recorded: I. 1931, Paris
Producer and balance engineer: unknown Francis Poulenc 1899–1963
Trois Mouvements perpétuels (1918) 5 I. Assez modéré 1.10
6 II. Très modéré 1.11
7 III. Alerte 2.12
Francis Poulenc piano
Recorded: 7.III. 1928; Paris
Producer: unknown, Balance engineer: J. Clenshaw
Trio pour piano, hautbois et basson (1926) 8 I. Presto 4.37
9 II. Andante 3.59
10 III. Rondo 2.41
Roger Lamorlette oboe, Gustav Dhérin bassoon, Francis Poulenc piano
Recorded: 7.III. 1928, Paris
Producer: unknown, Balance engineer: J. Clenshaw
Deux Novelettes (1928) 11 No.1 in C2.24
12 No.2 in B flat minor 1.10
Recorded: 11.VI. 1932, Paris
Producer and balance engineer: unknown Nocturnes
13 No.1 in C (1929) 3.22
14 No.2 in A (‘Bal des jeunes filles’) (1933) 1.17
15 No.4 in C minor (‘Bal fantôme’) (1934) 1.33
Recorded: 20.XI. 1934, Paris
Producer: unknown, Balance engineer: M. Cailly
Improvisations

16 No.2 in A flat (1932) 1.39
17 No.5 in A minor (1932) 1.25
18 No.9 in D (1934) 1.08
19 No.10 in F (‘Éloge des gammes’) (1934) 1.26
Recorded: 20.XI. 1934, Paris
Producer: unknown, Balance engineer: M. Cailly
Francis Poulenc piano
Aubade (1929)

Concerto pour piano et 18 instruments (‘Concerto chorégraphique’)
20 Toccata 2.36
21 Récitatif 0.48
22 Rondo 3.12
23 Presto 1.22
24 Récitatif 1.52
25 Andante 3.16
26 Allegro feroce 0.43
27 Conclusion 5.07
Francis Poulenc piano
Walther Straram Concerts Orchestra/Walther Straram
Recorded: 20–22.I. 1930, Théâtre des Champs-Élysées, Paris
Producer: unknown, Balance engineer: M. Cailly
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios
by Andrew Walter
 
CD 6 P 1994* 76.38 Charles-Marie Widor 1844–1937
Symphonie V in F minor Op.42 No.1 (1880)
1 V. Toccata: Allegro 6.33
Symphonie gothique in C minor Op.70 (1895) 2 I. Moderato 6.50
3 II. Andante sostenuto 4.20
4 IV. Moderato – Variations (Allegro – Moderato – Andante – Allegro) 4.05
Charles-Marie Widor organ
Recorded: 28–9.IV. 1932, Saint-Sulpice, Paris
Producer and balance engineer: unknown Louis Vierne 1870–1937
Trois Improvisations (1928) 5 I. Marche épiscopale 3.18
Pièces de Fantasie, Suite No.1 Op.51 (1926) 6 II. Andantino 2.57
7 III. Cortège 2.19
Louis Vierne organ
Recorded: XII. 1928, Notre-Dame de Paris
Producer and balance engineer: unknown Marcel Dupré 1886–1923
Suite bretonne Op.21 (1923) 8 I. Berceuse 4.06
Marcel Dupré organ
Recorded: 18.VI. 1929, Queen’s Hall, London
Producer and balance engineer: unknown
Trois Préludes et Fugues Op.7 (1912) 9 No.3 in G minor 5.56
Marcel Dupré organ
Recorded: 25.VI & 27.X. 1926, Queen’s Hall, London
Producer: unknown, Balance engineer: Arthur Clarke Olivier Messiaen
10 Le Banquet céleste (1926, reV. 1932) 7.23

L’Ascension† (1934)
11 I. Majesté du Christ demandant sa gloire à son Père 6.45
12 II. Alleluias sereins d’une âme qui désire le ciel 7.53
13 III. Transports de joie d’une âme devant la gloire du Christ quie est la sienne 4.18
14 IV. Prière du Christ montant vers son Père 9.10
Olivier Messiaen organ
Recorded: 26.VII & 13–25.VI. 1956, L’Église de la Trinité, Paris
Producers: Serge Moreaux & Roland de Candé, Balance engineer: André Charlin
Transferred from 78s, digitally remastered, and audio restoration carried out at Abbey Road Studios
by Andrew Walter (1–9)
Messiaen performances (10–14) digitally remastered and newly edited from the original tapes at
Abbey Road Studios by Andrew Walter
 
CD 7 P 1994* 74.55 Edward Elgar 1857–1934
Violin Concerto in B minor Op.61 1 I. Allegretto 17.25
2 II. Andante 13.03
3 III. Allegro molto 10.11
4 Cadenza (accompagnata: Lento) – Allegro molto 9.09
Yehudi Menuhin violin
London Symphony Orchestra
Sir Edward Elgar
Recorded: 14–15.VII. 1932, No.1 Studio, Abbey Road, London
Producer: Fred Gaisberg, Balance engineer: unknown
Cello Concerto in E minor Op.85 5 I. Adagio – Moderato 7.03
6 II. Lento – Allegro molto 4.32
7 III. Adagio 4.02
8 IV. Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio, come prima – Allegro molto 9.19
Beatrice Harrison cello
New Symphony Orchestra/Sir Edward Elgar
Recorded: 23.II. 1928, Kingsway Hall, London
Producer: Fred Gaisberg, Balance engineers: M.J.C Alexander, W. Vogel, A.S Clarke & A.D Laurence (23.III. 1928) ; Vogel, Clarke & G.W. Dilnutt (13.VI. 19.28)
These recordings are reissued in association with the Elgar Society and the Elgar Foundation.
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios by Andrew Walter.
 
CD 8 P 1994* 71.21 Olivier Messiaen 1908–1992
1 Apparition de l’Église éternelle (1932) 10.18
La Nativité du Seigneur (1935) † 2 I. La Vierge et l’Enfant 5.11
3 II. Les Bergers 7.21
4 III. Desseins éternels 5.18
5 IV. Le Verbe 13.44
6 V. Les Enfants de Dieu 4.39
7 VI. Les Anges 3.14
8 VII. Jésus accepte la souffrance 4.56
9 VIII. Les Mages 6.27
10 IX. Dieu parmi nous 9.29
Olivier Messiaen organ
Recorded: 4.VI. 1956 †15–22.VI. 1956, Église de la Sainte-Trinité
Producers: Serge Moreux & Roland de Candé, Balance engineer: André Charlin
Digitally remastered and newly edited from the original tapes, at Abbey Road Studios, by Simon Gibson & Andrew Walter
 
CD 9 P 1994* 79.24 Sergei Prokofiev 1891–1953
Piano Concerto No.3 in C Op.26 (1921)
1 I. Andante – Allegro 8.28
2 II. Tema con variazioni (Andantino) 7.45
3 III. Allegro ma non troppo 8.34
Sergei Prokofiev piano
London Symphony Orchestra/Piero Coppola
Recorded: 27–28.VI. 1932, No.1 Studio, Abbey Road, London
Producer: Lawrance Collingwood, Balance engineer: unknown
4 Suggestion diabolique (No.4 from 4 Pieces, Op.4 – 1908) 2.25 Recorded: 4.III. 1935, Paris
Producer and balance engineer: unknown
Visions fugitives Op.22 (1915–17) 5 No.3: Allegretto 0.55
6 No.5: Molto giocoso 0.23
7 No.6: Con eleganza 0.19
8 No.9: Allegretto tranquillo 1.06
9 No.10: Ridicolosamente 0.51
10 No.11: Con vivacità 0.55
11 No.16: Dolente 1.33
12 No.17: Poetico 0.52
13 No.18: Con una dolce lentezza 1.17
Recorded: 12.II. 1935, Paris
Producer and balance engineer: unknown
14 Gavotte Op.25 (1916–17) 1.22
Transcribed for piano from Symphony No.1 in D ‘Classical’, movement III
Recorded: 26.II. 1935, Paris
Producer and balance engineer: unknown
Sonata No.4 Op.29 (1908–17) 15 II. Andante assai6.12
Recorded: 4.III. 1935, Paris
Producer and balance engineer: unknown
16 Gavotte1.22

(No.3 from 4 Pieces, Op.32 – 1918)
Recorded: 4.III. 1935, Paris
Producer and balance engineer: unknown
Sergei Prokofiev piano Alexander Glazunov 1865–1936
The Seasons: Ballet in 1 Act Op.67 (1901) 17 I. Winter: Introduction 3.28
18 Scene 1: Variation 1 (The Frost) 0.51
19 Variation 2 (The Ice) 1.13
20 Variation 3 (The Hail) 0.53
21 Variation 4 (The Snow) 2.56
22 II. Scene 2: Spring 4.18
23 III. Scene 3: Summer 2.02
24 Waltz of the Cornflowers and Poppies 2.00
25 Barcarolle-Variation-Coda 6.02
26 IV. Scene 4: Autumn: Bacchanale 4.20
27 Petit Adagio 4.02
28 Finale 2.32
Orchestra conducted by Alexander Glazunov
Recorded: 10, 13 & 14.VI. 1929, Portman Rooms, Baker Street, London
Producer: Joseph Batten, Balance engineer: unknown
Transferred from 78s, digitally remastered, and audio restoration carried out at Abbey Road Studios by Andrew Walter
 
CD 10 P 1994* 78.30 Heitor Villa-Lobos 1887–1959
Bachianas brasileiras No.2 (1930) 1 IV. Toccata: Un poco moderato (‘O Trenzinho do Caipira’) 4.07
Recorded: 11.V. 1956, Salle de la Mutualité, Paris
Producer: René Challon, Balance engineer: Walter Ruhlmann Bachianas brasileiras No.5
2 I. Aria (Cantilena) : Adagio (1938) 6.19
3 II. Dança (Martelo) : Allegretto (1945) 4.26
Victoria de los Angeles soprano
8 cellos, Fernand Benedetti solo cello
Recorded: 7 & 13.VI. 1956, Salle de la Mutualité, Paris
Producer: René Challon, Balance engineer Walter Ruhlmann
Miniaturas
4 No.2: Viola (1916) 2.55
Modhinas e Cançÿes, Vol.1
5 No.3: Cantilena (1938) 2.04
Frederick Fuller baritone, Heitor Villa-Lobos piano
Recorded: 12.II. 1948, No.3 Studio, Abbey Road, London
Producer: Victor Carne, Balance engineer: Douglas Larter
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios, London, by Andrew Walter
6 Momoprecoce – Fantasy for piano & orchestra (1929) 22.42
Magda Tagliaferro piano
Recorded: 9–10.VI. 1954, Théâtre des Champs-Élysées, Paris
Producer: René Challon,Balance engineer: Walter Ruhlmann
Bachianas brasilerias No.4 (1939–41) 7 I. Prelúdio (Introdução) : Lento 8.40
8 II. Coral (Canto do Sertão) : Largo 4.10
9 III. Ária (Cantiga) : Moderato 6.06
10 IV. Dança (Miudinho) : Muito animado 3.39
Recorded: 14.V. 1957, Salle de la Mutualité, Paris
Producer: René Challon, Balance engineer: Walter Ruhlmann
P 1958 EMI France.
11 Chôros No.10 ‘Rasga o Coraçâo’ (1926) Chorale des Jeunesses Musicales de France chorus master Louis Martini 12.47
Recorded: 24.V. 1957, Salle de la Mutualité, Paris
Producer: René Challon, Balance engineer: Walter Ruhlmann
Orchestre National de la Radiodiffusion Française/Heitor Villa-Lobos
Original tapes digitally remastered and newly re-edited, at Abbey Road Studios, by Simon Gibson & Andrew Walter except where otherwise stated
 
CD 11 P 1994* 75.14 Hans Pfitzner 1869–1949
Das Christelflein Op.20 (1906, reV. 1917) 1 Overture 10.56
Recorded: 1927, Berlin
Producer and balance engineer: unknown
Palestrina (1912–15) Opera in three acts
2 Prelude, Act I 6.59
3 Prelude, Act II 6.01
4 Prelude, Act III 7.21
Recorded: 1931, Berlin
Producer and balance engineer: unknown
5 Duo for violin, cello and small orchestra Op.43 (1937) 12.58 Max Strub violin, Ludwig Hoelscher cello
Orchester der Staatsoper, Berlin/Hans Pfitzner
Recorded: II. 1938, Berlin
Producer: Walter Michael Berten, Balance engineer: Robert Beckett
6 Hast du von den Fischerkindern Op.7 No.1 (Müller von Königswinter) 2.54 Recorded: 4.II. 1938, Electrola Studios
Producer: Walter Michael Berten, Balance engineer: Robert Beckett
7 Der Gärtner Op.9 No.1 (Eichendorff) 2.49
8 Die Einsame Op.9 No.2 (Eichendorff) 2.33
9 Zum Abschied meiner Tochter Op.10 No.3 (Eichendorff) 2.11 10 Michaelskirchplatz Op.19 No.2 (Busse) 2.11
11 In Danzig Op.22 No.1 (Eichendorff) 3.22
12 Nachts Op.26 No.2 (Eichendorff) 2.41
13 Abbitte Op.29 No.1 (Hölderlin) 2.37
Recorded: X. II. 1939, Electrola Studios
Producer: Walter Michael Berten, Balance engineer: Johannes Hübner
14 Hussens Kerker Op.32 No.1 (Meyer) 4.41
15 Säerspruch Op.32 No.2 (Meyer) 1.19
16 Leuchtende Tage Op.40 No.1 (Jakobowski) 1.09
17 Herbstgefühl Op.40 No.4 (Greif) 1.35
Recorded: 4.II. 1938; Electrola Studios
Producer: Walter Michael Berten, Balance engineer: Robert Beckett
Gerhard Hüsch baritone, Hans Pfitzner piano
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios, London, by Andrew Walter
The Polydor recordings (1–4) are included with the kind permission of Polygram
 
CD 12 P 1993* 77.03 Darius Milhaud 1892–1974
1 La Création du monde Op.81 (1923) 14.48

Ballet (Scenario: Blaise Cendrars)
Orchestra of 19 Soloists, Darius Milhaud
Recorded: II & III. 1932, Studio Albert, Paris
Producer and balance engineer: unknown
Scaramouche Op.165b† (1937) 2 I. Vif2.53
3 II. Modéré 3.40
4 III. Brazilieira 2.06
Marcelle Meyer, Darius Milhaud pianos
Recorded: 6.XII. 1938, Studio Albert, Paris
Producer: unknown, Balance engineer: M. Hamard
Saudades do Brasil Op.67‡ (1921) 5Ouverture0.48
6 I. Sorocaba 1.35
7 II. Botafogo 1.50
8 III. Leme 2.39
9 IV. Copacabana 2.39
10 V. Ipanema 2.00
11 VI. Gavea 1.31
12 VII. Corcovado 1.51
13 VIII. Tijuca 1.45
14 IX. Sumaré 1.55
15 X. Paineras 1.13
16 XI. Larenjeiras 1.06
17 XII. Paysandú 1.53
Suite provençale Op.152b† (1936) 18 I. Animé 1.39
19 II. Très modéré 1.35
20 III. Modéré1.58
21 IV. Vif 1.09
22 V. Modéré 1.43
23 VI. Vif 1.09
24 VII. Lent 2.19
25 VIII. Vif 3.38
The Concert Arts Orchestra/Darius Milhaud
Recorded: 11–12.IX. 1956 (Saudades) ; 13.IX. 1956 (Suite) , Studio ‘A’, Capitol Tower, Hollywood
Producer: Richard C. Jones, Balance engineer: unknown
26 Le Bœuf sur le toit Op.58 (1919) 15.09 Scenario: Jean Cocteau
Orchestre du Théâtre des Champs-Élysées/Darius Milhaud
Recorded: 16, 18 & 19.III. 1958, Théâtre des Champs-Élysées, Paris
Producer: unknown, Balance engineer: André Charlin
P 1958 EMI France
 
CD 13 76.21 Francis Poulenc P 1993* 1 Le Bestiaire (Apollinaire) (1919) 4.41 Le dromadaire
La chèvre du Tibet
La sauterelle
Le dauphin
L’écrevisse
La carpe
Recorded: 11.XII. 1945, No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: Arthur Clarke
Chansons gaillardes (anon) (1926) 2 Invocation aux Parques 1.31
3La belle jeunesse 1.21
Recorded: 7.VII. 1936, Studio Albert, Paris
Producer & balance engineer: unknown
Tel jour, telle nuit (Paul Éluard) (1936–7) 4 Bonne journée 2.31
5 Une ruine coquille vide 2.00
6 Le front comme un drapeau perdu 1.03
7 Une roulette couverte en tuiles 0.48
8 À toutes brides 0.39
9 Une herbe pauvre 1.31
10 Je n’ai envie que de t’aimer 0.42
11 Figure de force brûlante et farouche 1.09
12 Nous avons fait la nuit 2.51
Recorded: 26.VI. 1946; No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: Robert Beckett
Deux poèmes de Guillaume Apollinaire (1938) 13 Dans le jardin d’Anna 2.58
Recorded: 2.VII. 1946; No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: William Dickson
Métamorphoses (Louis de Vilmorin) (1943) 14 Reine des mouettes 0.55
15 C’est ainsi que tu es 2.04
16 Paganini 0.56
Deux poèmes de Louis Aragon (1943)
17 ‘C’ 3.06
18 Fêtes galantes 0.58
19 Montparnaste Deux mélodies de Guillaume Apollinaire 3.40
Recorded: 11.XII. 1945, No.3 Studio, Abbey Road
Producer: Walter Legge, Balance engineer: Arthur Clarke
Pierre Bernac baritone, Francis Poulenc piano
  Benjamin Britten 1913–1976 P 2008*
Seven Sonnets of Michelangelo Op.22 (1940)
20. Si come nella penna 2.03
21 A che più debb’io mai 1.20
22 Veggio co’ bei vostri occhi 3.10
23 Tu sa’ ch’io so 1.46
24. Rendete a gli occhi miei 1.50
25 S’un casto amor 1.15
26 Spirto ben nato 4.42
Recorded: 20.XI. 1942, No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: Arthur Clarke
Holy Sonnets of John Donne Op.35 (1945) 27 Oh my blacke soule 3.17
28 Batter my heart 1.11
29 O might those sighes and teares 3.01
30 Oh, to vex me 1.02
31 What if this present 2.54
32 Since she whom I loved 3.46
33 At the round earth’s imagined corners 2.45
34 Thou hast made me 1.22
35 Death, be not proud 4.10
Recorded: 29.VIII & 12.XII. 1947, No.3 Studio, Abbey Road, London
Producer: Lawrance Collingwood, Balance engineer: Charles Anderson
Peter Pears tenor, Benjamin Britten piano
Transferred from 78s, digitally remastered, and audio restoration carried out at Abbey Road Studios, London, by Andrew Walter
The loan by Richard Bebb of two 78s of Poulenc songs is gratefully acknowledged
 
CD 14 P 1993* 76.11 Dmitri Shostakovich 1906–1975
Concerto for piano, trumpet and strings in C minor Op.35 (1933)
1 I. Allegro moderato – Allegro vivace – Moderato 6.03
2 II. Lento 7.50
3 III. Moderato 1.47
4 IV. Allegro con brio – Presto – Allegretto poco moderato – Allegro con brio 6.14
Dmitri Shostakovich piano, Ludovic Vaillant trumpet
Piano Concerto No.2 in F Op.102 (1957)
5 I. Allegro 6.31
6 II. Andante 5.33
7 III. Allegro 5.15
Dmitri Shostakovich piano
Orchestre National de la Radiodiffusion Française/André Cluytens
24–26.V. 1958; Salle Wagram, Paris
Producer: René Challan, Balance engineer: Paul Vavasseur
Three Fantastic Dances Op.5 (1922) 8 I. Allegretto in C 0.53
9 II. Andantino in G minor 1.14
10 III. Allegretto in C 0.49
Preludes and Fugues Op.87 (1950–51)
11 No.1: Moderato in C 4.56
12 No.4: Andante – Adagio in E minor 7.24
13 No.5: Allegretto in D major 2.48
14 No.23: Adagio – Moderato con moto 6.42
15 No.24: Andante – Moderato† in D minor 11.42
Dmitri Shostakovich piano
Recorded: 30.V (Op.5) & 12.IX. 1958 (Op.87) , Salle Wagram, Paris
Producer: Norbert Gamsohn, Balance engineer: Paul Vavasseur
Digitally remastered at Abbey Road Studios by Paul Baily & Simon Gibson
P 1959 EMI France, †1958 Angel Records Ltd.
 
CD 15 P 1993* 77.42 Igor Stravinsky 1882–1971
Les Noces (1917–23)
Russian choreographic scenes
Part I
1 Scene 1: The Bride’s Chamber 5.16
2 Scene 2: At the Bridegroom’s 5.37
3 Scene 3: The Bride’s Departure 2.57
Part II
4 Scene 4: The Wedding Feast 9.44
Kate Winter soprano, Linda Seymour contralto
Parry Jones tenor, Roy Henderson baritone, BBC Chorus
Berkeley Mason, Leslie Heward, Ernest Lush, Edwin Benbow piano
Percussion ensemble/Igor Stravinsky
Sung in the English version by D. Millar Craig
Recorded: 10.VII. 1934, No.1 Studio, Abbey Road, London
Producer: Joseph Batten, Balance engineer: unknown
Octet for wind instruments (1923)
5 I. Sinfonia (Lento – Allegro moderato) 4.04
6 II. Tema con variazioni 7.32
7 III. Finale (Tempo giusto) 3.27
Marcel Moyse flute, Émile Godeau clarinet, Gustave Dhérin, Marus Piard bassoon
Eugène Foveau, Pierre Vignol trumpet, André Lafosse, Raphaël Delbos trombone
Igor Stravinsky
Recorded: 6 & 9.V. 1932, Studio Albert, Paris
Producer and balance engineer: unknown
Capriccio for piano and orchestra (1929)
8 I. Presto – Doppio movimento 6.52
9 II. Andante rapsodico 5.03 10 III. Allegro capriccioso ma tempo giusto 5.35
Igor Stravinsky piano
Walther Straram Concert Orchestra/Ernest Ansermet
Recorded: 8–10.V. 1930, Théâtre des Champs-Élysées, Paris
Producer and balance engineer: unknown
Symphony of Psalms (1930)
11 I. Psalm 38, vV. 13 & 14 3.24
12 II. Psalm 39, vV. 2–4 6.35
13 III. Psalm 150 11.11
Alexis Vlassov Choir
Walther Straram Concerts Orchestra/Igor Stravinsky
Recorded: 17–18.II. 1931, Théâtre des Champs-Élysées, Paris
Producer and balance engineer: unknown
 
CD 16 P 1993* 77.35 Igor Stravinsky
1 Pastorale (1907/transcribed† 1933 for violin and wind quartet) 2.44 Samuel Dushkin violin, Louis Gromer oboe, George Durand cor anglais
André Vacellier clarinet, Gabriel Grandmaison bassoon
Recorded: 6.VI. 1933; Studio Albert, Paris
Producer and balance engineer: unknown
L’Oiseau de feu (1910/transcribed† 1932 for violin and piano)
2 Scherzo 2.42
3 Berceuse 3.13
Recorded: 6.VI & 6.IV. 1933, Studio Albert, Paris
Producer and balance engineer: unknown
Petrushka (1911/transcribed† 1932 for violin and piano)
4 Danse russe2.48
Recorded: 6.IV. 1933, Studio Albert, Paris
Producer and balance engineer: unknown
Le chant du rossignol (1917/transcribed† 1932 for violin and piano)
5 Airs du rossignol 4.38
6 Marche chinoise 3.22
Recorded: 8.VI. 1933, Studio Albert, Paris
Producer and balance engineer
Samuel Dushkin violin, Igor Stravinsky piano
7 Ragtime for 11 instruments (1918) 4.21
Aladar Racz cimbalon, Roland Charmy, Henri Volant violins, Étienne Ginot viola
Louis Juste double bass, Lucien Lavaillotte flute, Émile Godeau clarinet
Eugène Foveau trumpet, Jean Devemy horn
Roger Tudesq trombone, Jean Morel percussion
Recorded: 13.VII. 1934, Studio Albert, Paris
Producer and balance engineer: unknown
8 Piano-rag-music (1919) 3.12 Igor Stravinsky piano
Recorded: 5.VII. 1934, Studio Albert, Paris
Producer and balance engineer: unknown
Suite italienne (1920/transcribed† 1933 for violin and piano from Pulcinella) 9 II. Serenata 2.54
10 V. Scherzino 1.22
Samuel Dushkin violin, Igor Stravinsky piano
Recorded: 7.IV. 1933, Studio Albert, Paris
Producer and balance engineer: unknown
Serenade in A (1925) 11 I. Hymn 2.59
12 II. Romanza 2.32
13 III. Rondoletto 2.52
14 IV. Cadenza – Finale 2.52
Igor Stravinsky piano
Recorded: 5–6.VII. 1934, Studio Albert, Paris
Producer and balance engineer: unknown
Duo concertante for violin and piano (1932) 15 I. Cantilène 2.56
16 II. Eclogue I 2.07
17 III. Eclogue 2 2.36
18 IV. Gigue 4.22
19 V. Dithyrambe2.39
Samuel Dushkin violin, Igor Stravinsky piano
Recorded: 6–7.IV. 1933, Studio Albert, Paris
Producer and balance engineer: unknown
Concerto for two solo pianos (1935) 20 I. Con moto 6.25
21 II. Notturno (Adagietto) 4.32
22 III. Quattro variazioni 4.14
23 IV. Preludio e Fuga 4.19
Soulima Stravinsky, Igor Stravinsky pianos
Recorded: 14 & 16.II. 1938, Studio Pathé-Marconi, Paris
Producer: unknown, Balance engineer: M.Cailly
 
CD 17 P 1993* 72.47 Richard Strauss 1864–1949
Ein Alpensinfonie Op.64 (1911–15) 1 Night 2.44
2 Sunrise 1.24
3 The ascent 2.10
4 Entering the forest 4.36
5 Wandering by the brook 0.39
6 By the waterfall 0.14
7 Apparition 0.46
8 On flower-covered meadows 0.55
9 On alpine pasture 2.05
10 Lost in the thicket and the undergrowth 1.37
11 On the glacier 1.03
12 Hazardous moments 1.32
13 On the summit 4.09
14 Vision 3.42
15 The mist rises 0.19
16 The sun gradually darkens 0.51
17 Elegy1.45
18 The calm before the storm2.06
19 The thunderstorm – Descent3.44
20 Sunset 1.35
21 Conclusion 5.40
22 Night 1.49
Bayerische Staatskapelle/Richard Strauss
Recorded: V. 1941, Saal des Deutschen Museums, Munich
Producer: Walter Michael Berten, Balance engineer: Johannes Hübener
Der Rosenkavalier – film music (1952)
(Orchestral transcriptions from the opera [1910], with a March in D [1906])
23 Introduction…love scene (Marschallin & Octavian) (Act 1) 4.00
24 Marschallin’s Monologue (Act 1) 2.26
25 Presentation March
(‘De Brandenburgsche Mars’ – No.1 from Zwei Militärmärsche, 1906) 1.39
26 The Presentation of the Silver Rose (Act 2) 4.52
27 Love Duet (Octavian & Sophie) (Act 2) 2.38
28 Waltz (Act 3/Act 2) 4.08
29 Trio (Octavian, Marschallin & Sophie) (Act 3) 4.17
30 Final Duet (Sophie & Octavian) …Coda (Act 3) 2.34
Augmented London Tivoli Theatre Orchestra/Richard Strauss
Recorded: 13.IV. 1926, Large Queen’s Hall, London
Producer and balance engineer: unknown
Transferred from 78s, digitally remastered, and audio restoration carried out, at Abbey Road Studios,
London, by Andrew Walter
 
CD 18 P 1993* 76.13 Enrique Granados 1867–1916
Danzas españolas Op.31 (1892–1900) 1 No.7: Valenciana (Calasera) 3.02
2 No.10: Danza triste 3.06
Goyescas (1911) 3 Improvisation on No.7: El pelele 3.01
Enrique Granados piano Manuel de Falla 1876–1946
Siete canciones populares españolas (1914)
4 I. El paño moruno 1.21
5 II. Seguidilla murciana 1.19
6 III. Asturiana 2.28
7 IV. Jota3.09
Recorded: 31.III. 1928, Studio Albert, Paris
Producer: unknown, Balance engineer: F. Reed
8 V. Nana 1.33
9 VI. Canción 1.17
10 VII. Polo 1.31
Recorded: 3 & 5.VI. 1930, Studio Albert, Paris
Producer: unknown, Balance engineer: M. Cailly
El amor brujo (1915) 11 Canción del fuego fátuo 1.35
12 Soneto a Córdoba (L. de Góngora) (1927) 3.07
Recorded: 3 & 5.VI. 1930, Studio Albert, Paris
Producer: unknown, Balance engineer: M. Cailly
Maria Barrientos soprano, Manuel de Falla piano
Harpsichord Concerto (1926) 13 I. Allegro 3.25
14 II. Lento 7.25
15 III. Vivace 4.06
Manuel de Falla harpsichord, Marcel Moyse flute, George Bonneau oboe
Émile Godeau clarinet, Marcel Darrieux violin, Auguste Cruque cello
Recorded: 2 & 7.VI. 1930, Studio Albert, Paris
Producer: unknown, Balance engineer: M. Cailly Federico Mompou 1893–1987
16 Jeunes filles au jardin (Scènes d’enfants, No.5) (1915–18) 3.10
17 El carrer el guitarrisra i el vell cavall (Suburis, No.1) (1916–17) 3.51 18 Canción y danza (cançó i dansa) No.5 (1942) 4.13
19 La fuente y la capaña (Paiajes, No.1) (1942) 3.25
20 Canción y danza (cançó i dansa) No.6 (1942) P 1993 3.30 21 Canción y danza (cançó i dansa) No.8 (1946) 3.49 Federico Mompou piano
Recorded: 6–7 & 9–10.II. 1950, No.3 Studio, Abbey Road, London
Producer: Peter de Jangh, Balance engineers: Francis Dillnutt & Robert Beckett Joaquín Nin 1879–1949
20 cantos populares españoles
22 No.3 Tonada de la niña perdida 1.39
23 No.4 Montañesa 2.29
24 No.6 Malagueña 2.02
25 No.7 Granadina 1.51
26 No.19 Canto Andaluz 1.28
27 No.20 Polo 1.53
Ninon Vallin soprano, Joaquín Nin piano
Recorded: 3.XII. 1929, Salle du Conservatoire, Paris
Producer and balance engineer: unknown
Transferred from 78s and tape originals, digitally remastered and audio restoration carried out at Abbey Road Studios, London, by Andrew Walter
 
CD 19 69.57 Edward Elgar
Variations on an original theme (‘Enigma’) Op.36 (1899) P 1993*
1 Theme 1.34
2 I. C.A.E. (the composer’s wife, Caroline Alice) – L’istesso tempo 2.05
3 II. H.D.S-P. (Hew David Steuart-Powell) – Allegro 0.44
4 III. R.B.T. (Richard Baxter Townshend) – Allegretto 1.26
5 IV. W.M.B. (William Meath Baker) – Allegretto di molto 0.31
6 V. R.P.A. (Richard Penrose Arnold) – Moderato 1.53
7 VI. Ysobel (Isabel Fitton) – Andantino 1.21
8 VII. Troyte (Arthur Troyte Griffith) – Presto 0.54
9 VIII. W.N. (Winifred Norbury) – Allegretto 1.42
10 IX. Nimrod (August Johannes Jaeger) – Adagio 2.52
11 X. Intermezzo: Dorabella (Dora Penny) – Allegretto2.33
12 XI. G.R.S. (George Robertson Sinclair) – Allegretto di molto 0.51
13 XII. B.G.N. (Basil G. Nevinson) – Andante 2.16
14 XIII. Romanza: *** (Lady Mary Lygon) – Moderato2.05
15 XIV. Finale: E.D.U. (the composer) – Allegro4.33
Royal Albert Hall Orchestra/Sir Edward Elgar
Recorded: 28.IV & 30.VIII. 1926, Queen’s Hall, London
Producer: Fred Gaisberg, Balance engineers: Arthur Clarke, George Dillnutt & Edward Fowler Gustav Holst 1874–1934
The Planets Op.32 (1914–1916) P 1992* 16 I. Mars, the Bringer of War (Allegro) 6.18
17 II. Venus, the Bringer of Peace (Adagio) 7.15
18 III. Mercury, the Winged Messenger (Vivace) 3.32
19 IV. Jupiter, the Bringer of Jollity (Allegro giocoso – Andante maestoso) 7.01
20 V. Saturn, the Bringer of Old Age (Adagio) 6.57
21 VI. Uranus, the Magician (Allegro) 5.57
22 VII. Neptune, the Mystic (Andante) 5.23
(with women’s chorus)
London Symphony Orchestra/Gustav Holst
Recorded: 22.VI (16 & 19) ; 2.VII & 14.IX (17) ; 2.VII (21) ; 14.IX (20) & 22.X. 1926 (18 & 22) , Large Studio, Petty France, London
Producer: unknown, Balance engineer: Arthur Brooks
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios
by Andrew Walter.
 
CD 20 P 1993* 77.46 Franz Lehár 1870–1948
Die lustige Witwe (1905)
1 Overtüre (1940) 7.52
Zigeunerliebe (1908) (Willner & Bodanzky) 2 Hör’ ich Cymbalklänge (Akt III) 4.27
I. 1942
Esther Réthy soprano
Eva (1911) (Willner, Bodanzky & Spero) 3 Vorspiel 5.46
4 Im heimlichen Dämmer (Akt I) 4.38
I. 1942
Maria Reining soprano
Paganini (1925) (Knepler & Jenbach)
5 Ich kann es nicht fassen…Liebe, du Himmel auf Erden (Akt II) 3.10
V. 1940
Esther Réthy soprano
Der Zarewitsch (1927) (Jenbach & Reichert) 6 Einer wird kommen (Akt I) 3.20
I. 1942
Esther Réthy soprano
Friederike (1928) (Herzer & Löhner)
7 Warum hast du mich wachgeküßt? (Akt II) 3.38
I. 1942
Maria Reining soprano
Wiener Philharmoniker (1 & 5) , Wiener Symphoniker (2–4, 6 & 7)
Franz Lehár
Recorded: Musikvereinssaal, Vienna, recording dates as shown
Producer: Walter Michael Berten, Balance engineer: Johannes Hübener
Das Land des Lächelns (1929) (Herzer & Löhner) 8 Ich trete ins Zimmer…Immer nur lächeln (Akt I) 3.11
3.X. 1929
9 Mein lieber Prinz…Bei einem Tee en deux (Akt I) 3.15
3.X. 1929
10 Von Apfelblüten einen Kranz (Akt I) 3.09
4.X. 1929
11 Wer hat die Liebe in Herz gesenkt? (Akt II) 3.54
3.X. 1929
12 Dein ist mein ganzes Herz! (Akt II) 3.12
3.X. 1929
13 Alles vorbei!...Ich möcht’ wieder einmal (Akt II) 2.12
22.X. 1929
14 Ihr Götter, sagt…Kann es möglich sein? (Akt II) 2.27
4.X. 1929
Vera Schwarz soprano, Richard Tauber tenor
Staatskapelle Berlin/Franz Lehár
Schön ist die Welt (1930) (Herzer & Löhner) 15 Ich bin verliebt (Akt III) 3.31
I. 1942
Recorded: Berlin (8–14) Musikvereinssaal, Vienna (15) recording dates as shown
Producer: Walter Michael Berten, Balance engineer: Johannes Hübener
Esther Réthy soprano
Wiener Symphoniker/Franz Lehár
Giuditta (1943) (Knepler & Löhner)
16 Freunde, das Leben ist lebenswert! (Auftrittslied) (1. Szene) 3.09
17 Schön wie die blaue Sommernacht (2. Szene) 3.15
18 Welch tiefes Rätsel ist die Liebe…Du bist meine Sonne! (3. Szene) 3.14
19 Ich weiß es selber nicht…Meine Lippen, sie küssen so heiß (4. Szene) 3.23
20 So wie um den Sonnenball (4. Szene) 2.58
21 Schönste der Frau’n“ begann das Lied (5. Szene) 3.12
Recorded: 11.1.1934, Mittlerer Konzerthaussaal, Vienna
Jarmila Novotná soprano, Richard Tauber tenor
Wiener Philharmoniker/Franz Lehár
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios, London by Andrew Walter
 
CD 21 P 1993* 78.42 Nikolai Medtner 1880–1951
1 Russian Round Dance (A Tale) Op.58 No.1 (1944) 5.51 Benno Moiseiwitsch, Nicolas Medtner pianos
Recorded: 24.X. 1946, No.3 Studio, Abbey Road, London
Producer: unknown, Balance engineer: Charles Anderson
2 Shto ty klonish nad vodami (The Willow) Op.24 No.2 (1912) P 1993 1.14
3 Shopot, robkoye dykhan’ye (Down in the garden) Op.24 No.7 (1912) P 1993 1.39 Recorded: 6.IX. 1947, No.3 Studio, Abbey Road, London
Producer: Peter de Jongh, Balance engineer Charles Anderson
4 Serenade Op.28 No.2 (1913) 1.56 Recorded: 9.IX. 1947, No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: Harold Davidson
Oda Slobodskaya soprano, Nikolai Medtner piano
2 Tales Op.47 (1910) 5 No.1: Allegro con espressione in B flat minor 2.49
6 No.2: ‘Campanella’ (pesante. Minaccioso) in B minor 3.37
Nikolai Medtner piano
Recorded: 21.IV. 1936, No.3 Studio, Abbey Road, London
Producer: Lawrance Collingwood, Balance engineer: unknown
7 The Muse Op.29 No.1 (1913) 3.02 Recorded: 16.X. 1950
8 The Rose Op.29 No.6 (1913) 1.54
22.XI. 1950
9 The Waltz Op.32 No.5 (1914) 2.42
16.X. 1950
10 When roses fade Op.36 No.3 (1923) 2.12
22.XI. 1950
Elisabeth Schwartzkopf soprano, Nicolas Medtner piano
Recorded: No.3 Studio, Abbey Road, London, recording dates as shown
Producer: Walter Legge, Balance engineer: Douglas Larter
6 Tales Op.51 11 No.1: Allegro molto vivace in D minor 5.31
Nikolai Medtner piano
Recorded: 21 & 31.III. 1947, No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: Charles Anderson
12 Zimniy vecher (Winter Evening) Op.13 No.1 (1907) P 1993 4.00 Recorded: 4.IX. 1947
13 Mechtatelyu (To a Dreamer) Op.32 No.6 (1914) P 1993 4.15
6.IX. 1947
14 Telega zhini (The Wagon of Life) Op.45 No.2 (1926) 2.31
19.IX. 1947
15 Vorony (The Raven) Op.52 No.2 (1929) 2.28
19.IX. 1947
Oda Slobodskaya, Tatiana Makushina (12) soprano
Nikolai Medtner piano
Recorded: No.3 Studio, Abbey Road, London, recording dates as shown
Producers: Peter de Jongh (12 & 13) ; Walter Legge (14 & 15)
Balance engineers: Charles Anderson (12 & 13) ; Harold Davidson (14 & 15)
6 Tales Op.51 (1929) 16 No.2: Allegretto cantabile ed espressivo in A minor 3.39
Nicolas Medtner piano
Recorded: 22.IV. 1936, No.3 Studio, Abbey Road, London
Producer: Lawrance Collingwood, Balance engineer: unknown Goethe-Lieder
17 Elfenliedchen (Elves’ ditty) Op.6 No.3 (1904) 1.28
18 Im Vorübergehen (In passing) Op.6 No.4 (1904) 2.17
22.XI. 1950
19 Selbstbetrug (Self-deception) Op.15 No.3 (1908) 1.26
22.XI. 1950
20 Aus ‘Lila’ (So tanzet) (From ‘Lila’) Op.15 No.5 (1908) 1.05
19.X. 1950
21 Meeresstille (Calm at sea) Op.15 No.7 (1908) 2.48
22 Glückliche Fahrt (Prosperous voyage) Op.15 No.8 (1908) 1.14
22.XI. 1950
23 Einsamkeit (Solitude) Op.18 No.3 (1910) 2.14
16.X. 1950
Elisabeth Schwarzkopf soprano, Nikolai Medtner piano
Recorded: No.3 Studio, Abbey Road, London, recording dates as shown
Producer: Walter Legge, Balance engineer: Douglas Larter
6 Tales Op.51 (1929) 24 No.3: Allegretto tranquillo e grazioso – Allegro non troppo in A 3.24
Nikolai Medtner piano
Recorded: 8.V. 1936, No.3 Studio, Abbey Road, London
Producer: Lawrance Collingwood, Balance engineer: unknown
7 Lieder Op.46 (1927) 25 No.1: Praeludium (Prelude) 1.58
26 No.5: Winternacht (Winter night) 3.31
27 No.6: Die Quelle (The Stream) 2.09
Elisabeth Schwarzkopf soprano, Nicolas Medtner piano
Recorded: 16.X (25–26) & 22.XI. 1950 (27) , No.3 Studio, Abbey Road, London
Producer: Walter Legge, Balance engineer: Douglas Larter
Forgotten Melodies Op.38 (1919) 28 No.3: Danza festiva (Presto) 4.43
Nikolai Medtner piano
Recorded: 22.IV. 1936, No.3 Studio, Abbey Road, London
Producer: Lawrance Collingwood, Balance engineer: unknown
Transferred from 78s and from tape originals, digitally remastered, and audio restoration carried
out at Abbey Road Studios, London, by Andrew Walter
All recordings, except those from 1936 and 1946, were made under the auspices of the Maharajah of Mysore’s Musical Foundation.
 
CD 22 P 1993* 74.22 Albert Roussel 1869–1937
Le Festin de l’araignée Op.17 (1912) Fragments symphoniques
1 Prélude 3.39
2 Entrée des Fourmis 1.07
3 Danse du Papillon 3.20
4 Éclosion de l’Éphémère 1.59
5 Danse de l’Éphémère 3.15
6 Funérailles de l’Éphémère 1.47
7 La nuit tombe sur le jardin solitaire 1.03
Orchestra conducted by Albert Roussel
Recorded: 1929, Paris
Producer and balance engineer: unknown
Cinq Mélodies
8 Le Jardin mouillé Op.3 No.3 (1903) 2.11
9 Invocation Op.8 No.3† (1907) 3.59
10 Amoureux séparés Op.12 No.2 (1908) 2.00
11 Light Op.19 No.1 (1918) 3.17
12 Sarabande Op.20 No.2 (1919) 2.48
Claire Croiza mezzo-soprano, Albert Roussel piano
Recorded: 5.XII. 1928 & †12.III. 1929, Studio Albert, Paris
Producer: unknown, Balance engineer: F. Reed
8–10 Éditions Salabert, 11 & 12 Durand S.A. Éditions Musicales
P 1993 EMI France (8) . Florent Schmitt 1870–1958
Piano Quintet in B minor Op.51 (1908)
13 II. Lent1 4.36
Florent Schmitt piano
Quatuor Calvet
Joseph Calvet, Daniel Guillevitch violins, Léon Pascal viola, Paul Mas cello
Recorded: 12.VI. 1935, Paris
Producer: unknown, Balance engineer: M. Cailly
Éditions Salabert, Paris
La Tragédie de Salomé Op.50 (1907)
Poème symphonique (1910)
14 I. Prélude 9.58
15 Danse des perles 3.38 16 II. (Lent) 1.35
17 Les Enchantements sur la mer 8.27
18 Danse des éclairs –3.31
19 Danse de l’effroi1.42
Walther Straram Concerts Orchestra/Florent Schmitt
Recorded: 18–19.IV. 1930, Théâtre des Champs-Élysées, Paris
Producer: unknown, Balance engineer: M. Cailly
Éditions Durand S.A., Paris
Transferred from 78s, digitally remastered and audio restoration carried out at Abbey Road Studios, by Andrew Walter

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