British Symphony Orchestra discography

This discography is an incomplete, chronological list of recordings originally released with the name British Symphony Orchestra on the label. The list also includes other recordings which fall outside this strict definition: either because they have been included in discographies of specific conductors (e.g. Walter, Weingartner); or were never publicly released for general sale; or have been re-released as such on CD; or for comparison purposes only.

Main article: British Symphony Orchestra

The discography is arranged into three main sections:

  • The acoustic recordings made in the 1920s with HMV in Hayes, W. London and at Edison Bell in Peckham, SE London.
  • The electrical recordings made by Columbia in the early 1930s in the Methodist Central Hall in Westminster.
  • Modern digital recordings.


Background

Acoustic recordings

Raymond Roze recorded four sides with the orchestra he founded, for Edison Bell's Velvet Face label in c. 1919-early 1920.[lower-alpha 1]

Adrian Boult made the HMV recordings at Room 1, HMV, Hayes, Middlesex in 1920-1922, and the Velvet Face ones at the Edison Bell studio in Peckham, SW London, in 1923. He became chief conductor of the Birmingham Choir in late 1923, of the Birmingham Symphony Orchestra in 1924, Music Director of the BBC in 1929? and first chief conductor of the BBC Symphony Orchestra in 1930.

Electrical recordings
"Lasciate ogni speranza, voi ch'entrate."[4]
See also: Columbia Graphophone Company § Early history

In the early 1930s the Columbia Graphophone Company made a number of recordings, released with 'British Symphony Orchestra' on the label. They were made in 1930–1932, mostly in the Methodist Central Hall, Westminster, which was built in 1911 and first used for recording by Columbia in January 1927.[lower-alpha 2] Columbia had been making recordings since 1924 with the orchestra of the Royal Philharmonic Society whose shadowy, occasional existence seems to be partially intertwined with that of the 'British Symphony Orchestra' of this period, and is discussed here first.

Orchestra of the Royal Philharmonic Society

Since at least the beginning of the 20th century, the orchestra of the Royal Philharmonic Society was a somewhat ad hoc gathering of musicians which was engaged about once a month for an RPS concert under various conductors; from 1924 it also made a few recordings a year, again under different conductors.[5] For recording purposes it was billed as "The Royal Philharmonic Orchestra" on Columbia record labels. The orchestra of this period is sometimes thus—by extension—often referred to as 'the RPO' or 'the old RPO'.[lower-alpha 3]

The members, described a "kind of test match team"[6] were hand-picked from the orchestral musicians of London. The players booked for an RPS concert by the Hon. Sec. were expected to attend all rehearsals and the concert (or recording).[6] The § deputy system was at first specifically disallowed, although this rule came to be severely flouted.

From 1916 Sir Thomas Beecham had effectively taken over the running of the Royal Philharmonic Society, which financially was on its last legs, and ran it autocratically until his resignation two years later in 1918.[7] Balfour Gardiner stepped in with a guarantee of £1,200 to allow concerts to continue.[8] The Society was incorporated in 1922 as a "company limited by guarantee and not having a share capital", which allowed it to enter into a recording contract with Columbia for five years in late 1923.[9]

The Columbia Graphophone Company (Columbia UK) made over 40 recordings of the orchestra. Bruno Walter made numerous records with the orchestra from 1924: other conductors included Sir George Henschel, Paul von Klenau and Beecham,[10] Oskar Fried (Tchaikovsky's 6th symphony in 1929) and Felix Weingartner. Venues included the Petty France studios;[11] the Portman Rooms, Baker Street;[lower-alpha 4] the marble-lined Scala Theatre, Charlotte Street;[12] and, from 1930, Central Hall, Westminster.[lower-alpha 5]

A number of players joined the newly-formed BBC Symphony Orchestra in 1930.[13] The orchestra of the Royal Philharmonic Society was reformed in autumn 1932 as the London Philharmonic Orchestra (LPO), as a permanent ensemble under Beecham and Malcolm Sargent with backing from the Courtauld family. A number of players were also lured away from the LSO, through what the LSO Board regarded as "treachery by Beecham and disloyalty by Sargent."[14] Beecham conducted the LPO's first concert at the Queen's Hall on 7 October 1932 (Carnaval Romain, Brigg Fair, the 'Prague' symphony and Ein Heldenleben) to tumultuous applause.[15]

Deputy system

The standard of orchestral playing in London had been seriously affected for many years by the deputy system, by which orchestral players—if offered a better-paid engagement—could send a substitute to a rehearsal or a concert. When Wood banned the practice in the Queen's Hall orchestra in 1904, forty disgruntled players left en masse to found the LSO. The Honorary Secretary of the Royal Philharmonic Society, John Mewburn Levien, described it thus: "A, whom you want, signs to play at your concert. He sends B (whom you don't mind) to the first rehearsal. B, without your knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, whom you would have paid five shillings to stay away."[16]

By the 1930s the standard of orchestral playing at Society concerts had fallen so much that "it had become a commonplace that 'not one in twenty concerts were properly prepared', and critics and audiences were accustomed to making allowances".[17] The frequent changes of players meant that only "a few celebrated batons, except Beecham's, and possibly Wood's were a regular match for prevailing conditions in the orchestra."[17][18] Arthur Schnabel was so unhappy about a performance of Mozart's A Major concerto K488 which he had given at a Royal Philharmonic Society concert with Basil Cameron that he wrote to The Times on 18 Jan 1930 to explain that the concert had been inadequately rehearsed. Walter J. Turner, the music critic of the New Statesman (25 January 1930) commented that the orchestra were "tired and apathetic", and that Schnabel's gesture to pay for an extra 30 minutes' rehearsal had to be refused since the extensive use of deputies reduced it to a meaningless gesture.[19]

'British Symphony Orchestra'

"Quot homines, tot sententiae."[20]

From 1930 to 1932, Columbia released fifteen recordings mostly made in the Central Hall with the name 'British Symphony Orchestra' on the label: one each conducted by Smyth and Fried; three each by Wood and Weingartner; and seven by Walter. In addition Weingartner recorded Beethoven's 5th symphony with an unnamed ensemble, released in the US only as performed by a 'Symphony Orchestra'. It has been re-released on CD as being by the 'British Symphony Orchestra', but the basis for this is flimsy to non-existent.[21]

The first recording with 'British Symphony Orchestra' on the label was of Ethel Smyth conducting the overture to her opera The Wreckers. Her connection with a BSO may appear valid, since Raymond Roze had promoted The Wreckers during his 'Opera in English' season in 1909. when the very first BSO under William Sewell was giving concerts in London. In 1919 Roze had formed the second British Symphony Orchestra, which existed as a semi-permanent ensemble until 1923.

The other conductor with perhaps a vague contemporary connection to the earlier BSO formations is Sir Henry Wood, who would have certainly have come across them in the 'old days': but he doesn't appear to have conducted the old orchestra when William Sewell, Harty, or Boult were giving concerts with the BSO. Hamilton Harty conducted concerts with the BSO in 1906 at the Queen's Hall, where Wood conducted his own New Queen's Hall Orchestra.[22][23] His association with this later 'British Symphony Orchestra' may have been somewhat tongue-in-cheek.

Identity

Record producers, reviewers and discographers have puzzled over the identity of the named and unnamed ensembles. It seems fairly clear that it was not Adrian Boult's old orchestra, which hadn't given a concert since 1923. According to George Frow, "this must have been a general pseudonym, since the original name of British Symphony Orchestra was used in 1919 by Raymond Roze, who founded an orchestra to give employment to soldiers returning from the Great War, but this worthy ambition petered out after a season or two, when it foundered through lack of support."[24]

The London Symphony Orchestra had a contract with HMV, and the New Queen's Hall Orchestra[25] was disbanded by Chappell & Co. in 1927,[26] or by 1930.[27] The BBC Symphony Orchestra (BBCSO) was in the process of being formed, and gave its first concert at Queen's Hall under Boult on 22 October 1930.[28] There were few other major London-based permanent symphonic ensembles, although the Hallé made frequent trips to the capital from Manchester, and made recordings there with Hamilton Harty for Columbia.

One other sizeable orchestra was that of the Royal Philharmonic Society, which was essentially an ad hoc or pickup orchestra engaged by the Hon. Secretary of the Philharmonic Society for about eight concerts a year at Queen's Hall.[5]

A partial clue may lie in the Weingartner recordings of 1931 which haven't received much scrutiny because of their lesser musical content. Although they state 'British Symphony Orchestra' on the label, Michael Gray's data shows that it was the Orchestra of the Royal Philharmonic Society under a cover name.[29]

More particularly, there seems to be little discographical basis for the 'British Symphony Orchestra' which appears on CD reissues of the recording of Beethoven 5th Symphony with Weingartner in 1932. It was made by an unnamed orchestra at an undisclosed location. It wasn't even issued in Britain because of the faintness of the recording and the variable recording speeds throughout the work.[30]

The very next day after Weingartner recorded Beethoven 5th, Columbia recorded the waltz from Naila by Delibes on an unissued matrix CAX 6358, with the Columbia Symphony named as the performer.[31] This is not at all the first example of the Columbia Symphony Orchestra.[lower-alpha 6]

The last recording released with 'British Symphony Orchestra' on the label was made by Henry Wood on 16 October 1932, about one week after the LPO (the 'old RPO') had given its first concert.

As George Frow commented in 1979: "At this distance it is becoming difficult to break through the defences of the pseudonyms without deep research, and there is a great deal that will one day be done by somebody, not only on early individual performers, singers and comedians in particular, but orchestras, as has been shown".[35]

Summary

The painstaking work carried out by, for example, Robert Marsh on his Bruno Walter discography (Marsh 1964), and also by Michael Gray on the discographical data of record companies other than HMV (in this case, Columbia) and available on the CHARM database,[36] tends to indicate that the term 'British Symphony Orchestra' was little more than a cunning marketing ploy, and was used as a cover name for the orchestra of the Royal Philharmonic Society on at least a handful of recordings by Weingartner in 1931. Having a named ensemble rather a plain 'Symphony Orchestra' on a record label or re-issue on CD can improve sales, since categorising things is a significant human activity.[37][38]

"The British Symphony Orchestra" in this context appears to be simply a name used by Columbia for an ad hoc recording ensemble of musicians, or pickup orchestra, quite possibly the Royal Philharmonic Orchestra. Any connection with the old BSO from the 1920s appears tenuous at the very least and borders on improbability, although some of the musicians may have played in both. The British Symphony Orchestra appears to have led the same type of existence as the Columbia Symphony which made its first appearance in 1913.

Notes on the discography

The discography and following table are based on Michael Gray's database compiled from Columbia's own contemporary session logs and matrix notes, available on CHARM. This information often differs from the record labels, particularly the name of the ensemble.

In the database, a 'British Symphony Orchestra' is only specified in three or four recordings. The orchestra of the Royal Philharmonic Society, which recorded as 'The Royal Philharmonic Orchestra', is specified in the Weingartner recordings of 1931, released with 'British Symphony Orchestra' on the label. In all the other recordings a plain 'Symphony Orchestra' is given (apart from Weingartner's Beethoven 5th Symphony, where no orchestra or recording venue is specified at all).

Some sources (Altena et al.) attribute the Walter recordings of 1930 to a British Symphony Orchestra, even though the labels state 'Symphony Orchestra'. There seems to be little basis for this, except that they were made in the same year as the Smyth and Fried recordings. The recordings of the first two Sibelius symphonies by Robert Kajanus have been included in the table for comparison only, as have the 1930 Weingartner discs of the 'Hammerklavier' sonata and a Strauss waltz.

Notes on Michael Gray's database on CHARM

Search terms should be in all lower-case only. All matrix numbers always have a space (eg wax 248), and all catalogue (or label) numbers never have a space (eg dx266). Searching for e.g. dx 266 as a catalogue number will return 0 results.

A .csv file (viewable with e.g. MS Excel) is created for each search, but it's a bit tricky to open. The default file name is generated with a session id, e.g. ax_270.csv;jsessionid=7EF92BCD186E2F3B86A31B36C0EC6F7D.balancer5. When you save the file you must either remove the semicolon and everything after it, to leave just eg ax_270.csv, or add .csv at the very end of the filename, eg ax_270.csv;jsessionid=7EF92BCD186E2F3B86A31B36C0EC6F7D.balancer5.csv.

Each search session completely expires after a fairly short period of inactivity (around 30 minutes), including the contents of the .csv file, so the results unfortunately can't be incorporated in any permanent web link. You will have to make the searches for yourself. Dates are always returned in y-m-d format. Three typical results are given here. (Note that Ethel Smyth's name is misspelled in the database which, though generally accurate, has not been checked/ proofread).[36]

 CatNum: DX287
 Date: 1930-05-01
 Label: Columbia
 Performer: British Symphony Orchestra
 Composer: SMYTHE
 Title: The wreckers - Overture
 Issue_78_45: DX287
 Num: WAX 5567
 Conductor: Smythe, Ethel

 Date: 1931-04-07
 Venue: London, Central Hall, Westminster
 Label: Columbia
 Performer: Orchestra of the Royal Philharmonic Society
 Composer: MOZART, Leopold
 Title: Cassation in G major 'Toy Symphony'
 Issue_78_45: DX311 LX45
 Num: WAX 6046
 Conductor: Weingartner, Felix



 CatNum: 68078-D
 Date: 1932-03-17
 Label: Columbia
 Composer: BEETHOVEN
 Title: Symphony No. 5 in C minor, op. 67
 Num: CAX 6348
 Conductor: Weingartner, Felix

Columbia recordings, matrix and catalogue numbers

A full Columbia electrically-recorded matrix number is typically given in this discography as e.g. [Mx] CAX 6048-2 On the record disc itself the initial 'C' (or 'W') is enclosed in a circle, ©AX.[lower-alpha 7] The -2 at the end indicates it was the second 'take' of that side, although Columbia (unlike HMV) didn't specify the actual take number on the record. In some other discographies the takes are given in Roman numerals: e.g. WAX 6048-II. Matrix numbers are given in full where known. A sequence of matrix numbers (without take numbering) is shown as e.g. [Mx] WAX 6104/7. Catalogue (i.e. label) numbers are shown without spaces (as in Gray's database), e.g. HMV D521 or, as a sequence, Columbia (UK) LX144/5.

Having released a recording with a catalogue number, Columbia was in the infamous habit of issuing newer recordings with the same catalogue number a few years later, sometimes of completely different works, and/or composers & musicians. Thus two entirely different recordings may share the same label number, and matrix numbers are the key to identifying specific recordings.[lower-alpha 8]

Sometimes information printed on the record label is at variance with the printed record catalogues (e.g Wood's 1932 recording of two movements by Bach). The operations of Columbia in the UK and the US can lead to confusion. They used different catalogue numbers, and some recordings were only released in the US, e.g. Weingartner's Beethoven 5th symphony or Walter's Prometheus Overture (see below).

Acoustic Recordings 1919–1923

Raymond Roze
c1919-20, Edison Bell Studios, Peckham. [Mx] X-1118/9. Velvet Face VF502.[40][lower-alpha 9][lower-alpha 10]
c1919-20, Edison Bell Studios, Peckham. [Mx] X-1120, X-1121-3. Velvet Face VF512.[40]

Adrian Boult
See also: Adrian Boult discography
HMV

Boult made a number of unissued takes with the BSO: these are listed along with the released recordings.

  • Scarlatti-Tommasini: The Good-humoured Ladies. British Symphony Orchestra cond. Boult.[lower-alpha 11]
November 1920-July 1921 (3 sessions). Room 1, HMV, Hayes. HMV D521, D573.
D521. Side 1: Nos. III, X, I. Rec. 5 November 1920. [Mx] HO 4598-2af.
Side 2: Nos. VI, VII, VIII. Rec. 16 November 1920. [Mx] HO 4617-2af
D573. Side 3: Nos. XIII, XIV, XV, XVI.[lower-alpha 12] Rec. 21 July 1921. [Mx] Cc 382-2.
Side 4: Nos. XX[lower-alpha 13] XXI, XXII,[lower-alpha 14] XXIII. Rec. 5 November 1920. [Mx] HO 4595-2af
  • Butterworth: Rhapsody, A Shropshire Lad. British Symphony Orchestra cond. Boult.[43][lower-alpha 15]
16 November 1920, Room 1, HMV, Hayes. [Mx] HO 4618/9. HMV D520.
  • Wagner: Siegfried Idyll. British Symphony Orchestra cond. Boult.[44]
6 December 1920, Room 1, HMV, Hayes. [Mx] HO 4645-1af HO 4646 af.
  • (unissued?) Holst: Two Songs Without Words, Op 22, No. 1 - Country Song. British Symphony Orchestra cond. Boult.
6 December 1920 [Mx] HO 4647 af, HO 4648 af.
  • Rossini-Respighi: La Boutique fantasque (selection). British Symphony Orchestra cond. Boult.[45]
2 June 1921, Room 1, HMV, Hayes. [Mx] Cc 210-1, Cc 211-3. HMV D572.
  • Bliss: Rout. Stella Power (soprano),[46] British Symphony Orchestra cond. Boult.[47]
21 July 1921, Room 1, HMV, Hayes. [Mx] Cc 380-3, Cc 381-2. HMV D574.
3 November 1921, Room 1, HMV, Hayes. [Mx] Cc 624-2, 625-2. HMV D591.
  • (unissued?) Holst: Two songs without words, Op. 22, No. 2 - Marching Song. British Symphony Orchestra cond. Boult.
3 November 1921, Room 1, HMV, Hayes. [Mx] Cc 626-1, Cc 626-2.
  • (unissued?) Wagner: Siegfried Idyll. British Symphony Orchestra cond. Boult.
5 December 1921, Room 1, HMV, Hayes. [Mx] Cc 742-1/2, Cc 743-1/2, Cc 744-1/3 (7 takes).
3 February 1922, Room 1, HMV, Hayes. [Mx] Cc 742-3, Cc 742-4, Cc 744-5, Cc 974-1/3 (6 takes)
20 March 1922, Room 1, HMV, Hayes. [Mx] Cc 742-5/7, Cc 974-4/6 (6 takes)
  • Humperdinck: Hansel and Gretel - 'Hexentritt' & 'Traum'. British Symphony Orchestra cond. Boult.[49]
6 March 1922, Room 1, HMV, Hayes. [Mx] Cc 1069-3, Cc 1070-2. HMV D617.
  • (unissued?) Butterworth: Two English Idylls - No 1. British Symphony Orchestra cond. Boult.
20 March 1922, Room 1, HMV, Hayes. [Mx] Cc 1129-1.
Edison Bell Velvet Face
c1922, Edison Bell Studios, Peckham. [Mx] X-1241, X-1242, X-1243, X-1244. Velvet Face VF557/8.
  • Schubert: 'Unfinished' Symphony. British Symphony Orchestra cond. Boult.[40]
c1922, Edison Bell Studios, Peckham. [Mx] unknown. Velvet Face VF540/2.
VF540. 1st mvt, parts 1 & 2
VF541. 1st mvt, part 3, 2nd mvt, part 1
VF542. 2nd mvt, parts 2 & 3
  • Offenbach: Orphee Aux Enfers, Overture. British Symphony Orchestra, conductor unknown.[40]
c1922, Edison Bell Studios, Peckham. [Mx] X-1304/5. Velvet Face VF566.
c1922, Edison Bell Studios, Peckham. [Mx] X-1398, X-1399, X-1400, X-1401. Velvet Face VF599-600.
  • Tchaikovsky: The Nutcracker (excerpts). British Symphony Orchestra cond. Boult
February 1923, Edison Bell Studios, Peckham. [Mx] 7542/5. Velvet Face VF1060 & VF1062 (10").[53][40]
VF1060. [Mx] 7542-1, 7544-1. 'Valse Des Fleurs'; 'Danse Des Mirlitons'
VF1062. [Mx] 7543-1, 7545-1. 'March Of The Toys'; 'Danse Chinoise'; 'Danse Arabe'

Electrical recordings 1930-1932

Columbia released some fifteen recordings with 'British Symphony Orchestra' on the label. A conductor's name in italics indicates that the immediately following recordings were not assigned to the British Symphony Orchestra by Columbia in any way. They are listed for comparison only. All the entries are listed in a sortable table following the main discography.

1930
Felix Weingartner

These are the last issued recordings of the 'old' Royal Philharmonic Orchestra, the recording name of the orchestra of the Royal Philharmonic Society.

  • Beethoven (orch. Weingartner): Hammerklavier Sonata, Op. 106. Orchestra of the RPS cond. Weingartner[54]
26 March 1930, Central Hall, Westminster. [Mx] WAX 5485/92. Columbia (UK) LX43/7.
Ethel Smyth's recording of The Wreckers overture
  • Josef Strauss: Sphärenklänge-Walzer, op. 235 (Music of the Spheres). Orchestra of the RPS cond. Weingartner.[55]
1 April 1930, Central Hall, Westminster. [Mx] WAX 5500/1. Columbia (UK) LX40.
Ethel Smyth
  • Smyth: The Wreckers Overture. British Symphony Orchestra, cond Smyth.
1 May 1930, Central Hall, Westminster. [Mx] WAX 5567/8. Columbia (UK) DX 287.[56]
Bruno Walter

These three recordings were issued by Columbia with a plain 'Symphony Orchestra' on the label. At least one source (Altena, Reveyoso & Ryding 2010) assigns the British Symphony Orchestra as the ensemble, although neither Columbia's own data nor the label back this up.[lower-alpha 18]

16 May 1930, Central Hall, Westminster. [Mx] WAX 5584/7
Columbia (US) 'Masterworks' set X-26; Columbia (UK) LX 79/80.[58][57][lower-alpha 19]
  • Wagner: Die Meistersinger von Nurnberg, Prelude to Act I. 'Symphony Orchestra', cond. Walter.
16 May 1930, Central Hall, Westminster. [Mx] WAX 5588/9. Columbia (UK) DX86[lower-alpha 20]
  • Beethoven: Prometheus Overture, Op. 43. 'Symphony Orchestra', cond. Walter.
16 May 1930, Central Hall, Westminster. [Mx] WAX 5590/1. Columbia (US) 68091-D.[59][57][lower-alpha 21][lower-alpha 22]
Robert Kajanus

Although none of these recordings by an unnamed 'Symphony Orchestra' have been attributed to the British Symphony Orchestra, Mark Obert-Thorn puts forward the view that the ensemble was the orchestra of the Royal Philharmonic Society, "the old RPO".[60][lower-alpha 24]

21–23 May 1930, Central Hall, Westminster [Mx] WYX 1/WYX 9. Columbia (UK) LX65/69.[70]
27–28 May 1930, Central Hall, Westminster. [Mx] WYX 10/WYX 18. Columbia (UK) LX50/54.
  • Sibelius: Karelia Suite - Intermezzo. 'Symphony Orchestra', cond. Kajanus
28 May 1930, Central Hall, Westminster. [Mx] WYX 19. Columbia (UK) LX54 (last side of 2nd Sym.)
  • Sibelius: Karelia Suite- Alla marcia. 'Symphony Orchestra', cond. Kajanus
28 May 1930, Central Hall, Westminster. [Mx] WYX 20. Columbia (UK) LX69 (last side of 1st Sym.)
Oskar Fried
  • Délibes: Sylvia Ballet suite. British Symphony Orchestra cond. Fried.[71]
30 October 1930, Central Hall, Westminster. [Mx] WAX 5386/9. Columbia (UK) LX 114/5; Columbia (Germany) DWX 5002/3; Columbia (Italy) GQX 10560/1.
1. (a) Prélude. (b) Les Chasseresses. WAX 5836-2
2. (a) Intermezzo (b) Valse Lente (L'escarpolette). WAX 5837-1
3. (a) Pizzicati (b) Cortège de Bacchus, pt.1. WAX 5838-2
4. Cortège, pt.2. WAX 5389-1

1931
Felix Weingartner

These three recordings were issued with 'British Symphony Orchestra' on the label, but Columbia's matrix logs state just 'Symphony Orchestra', and Michael Gray identifies the ensemble as the orchestra of the Royal Philharmonic Society.[72]

7 April 1931, Central Hall. [Mx] WAX 6046/7. Columbia (UK) DX311.
8 May 1931, Central Hall. [Mx] WAX 6048-2, WAX 6049-2. Columbia (UK) LX 133;[77] (US) Set ML-4777; Nippon Columbia W78.
8 May 1931, Central Hall. [Mx] WAX 6050/1. Columbia (UK) DX266; (US) Viva-Tonal J7897
Bruno Walter
21 May 1931, Central Hall. [Mx] WAX 6104/7. Columbia (UK) LX144/5; (US) Masterworks Set X-19 (68016/7-D, MX 70422/3-D)
22 May 1931, Central Hall, Westminster. [Mx] WAX 6108-2, WAX 6109-1. Columbia (US) 68044-D;[lower-alpha 32] Columbia (UK) LX156.[lower-alpha 33]

1932

Felix Weingartner

The recording of Beethoven's median symphony has been subject to considerable scrutiny.[lower-alpha 34]

17–18 March 1932, unnamed location. [Mx] CAX 6348/6355. Columbia (US only) 68078-D through 68081-D, in Masterworks Set 178.
18 March 1932, unnamed location. [Mx] CAX 6358. Columbia: Unissued.
Bruno Walter

These five recordings all state 'British Symphony Orchestra' on the label, although according to Michael Gray Columbia's own logs only specify the Marriage of Figaro overture as actually being played by the BSO: the other four have the usual plain 'Symphony Orchestra'.

15 April 1932, Central Hall, Westminster. [Mx] CAX 6383-1, CAX 6384-1. Columbia (US) CX43; (UK) LX180.
15 April 1932, Central Hall, Westminster. [Mx] CAX 6385-2, CAX 6386-2. Columbia (US) 68101-D; (UK) LX191; (JP) J8140.
15 April 1932, Central Hall, Westminster. [Mx] CAX 6387-2. Columbia (UK) LX232; (US) 68133D.
18 April 1932, Central Hall, Westminster. [Mx] CAX 6388/97 (10 sides). Columbia (US) 'Masterworks' set M-177; (UK) LX 174/8.
  • Wagner: Die Meistersinger von Nürnberg, Act III – Dance of the Apprentices. Symphony Orchestra (as BSO) cond. Walter.[93][94][lower-alpha 38]
19 April 1932, Central Hall, Westminster. [Mx] CAX 6398-2 (one side). Columbia (US) CX43 (Coupled with Beethoven’s Prometheus Overture above); Columbia (UK) LX232 (Coupled with the Le nozze di Figaro overture above).
Henry Wood

The three final recordings listed here were all released with 'British Symphony Orchestra' on the label, although the first pressings of the Bach arrangements unaccountably stated 'London Symphony Orchestra' on the label.[lower-alpha 39] Wood's last previous recording was of Brandenburg 6 in June 1930. The final recording listed here was made about a week after Beecham's first concert with the LPO,[lower-alpha 40] formed out of the 'old' RPO, the orchestra of the Royal Philharmonic Society, which has figured throughout this discography.[lower-alpha 41]

16 June 1932, Central Hall, Westminster. [Mx] CAX 6439-2, CAX 6440-1. Columbia (US) 68084-D; Columbia (UK) LX 173 (76.1rpm).
Bach-Wood: Unaccompanied Partita for Violin No. 3 in E, BWV 1006 - Gavotte. British Symphony Orchestra cond. Wood.[108][109][lower-alpha 42]
  1. 1st label DX475 says LSO.[111]
  2. 2nd label DX475 says BSO.[112]
  3. First released on L1994. Columbia had used this cat. num. twice previously, both times for Wood cond. New Queen's Hall Orchestra:
  • for a 2-disc set (L1993/4) [Mx} WAX 1458/60, 15 March 1926, no loc. Götterdämmerung - Song of the Rhine Maidens [with Aubrey Brain leading the horn section], (3 sides).
  • L1994, [Mx] WAX 2580 (1 side), 13 April 1927, Scala Theatre. Die Walküre - Walkurenritt (Ride of the Valkyries). </ref>[lower-alpha 43]
16 June 1932, unnamed location. [Mx] CAX 6441/2. Columbia (UK) L1994, DX475
16 October 1932, Central Hall, Westminster. [Mx] CAX 6443-2, CAX 6444-1. Columbia (UK) LX 200.

Table of selected Columbia recordings 1930-1932

Matrix numbers are given without takes for clarity - see main text for more information where known. The 'Refs' column refers back to the main discography to save duplication.


Selected Columbia recordings 1930–1932, not limited to 'British Symphony Orchestra'
Date Venue Orchestra Conductor Composer Work Matrix Cat. Num. Refs.
26 Mar 1930Central HallOrchestra of the RPS (as RPO)WeingartnerBeethoven (orch. Weingartner)Hammerklavier Sonata in B Flat, Op. 106WAX 5485//92LX43/7[115]
1 Apr 1930Central HallOrchestra of the RPS (as RPO)WeingartnerJosef StraussSphärenklänge-Walzer, op. 235 (Music of the Spheres)WAX 5500/1LX40[116]
1 May 1930—British Symphony OrchestraSmythSmythThe Wreckers - OvertureWAX 5567/8DX287[117]
16 May 1930Central HallSymphony OrchestraWalterWagnerSiegfried IdyllWAX 5584/7LX79/80[118]
16 May 1930Central HallSymphony OrchestraWalterWagnerDie Meistersinger von Nürnberg - Act I, VorspielWAX 5588/9DX86[119]
16 May 1930Central HallSymphony OrchestraWalterBeethovenThe Creatures of Prometheus - OvertureWAX 5590LX277[120]
21 May 1930Central HallSymphony Orchestra [RPO]KajanusSibeliusSymphony No. 1WYX 1/9LX65/69

[121]

27 May 1930Central HallSymphony Orchestra [RPO]KajanusSibeliusSymphony No. 2WYX 10/18LX50/54[121]
27 May 1930Central HallSymphony Orchestra [RPO]KajanusSibeliusKarelia Suite - IntermezzoWYX 19LX54[lower-alpha 46]
27 May 1930Central HallSymphony Orchestra [RPO]KajanusSibeliusKarelia Suite - Alla marciaWYX 20LX69[lower-alpha 47]
30 Oct 1930—British Symphony OrchestraFriedDelibesSylvia - Ballet suiteWAX 5836/9LX114/5[122]
7 Apr 1931Central Hall(as BSO) Orchestra of the RPSWeingartnerLeopold Mozart?Toy Symphony, Cassation in G majorWAX 6046/7DX311
LX45		[123]
8 Apr 1931Central Hall(as BSO) Orchestra of the RPSWeingartnerJ. Strauss IIWaltz, A Thousand And One Nights, Op. 346WAX 6048/9LX133[124]
8 Apr 1931Central Hall(as BSO) Symphony OrchestraWeingartnerJ. Strauss IIWaltz, Voices Of Spring Op. 410.WAX 6050/1DX266[125]
21 May 1931Central Hall(as BSO) Symphony OrchestraWalterMozartSerenade No. 13 in G major, KV525 Eine kleine NachtmusikWAX 6104/5LX144[126]
22 May 1931Central Hall(as BSO) Symphony OrchestraWalterWagnerGötterdämmerung - Funeral MarchWAX 6108/9LX156[127]
17 Mar 1932—(as Symphony Orchestra)
       —		WeingartnerBeethovenSymphony No. 5 in C minor, op. 67CAX 6348/5468078/81-D (US only)[128]
18 Mar 1932—Columbia Symphony—DelibesNaila ballet - WaltzCAX 6358Unissued[129]
15 Apr 1932Central Hall(as BSO) Symphony OrchestraWalterWagnerDie Meistersinger von Nürnberg - Prelude to Act 3CAX 6383/4LX180[130]
15 Apr 1932—(as BSO) Symphony OrchestraWalterWagnerGötterdämmerung - Siegfried's Journey to the RhineCAX 6385/6LX191[131]
15 Apr 1932Central Hall[British] Symphony OrchestraWalterMozartLe nozze di Figaro K.492 - OvertureCAX 6387LX232[132]
18 Apr 1932Central Hall(as BSO) Symphony OrchestraWalterBeethovenViolin Concerto in D major, op. 61CAX 6388/97LX174/8[133]
19 Apr 1932Central Hall(as BSO) Symphony OrchestraWalterWagnerDie Meistersinger von Nürnberg - Dance Of The ApprenticesCAX 6398-2LX232[134]
16 Jun 1932—(as BSO) Symphony OrchestraWoodBachBrandenburg Concerto No. 3 in G major, BWV1048CAX 6439/40LX173[135]
16 Jun 1932—(as LSO & BSO)
—		WoodBach (arr. Wilhemj)Orchestral Suite No. 3 in G major - (Air)CAX 6441L1994
DX475		[136]
Bach (arr. Wood)Partita for Violin No. 3 in E, BWV 1006 - GavotteCAX 6442
16 Oct 1932—British Symphony OrchestraWoodGraingerMolly on the shore and Mock MorrisCAX 6443/4LX200[137]

Digital recordings

Georges Delerue

The music for the film La Révolution française, directed by Robert Enrico and Richard T. Heffron in 1989, was composed and conducted by Georges Delerue. It was performed by the British Symphony Orchestra with chorus.[138] This seems to have been an ensemble of freelance musicians from the Greater London area, recorded at HMV Abbey Road Studios in August 1989.[139]

References
Notes
  1. Edison Bell's main factory was located at Glengall Wharf on Glengall Rd, Peckham, by the Grand Surrey Canal (now filled in).[1] The Peckham Branch of the canal terminated at Peckham Basin (also now filled in) beside the A202 Peckham Road near Rye Lane. The arresting Peckham Library stands on the old site.[2] By 1924 Edison Bell had acquired some ten other premises in Peckham and Camberwell, and two in Huntingdon.[3]
  2. The first recording was of the BBC Wireless Symphony Orchestra, followed (among others) by a Beecham Messiah in June 1927; Brahms 1 and Mozart 39 with Weingartner and the 'RPO' on 12 April 1928; an unissued Mozart 34 with Beecham with an unspecified orch on 8 July 1928, etc.
  3. This occasional ensemble from the 1920s and '30s is not to be confused with the permanent Royal Philharmonic Orchestra, which was established (again by Beecham) in 1947.
  4. Beecham with a revelatory Mozart Symphony No. 34, plus Harriet Cohen playing Bach Preludes & Fugues.
  5. Walter seems not to have made any records with the orchestra under its own name after 1929, and its last named appearance on record labels appears to be Weingartner conducting his own arrangement of Beethoven's 'Hammerklavier' Sonata and Josef Strauss's Sphärenklänge-Walzer, recorded in March–April 1930 just a month before Smyth recorded the 'British Symphony Orchestra' in her The Wreckers overture (see below).
  6. Weingartner made six sides in New York with the soprano Lucille Marcel (the third of his five marriages)[32] and the Columbia Symphony Orchestra in February 1913. Frank Bridge made a single (unissued) take of Grieg's Shepherd's Boy, op. 54 on [Mx] AX 268 on 14 December 1923. Previous matrix was Leff Pouishnoff playing Listz's La Campanella on the same date. The composer and conductor Robert Hood Bowers[33] made around 15 recordings with the orchestra in September 1927. Then nothing until Howard Barlow's recordings in New York in 1938.[34]
  7. The circled-W logo was required by Western Electric as part of its 1925 licensing agreement with Columbia UK.[39] The CAX matrices which appear on BSO recordings from 1932 indicate Columbia's own process developed by Alan Blumlein by late 1930. See also Columbia Graphophone Company § Early history.
  8. For example, Columbia released two recordings by Sir Henry Wood with the same catalogue number, L1994. The first was Wagner's Ride of the Valkyries, recorded at the Scala Theatre, Charlotte Street 13 May 1927, [Mx] WAX 2580/1. The second was Bach's "Air on a G String", recorded 10 June 1932 at an unknown location, [Mx] CAX 6441/2. Nevertheless, Altena, Reveyoso & Ryding 2010 eschew the use of matrix numbers, and therefore fall into the traps laid for them by the Columbia Graphophone Company eighty years previously.
  9. Released in November 1921 as part of the first issues of Edison Bell's new Velvet Face label. The recording engineer was Joe Batten, who built up a catalogue of classical records to compete with HMV and Columbia.[41] NB Roze didn't record Sibelius Finlandia and Mendelssohn The Hebrides overture, VF 503, [Mx] X-1097, X-1011. This was the Royal Symphony Orchestra, not the BSO as per Thomas 2018
  10. Some Audio files here: "Raymond Roze". Damian's 78s. Retrieved 29 April 2019.
  11. This seems not to be the published suite of six movements, but 14 numbers (out of 19) from the full score,[42] which Boult conducted for Diaghilev's Ballet Russe at the Empire, Leicester Square, October–December 1919. More information here on Boult's first recording, with a downloadable .flac file: "Orchestral". Jolyon. Retrieved 18 May 2019.
  12. In this and the following number on side 4, the piano reduction sometimes bears a slight approximation to what is being heard.
  13. Cut from 122 to 126
  14. 'Cat fugue', cut from 140 to 145
  15. First recording of anything by Butterworth, who died in the war. The two had been personal friends at Oxford.
  16. "Dr. Adrian Boult’s first recording for Velvet Face was Liszt’s E flat Piano Concerto, Anderson Tyrer being the soloist. Our well-concealed recording studio in Peckham was remote from the West End. The first session had been called for ten in the morning ; since dawn it had rained hard and incessantly. Through this downpour Boult pedalled across London on a bicycle; when he arrived at the studio his clothes were soaked. But he made nothing of it, mounting the rostrum and getting to work without any fuss. As he conducted, water dripped from coat and trousers and collected in puddles about his feet. Despite this physical discomfort, he made a musicianly job of the Liszt work." (Batten 1956, p. 61), hosted at Grumpy's Classics Cave.[50]
  17. Issued in November 1924, when it was reviewed in The Gramophone. The reviewer, Peter Latham, preferred Arthur De Greef’s 1922 version with Ronald on HMV D 697-98.[50][52]
  18. Altena et al. also say that Walter recorded Mozart's Symphony No. 40 with the BSO, but this seems to confuse a 1929 set with the Berlin Staatskapelle on Columbia M 182, or DX 31-33 (UK).[57] Walter also made some recordings in the Scala Theatre, London, in 1929, not to be confused with the Teatro alla Scala, Milan.
  19. Marsh 1964 says 'London pickup orchestra'.
  20. DX86 had already been used for an earlier 1925 recording of the same work: Wagner: Meistersinger Prelude to Act III (abridged), Royal Philharmonic Orchestra cond. Walter, February 11, 1925, Petty France Studios.
  21. Marsh 1964 says 'London pickup orchestra'.
  22. This is a blue wax disk in a 'Viva-Tonal' pressing. Altena et al. assign it to Columbia (UK) LX277, but that is actually the Weingartner recording of the 'Prometheus' Ov. on the last side of the Beethoven 4th Symphony set with the LPO, LX274-277. Clough & Cuming 1952, p. 58a say it was the British Symphony Orchestra, but was only available in the US.
  23. Although the first page is missing from Google Books...
  24. These 1930 recordings were sponsored by the Finnish Government for 50,000 marks (approx. £250 in 1930, perhaps £25,000 today). They were re-issued on LP SH.191/2 by World Records (previously World Record Club, taken over by EMI in 1973[61] and subsequently by HMV on the same catalogue number. In the 1973 sleeve notes,[62] The well-known and distinguished record critic Robert Layton cites the correct name on the label, a plain 'Symphony Orchestra'. There is nothing at all in the Columbia press release dated 30 May 1930 (reprinted in the sleeve notes) to suggest that it was any named orchestra.[63][64] Layton again, in Sibelius Studies (Layton 2001, p. 16) doesn't seem to mention the orchestra's name.[lower-alpha 23] Hanna-Leena Paloposki (Paloposki 2017, p. 7 n35) (quoting Tawaststjerna 1988, 344–45; Vahtola 2008, 121) says: "The record contains the First and the Second Symphony and Finlandia. London musicians are conducted on Sibelius’s recommendation by Robert Kajanus." Bethany Lowe (Lowe 2004, p. 223) says just "unnamed 'Symphony Orchestra' formed from London-based players." Guy Thomas (Thomas 1990, pp. 33, 37, 41, & 64) also says just 'SO'.
    Tawaststjerna himself says that "The orchestra was drawn from the London Symphony, which could not be named for contractual reasons."[65] Andrew Barnett (Barnett 2007, p. 333) also says that it was the LSO (billed simply as 'Symphony Orchestra'). In his discography he doesn't even mention the orchestra's name.
    Tawaststjerna and Barnett may have been confused. The LSO actually recorded Mendelssohn's Hebrides Ov. (unissued), Franck's Le chasseur maudit and Chabrier's Joyeuse marche with Eugene Goossens on exactly the same dates as Kajanus' Sibelius recordings (21 & 23 May 1930) at the Kingsway Hall.[66] Philip Stuart in his exhaustive LSO discography,[67] partly based on Michael Gray's work, adds that the orchestra was billed as the 'Royal Opera Orchestra'.[68][69]
  25. Label states "Weingartner conducting the British Symphony Orchestra" "Toy Symphony". 45worlds.com. Retrieved 29 June 2019.
  26. This was one of Columbia's best sellers, only disappearinig from the catalogues in 1954.[74]
  27. The label states "Weingartner and British Symphony Orchestra".[75]
  28. Columbia's original matrix info states 'Symphony Orchestra'. Gray adds [Orchestra of the Royal Philharmonic Society]. Label states "Weingartner and British Symphony Orchestra".[78]
  29. Columbia's original matrix info states 'Symphony Orchestra'. Gray adds '[British] Symphony Orchestra'. Label states "The British Symphony Orchestra.[79]
  30. "I am most in agreement with Walter's tempo here when it is quick, which is to say the first, second, and final movements from 1931 and the third from 1954. However, the recording of the British Symphony set is very antiquated, and only serious Walter students will find it of interest."[85] And, of course, those writing a history of the British Symphony Orchestra...
  31. Reviews: WALTER Rarities Vol. 2 - MusicWeb International review:
    "Bruno Walter revisited Eine Kleine later, too (including versions from Vienna, San Francisco and Stockholm, so it is fair to say he travelled the world with this piece); here is the very first take, the British Symphony Orchestra in May 1931 in Central Hall, Westminster. Neat and always musical, with the odd agogic that today raises an eyebrow, one has to admire the integrity of Walter's reading. The Romanza is an adagio here, but a beautifully shaded one; the Menuetto again what feels today like on the slow side and a touch ponderous. The finale has a lovely light step though."[86]
  32. The US label states "Bruno Walter with Symphony Orchestra".[89]
  33. The UK label states "Bruno Walter Conducting / the British Symphony Orchestra".[90]
  34. According to Mark Obert-Thorn: "As noted by Christopher Dyment (Dyment 1976, p. 80), the discographic details of the recording sessions are vague; neither the venue nor even the ensemble can be identified with certainty."[91] Dyment compares the sound to that of Walter's Nozze die Figaro overture made with the British Symphony Orchestra "a few days later" [actually a month later], and says it was "almost certainly held in the Central Hall, probably with this orchestra." Dyment also says that Columbia regarded the recording as "too faint", and issue was limited to the USA, "where the record labels identify the orchestra simply as 'Symphony Orchestra'." Obert-Thorn evokes memories of Boult's orchestra from the 20s, which hadn't given a public concert or made a recording since 1923.[91]
  35. "There are acoustical versions of both these works and an even earlier electrical attempt at the Rhine Journey, but if Walter's performances of this music are to be recalled. the above- mentioned are the only valid means. Despite dated sonics, the basic substance of two powerful readings is preserved. The Rhine Journey, incidentally, begins with the dawn music. thus offering a somewhat fuller text than one normally hears (except in the Toscanini version)."(Marsh 1964)
  36. Coupled on LX232 with 'Dance of the Apprentices' by 'Symphony Orchestra', [Mx] CAX 6398-2.
  37. "Again, there is an even earlier acoustic version, which can be forgotten along with the 1932 effort." (Marsh 1964)
  38. Note: The US and UK 78 rpm issues have different couplings. The US issue is paired with Walter’s 1930 recording of Beethoven’s “Prometheus” Overture with 'Symphony Orchestra'. The UK coupling is paired with Walter's (some say Harty's) performance of Mozart’s "Le Nozze di Figaro" Overture.
  39. The LSO's first recording contract was made with Columbia in 1920, but its Board had transferred allegiance to the Gramophone Company's HMV label in 1926.[101] Columbia and the Gramophone Company had merged the previous year, 1931, to form EMI,[102] so this may possibly have been a sort of in-joke. Wood's first 'official' recordings with the LSO were made for Columbia in October 1933 (Schubert's 'Unfinished' symphony, and the Litolff Scherzo with Irene Scharrer).[103] The producer was Joe Batten, who had recorded Boult with the BSO for Velvet Face a decade previously.
  40. In late October 1932 Wood made the very first recordings with the new London Philharmonic Orchestra at HMV's Abbey Road Studios: Franck's Symphonic Variations and Liszt's 1st Piano Concerto with Walter Gieseking.
  41. Beecham would revive the name after WW2 in 1947, when he founded the Royal Philharmonic Orchestra, which perhaps echoes Raymond Roze's second formation of the British Symphony Orchestra after WW1.
  42. This is almost more convoluted than the Weingartner Beethoven 5.
    1. Gray says unnamed orchestra and location, although recorded the same day as the previous entry.
    2. UK & US catalogues say British Symphony Orchestra.[110]
  43. This was one of Columbia's best sellers, only disappearing from the catalogues in 1955.[74]
  44. "This needs careful registration if the thick string writing is to come through, as it can do, clearly. In this instance clarity gives way to energy. The problem here, and Molly on the Shore (reverse side), is not an easy one, though be solved. To some extent the music is its own enemy, its downright appearance denying the subtlety with which it should be performed."[114]
  45. Rec. 16 October 1932. Curiously, the immediately previous matrix number was recorded by Wood on 16 June 1932.
  46. Last side of 2nd Symphony.
  47. Last side of 1st Symphony.
Citations
  1. "Glengall Canal Basin and the Edison Bell Works". Bridge to Nowhere: Burgess Park. March 2017. Retrieved 29 June 2019.
  2. Hale, David (2019). "Stanford's Library Map Of London And Its Suburbs 1864". London 1864. Retrieved 29 June 2019.
  3. Andrews 1985, p. 179.
  4. Dante, Inferno, Canto III
  5. Elkin 1946, p. 120.
  6. Elkin 1946, p. 119.
  7. Elkin 1946, pp. 106-7.
  8. Elkin 1946, pp. 108-9.
  9. Elkin 1946, pp. 110, 111.
  10. Elkin 1946, pp. 111.
  11. Woolf, Jonathan. "Bruno Walter: The Complete Columbia Acoustic Recordings - Review". MusicWeb International. Retrieved 10 June 2019.
  12. "The Scala Theatre, 58 Charlotte Street and Tottenham Street". Arthur Lloyd.co.uk. Retrieved 27 June 2019.
  13. Elkin 1946, p. 116.
  14. Stuart 2009, p. [186].
  15. F. B. (1 November 1932). "London Concerts". The Musical Times. 73 (1077): 1033–1036. JSTOR 918655.
  16. Reid 1961, p. 50.
  17. Ehrlich 1995, p. 200.
  18. Frow 1979, p. 189.
  19. Ehrlich 1995, p. 204.
  20. Terence, Phormio 454.
  21. See main discography
  22. Plummer 2011, pp. 98-99.
  23. Dibble 2013, pp. 70-71.
  24. Frow 1979, pp. 180-90.
  25. "New Queen's Hall Orchestra". Bach Cantatas Website. Retrieved 12 June 2019.
  26. Frow 1979, p. 188.
  27. Elkin 1946, p. 33.
  28. "Wireless Notes and Programmes", The Manchester Guardian, 22 October 1930, p. 12.
  29. Date: 1931-04-07 [7 April 1931] Venue: London, Central Hall, Westminster Label: Columbia Performer: Orchestra of the Royal Philharmonic Society Composer: MOZART, Leopold Title: Cassation in G major 'Toy Symphony' Issue_78_45: DX311 LX45 Num: WAX 6046 Conductor: Weingartner, Felix
  30. See main discography
  31. CatNum: UNISSUED Date: 1932-03-18 Label: Columbia Performer: Columbia Symphony Composer: DÉLIBES Title: Naila - Waltz Num: CAX 6358
  32. Arakelyan, Ashot (8 September 2014). "Lucille Marcel (Soprano) (New York 1877 - Wien 1921)". Forgotten Opera Singers. Retrieved 15 June 2018.
  33. Obituary, New York Times, December 31, 1941, p. 18
  34. Eriksson, Erik. "Howard Barlow". AllMusic. Retrieved 16 January 2020.
  35. Frow 1979, p. 190.
  36. "Discography Introduction: Gray data". Centre for the History and Analysis of Recorded Music. Retrieved 1 June 2019.
  37. Vanderbilt, Tom (28 May 2016). "The Psychology of Genre". The New York Times. Retrieved 12 June 2019. (registration required)
  38. Hutchison, Macy & Allen 2006, pp. 28-32.
  39. Sutton, Allan (12 June 2019). "The Birth of Electrical Recording – Part 1". Mainspring Press. Retrieved 23 February 2020.
  40. Thomas 2018.
  41. "VF advertisement from The Sound Wave, November 1921". Hillandale News. City of London Phonograph and Gramophone Society (143): 176. April 1985. Illustration to Part 3 of a history of Edison Bell records by Frank Andrews.
  42. "Le donne de buon umore (Scarlatti, Domenico)". IMSLP. Retrieved 29 June 2019.
  43. CHARM search results for shropshire, british
  44. Porter, Adrian (April 1957). "The Quiet Knight: a Fanfare for Sir Adrian Boult". High Fidelity. 7 (4): 42.
  45. CHARM search results for rossini, british
  46. Dunbar-Hall, Peter. "Power, Stella (1896–1977)". Australian Dictionary of Biography. (Online version). Retrieved 10 May 2019.
  47. CHARM search results for boult, rout
  48. Sound recordings: published. Cambridge University Library, retr. 5 May 2019
  49. CHARM search results for hansel, boult]
  50. "Il pleuvait sur Peckham..." Grumpy's Classics Cave. Retrieved 29 June 2019., with .flac files.
  51. Andrews 1985, p. 178.
  52. "Archives". The Gramophone. (registration required)
  53. "The Nutcracker: Recordings". Tchaikovsky Research. Retrieved 18 May 2019.
  54. YouTube: Hammerklavier Sonata
  55. YouTube: Sphärenklänge-Walzer, played by the "Royal Philharmonic Orchestra".
  56. "Currently available recordings". Damian's 78s. Retrieved 15 May 2019.
  57. Altena, Reveyoso & Ryding 2010.
  58. The Discographer 2013, p. 102.
  59. "Beethoven: Symphony No. 6 "Pastoral" & Overtures" (PDF). Chandos Records. (Naxos CD liner notes). Retrieved 18 May 2019.CS1 maint: others (link)
  60. Obert-Thorn, Mark. "Kajanus conducts Sibelius • Volume 1" (PDF). Chandos Records. CD booklet. Retrieved 27 June 2019.
  61. "World Records". Discogs. Retrieved 27 June 2019.
  62. Main page: "Jean Sibelius. The Seven Symphonies, etc". The Music Parlour ~ Historical. Retrieved 27 June 2019.
  63. "Sleeve notes p.1 for EMI SH.191/2". The Music Parlour ~ Historical. Retrieved 27 June 2019.
  64. "Sleeve notes p.2 for EMI SH.191/2". The Music Parlour ~ Historical. Retrieved 27 June 2019.
  65. Tawaststjerna 2012.
  66. [MX] HMV Cc 18784-1, Cc 18784-2 (Chabrier) Cc18791/93. CHARM search: Performer: London + Symphony + Orchestra, date range 01/01/1930 - 31/12/1930.
  67. "...my obsessive pursuit of minutiae" (Stuart 2009, p. [183])
  68. Stuart 2009, p. [224].
  69. "Cesar Franck – Le Chasseur Maudit (The Accursed Hunter)". Discogs. Retrieved 24 January 2020.
  70. Barnett, Rob. "Review: Kajanus conducts Sibelius – vol. 1 (1930-1932)". MusicWeb International. Retrieved 20 November 2019.
  71. The Discographer 2013, pp. 106-7.
  72. CHARM search for Performer: Weingartner, Date range 01/01/1931 - 31/12/1931.
  73. "Gramophone News: Haydn's 'Toy' Symphony" (PDF). Meccano Magazine. 17 (1): 11. January 1932. NB Also contains an interesting article on HMV's new recording studios at Hayes, with photo.
  74. Frow 1979, pp. 189-90.
  75. "Felix Weingartner - J. Strauss II - 1001 Nacht Waltzer". YouTube. Retrieved 3 June 2019.
  76. Sc. G. (October 1931). "Gramophone Records". Music & Letters. 12 (4): 428–430. doi:10.1093/ml/XII.4.428. JSTOR 726507.
    The playing of this light Viennese music is chiefly noteworthy for its sturdiness. The orchestra (new to us though the name was synonymous with good work some ten years ago) goes undeviatingly through with its task, giving a fair account of itself, taking no liberties with the music.
  77. The Discographer 2013, p. 108.
  78. "Felix Weingartner - Johann Strauss II - Voices of Spring". YouTube. Retrieved 3 June 2019.
  79. "78 RPM Record : LX 144". 45worlds. Retrieved 3 June 2019.
  80. "Eine kleine Nachtmusik, K. 525 "Serenade No. 13": I. Allegro". YouTube. Retrieved 3 June 2019. • 2nd mov. • 3rd mov. • 4th mov.
  81. Clough & Cuming 1952, p. 410b.
  82. Pic of UK labels
  83. The Discographer 2013, p. 110.
  84. "Columbia Masterworks Series - Columbia 'X' Sets 11-20". Retrieved 16 May 2019. Review: New Guide to Music (Irving Kolodin) 1950 ed; Pg.290 Col.2
  85. Marsh 1964.
  86. Clarke, Colin. "Walter Rarities, Volume 2". MusicWeb International. Retrieved 16 May 2019.
  87. Discus (1 February 1932). "Gramophone Notes". The Musical Times. 73 (1068): 132–3. doi:10.2307/914435. JSTOR 914435. Records of the Funeral March from Götterdämmerung are frequent, but one listens to every inch of a new one, so splendid is the music. The latest is at least the equal to any earlier ones known to me—perhaps superior in the reproduction of the brass.
  88. The Discographer 2013, p. 111.
  89. Bruno Walter: Funeral March of Goetterdaemerung by Wagner YouTube. Retrieved 19 October 2019
  90. "Bruno Walter & British Symphony Orchestra, Götterdämmerung Funeral, Columbia LX156" Retrieved 19 October 2019.
  91. Obert-Thorn, Mark. "Beethoven: Symphonies Nos. 5 and 6 • Eleven Viennese Dances - Felix Weingartner (Naxos)" (PDF). CD liner notes. Chandos. p. 5. Retrieved 7 June 2017.
  92. "Search Results for Number: CAX 6348". CHARM. Retrieved 7 June 2019.
  93. Brown 2014, p. 758.
  94. The Discographer 2013, p. 120.
  95. Label says "Bruno Walter conducting The British Symphony Orchestra". Label on Ebay
  96. The Discographer 2013, p. 115.
  97. "Great Conductors of the 20th Century: Bruno Walter". Presto Classical. Retrieved 9 May 2019.
  98. "Beethoven Violin Concerto, Joseph Szigeti, British Symphony Orchestra, Bruno Walter". eBay. Retrieved 18 May 2019.
  99. The Discographer 2013, pp. 113-4.
  100. "Great Violinists - Szigeti". Presto Classical. Retrieved 9 May 2019.
  101. Stuart 2009, p. 185.
  102. Stuart 2009, p. 186.
  103. Stuart 2009, p. 245.
  104. The Discographer 2013, p. 113.
  105. Damian's
  106. Youtube Brandenburg 3
  107. Label @Discogs
  108. Air on G string, YouTube.
  109. Gavotte, YouTube.
  110. "The label incorrectly identifies the orchestra as the London Symphony; American and British catalogues identify the record as by the British Symphony Orchestra, which Weingartner and Bruno Walter also conducted for records, and which I suspect was a pseudonym for an ad hoc group."<ref name='Shellac'>"Bach by Wood". Shellackophile: Recordings from the 78-rpm era (mostly). 11 March 2012. Retrieved 23 November 2019.
  112. The BSO on DX475, on Ebay
  113. The Discographer 2013, pp. 116-7.
  114. Sc. G. (April 1933). "Gramophone Records". Music & Letters. Oxford University Press. 14 (2): 195–198. doi:10.1093/ml/XIV.2.195. JSTOR 728943.
  115. See main text
  116. See main text
  117. See main text
  118. See main text
  119. See main text
  120. See main text
  121. See main text
  122. See main text
  123. See main text
  124. See main text
  125. See main text
  126. See main text
  127. See main text
  128. See main text
  129. See main text
  130. See main text
  131. See main text
  132. See main text
  133. See main text
  134. See main text
  135. See main text
  136. See main text
  137. See main text
  138. "The French Revolution 1 & 2". Disques Cinemusique (in French). Retrieved 1 June 2019.
  139. "Music Box: Delerue-The French Revolution Expanded". Film Score. Retrieved 1 June 2019.

Bibliography
Printed sources
Academic theses, etc.
Internet sources

These are almost all YouTube links.

1922
1923
1930
1931
1932
1989
2017
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