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A series of great  Opera records from early 1903 Russian G&Ts to 1940 German War time pressings

HUGO WOLF SOCIETY recordings made by HMV in the  1930s.

Here is the great LAST Volume VI issued 1938

 Helge Roswaenge,   Janssen

 

Vol 6 DB3321 - 3326

103. Der Feuerreiter ("Sehet ihr am Fensterlein"), song for voice & piano (Mörike Lieder)
Helge Roswaenge with

104. Gesellenlied ("Kein Meister fällt von Himmel"), song for voice and piano (Reinick Lieder)
Helge Roswaengewith

105. Mignon I ("Heiß mich nicht reden"), song for voice & piano (Goethe Lieder)
with ,

106. Mignon III ("So lasst mich scheinen"), song for voice & piano (Goethe Lieder)
with ,

107. An den Schlaf ("Schlaf! Süsser Schlaf"), song for voice & piano (Mörike Lieder)
with ,

108. Lebe wohl ("Lebe wohl! Du fühlest nicht"), song for voice & piano (Möricke Lieder)
with ,

109. Ach, im Maien war's, song for voice and piano (Spanisches Liederbuch)
with ,

110. Herz, verzage nicht geschwind, song for voice & piano (Spanisches Liederbuch)
with ,

111. Neue Liebe ("Kann auch ein Mensch"), song for voice & piano (Möricke Lieder)
with ,

112. Storchenbotschaft ("Des Schäfers sein Haus"), song for voice & piano (Möricke Lieder)
with ,

113. Dereinst, dereinst, Gedanke mein, for voice and piano (Spanisches Liederbuch)
with ,

114. Alle gingen, Herz, zur Ruh, song for voice & piano (Spanisches Liederbuch)
with ,

115. Tief im Herzen trag' ich Pein, song for voice and piano (Spanisches Liederbuch)
with ,

116. Sechs Gedichte von Scheffel, Mörike, Goethe & Kerner, for voice & piano
with ,

117. Komm, o Tod, von Nacht umgeben, song for voice and piano (Spanisches Liederbuch)
with ,

118. Wiegenlied im Sommer ("Vom Berg hinabgestiegen"), for voice & piano (Lieder für eine Frauenstimme)
with ,

 

6x12" 78 rpm record

Condition:

EXCELLENT rarest scuffs, NO ALBUM

 

The Hugo Wolf Society was formed in September 1931 for the recording, under the aegis of English His Master's Voice records, a substantial proportion of the song repertoire, in limited editions for subscribers.[7] The selection of artists was restricted to singers under contract to this company. Each volume consisted of six HMV red-label discs (unobtainable separately) and retailed new at $15.00 Am.
Volume I, entirely performed by Elena Gerhardt accompanied by Coenraad V. Bos, presented a selection mainly from the Spanish and Italian songbooks and the Mörike songs. For many years this scarce set [8] was regarded as a collector's prize, and forms a distinct corpus within her recorded art. Later volumes always included more than one singer. Volume II: 16 of the 51 Goethe songs, all (apart from McCormack) accompanied by Coenraad V. Bos, but with Friedrich Schorr's Prometheus with the orchestral accompaniment. Volume III: A selection of 17 items, including three Michelangelo songs, three Mörike songs, four from the Spanisches Liederbuch and six from the Italienisches Liederbuch. All accompanied by Coenraad V. Bos. Volume IV: 30 items from Italienisches Liederbuch. Accompaniments by Coenraad V. Bos, Michael Raucheisen and Hanns Udo Müller. Volume V: A selection of 20 songs (mainly Mörike and Spanisches Liederbuch). Volume VI: Various. Artists included Alexander Kipnis (III, IV, V); Herbert Janssen (II, V); Gerhard Hüsch (II, III, IV, V); John McCormack (accompanied by Edwin Schneider) (II); Alexandre Trianti (II, III); Ria Ginster (IV, V); Friedrich Schorr (II); Elisabeth Rethberg (IV, V); Tiana Lemnitz [9] Each volume was accompanied by a booklet containing a short essay by Ernest Newman (I: Words and Music in Hugo Wolf, II: Wolf's Goethe Songs, III: A Note of Wolf as Craftsman, IV: The Italienisches Liederbuch) together with German texts, English translations (by Winifred Radford) and notes on each song (by Newman).[7]

 

 

 

 

 Alexander Kipnis (Ukrainian: ????????? ??????) born (February 13, (February 1 Julian calendar) 1891 in Zhitomir, the capital of the government of Volhynia, in the Russian Empire, (now Ukraine) – died May 14, 1978 in Westport, Connecticut), was an operatic bass who became an American citizen in 1931, having married an American and long appeared at the Chicago Opera before making his début at the Metropolitan Opera in 1940.

His impoverished family of seven lived in a Jewish ghetto. After his father died, when he was 12, he helped support the family as a carpenter's apprentice and by singing soprano in local synagogues and in Bessarabia (now Moldova) until his voice changed. As a teenager he took part in a Yiddish theatrical group, until he left for employment at a synagogue in Sedlice, Poland. About this time he entered the Warsaw Conservatory at 19. The conservatory did not require a high-school diploma. His education included the study of the trombone, double bass and conducting all the while he continued to sing in synagogues. On the recommendation of the Choirmaster he traveled to Berlin and studied voice with Ernst Grenzebach who was also the teacher of Lauritz Melchior, Meta Seinemeyer, and Max Lorenz, at the same time he sang second bass in Monti's Operetta Theater.

When the First World War started he was interned as an alien in a German holding camp. While singing to himself he was overheard by a Captain whose brother was general manager of the Wiesbaden Opera. Upon his recommendation he was released and hired by the Hamburg Opera where in two years he was to gain enough experience to be hired by Wiesbaden. It was in Hamburg he made his 1915 debut singing three Johann Strauss songs as a "guest" in the party scene of Die Fledermaus. Two years later in 1917 he moved to the Wiesbaden Opera where sang in over 300 performances until 1922, when he joined the Staatsoper in Berlin. The next year he toured the United States with the Wagner Opera Co. For 9 seasons between 1923 and 1932 he was on the roster of the Civic Opera of Chicago. In 1927, at the Bayreuth Festival, he sang Gurnemanz in Parsifal under Karl Muck and recorded the Good Friday music under Siegfried Wagner. (A purported live performance recording in 1933 under Richard Strauss has been generally discounted.). He was under contract with the Berlin Opera until 1935, when he was able to break his contract and get out of Germany. He appeared for three seasons as a guest performer with the Vienna State Opera, 1936-1938. Just after the Anschluss he left Europe and settled permanently in the United States.

By the time he was finally signed by the Metropolitan in 1940 he had sung in virtually every major opera house in the world and was considered one of the world's greatest basses. He sang with almost all of the great conductors, Ansermet, Barbirolli, Beecham, Blech, Busch, Coates, Elmendorff, Furtwängler, Heger, Karajan, Krips, Kleiber, Klemperer, Knappertsbusch, Koussevitsky, Leinsdorf, Mengelberg, Mitropoulos, Monteux, Muck, Nikisch, Ormandy, Pfitzner, Reiner, Rodzinski, Rosbaud, Scherchen, Richard Strauss, Szell, Toscanini, Walter and Weingartner. (And there may be some famous Italians in there as well, from his many highly successful appearances at the Teatro Colón, in Buenos Aires.)

Between 1915 and 1951 he sang at least 108 roles, often in more than one language and his performances in opera and oratorio numbered more than 1600. He retired from the Metropolitan in 1946 and his last concert appearance was in 1951.

His many recordings of Lieder by Brahms, Wolf and Schubert are still highly prized today.

His most famous roles were the bass parts in operas by Mozart, Wagner, and the title role in Mussorgsky's Boris Godunov. In Germany he was also a famous Verdi interpreter. He was also a distinguished interpreter of German and Russian lieder (songs).

 

 

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Pls check my other auctions for more great records and phonograph items:

 

 

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