111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 5

SCHUMANN: WOLF: SCHUMANN : ¶ No. 15 Die Krähe 2:59 8.111094 1 Alte Laute, Op. 35, No. 12 2:29 ! In der Frühe 2:14 ) Familien-Gemälde, Op. 34, No. 4 3:31 26th February 1940; BS 047271-2 GREAT SINGERS • LEHMANN 16th March 1937; BS 06662-1 (Victor 1859 B) 6th January 1939; BS 031407-1 (Victor 2029 B) with Lauritz Melchior, tenor (Victor 2109 A) ADD 30th January 1939; BS 031862-1 (Victor 1907 A) BRAHMS: WOLF: • No. 21 Das Wirtshaus 4:32 2 Botschaft, Op. 47, No. 1 2:08 @ Auch kleine Dinge 2:18 SCHUMANN : 26th February 1940; CS 047272-1 16th October 1937; BS 0957-2 (Victor 1857 B) 6th January 1939; BS 031408-1 (Victor 2031 A) ¡ Ich denke dein, Op. 78, No. 3 2:39 (Victor 17191 B) with Lauritz Melchior, tenor Lotte BRAHMS: WOLF: 30th January 1939; BS 031863-1 (Victor 1906 B) ª No. 19 Taüschung 1:17 3 Das Mädchen spricht, Op. 107, No. 3 1:17 # Und willst du deinen Liebsten sterben sehen 2:24 6th January 1939; BS 031409-1 SCHUBERT: Winterreise, D. 911: º No. 22 Mut! 1:27 LEHMANN BRAHMS: 49 Volkslieder: (unpublished on 78rpm) ™ No. 23 Die Nebensonnen 2:26 26th February 1940; BS 047273-1 (Victor 2109 B) 4 No. 25 Mein Mädel hat einen Rosenmund 1:40 26th Febuary 1940; BS 047267-1 (Victor 2108 B) 16th March 1937; BS 06666-2 (Victor 1857 A) WOLF: ⁄ No. 17 Im Dorfe 2:46 $ Peregrina I 1:52 £ No. 13 Die Post 2:07 Lieder Recordings, Vol. 2 SJØBERG: 6th January 1939; BS 031410-1 (Victor 2031 B) ¤ No. 8 Rückblick 2:32 5 Visions (Tonerna) 2:25 ¢ No. 18 Der stürmische Morgen 0:45 26th February 1940; CS 047274-1 16th March 1937; BS 06667-1 (Victor 1972 A) WOLF: 26th February 1940; BS 047268-1 (Victor 2108 A) (Victor 17190 B) 1937-1940 % Der Knabe und das Immlein 2:47 CALCOTT: 6th January 1939; BS 031411-1 ∞ No. 5 Der Lindenbaum 4:08 Tracks 1-6: Ernö Balogh, Piano 6 Drink to me only 3:06 (unpublished on 78rpm) 26th February 1940; CS 047269-1 Tracks 7-16, 22-32: Paul Ulanowsky, Piano 16th March 1937; BS 06668-1 (Victor 1893 B) (Victor 17190 A) Tracks 17-21: orchestra conducted by WOLF: Bruno Reibold SCHUBERT WOLF: ^ Heimweh 2:51 § No. 20 Der Wegweiser 4:14 7 Gebet 2:47 6th January 1939; BS 031412-1 (Victor 2030 B) 26th February 1940; CS 047270-1 Tracks 1-4, 7-32 sung in German 6th January 1939; BS 031403 (Victor 17191 A) Tracks 5-6 sung in English (unpublished on 78rpm) SCHUMANN: SCHUMANN & Er und sie, Op. 78, No. 2 3:48 WOLF: with Lauritz Melchior, tenor 8 Nun lass uns Frieden schliessen 1:55 30th January 1939; BS 031860-1 (Victor 1906 A) BRAHMS 6th January 1939; BS 031404-1 (unpublished on 78rpm) SCHUMANN : * So wahr die Sonne scheinet, Op. 37, No. 12 1:51 WOLF: WOLF 9 Frühling übers Jahr 1:45 SCHUMANN : 6th January 1939; BS 031405-2 (Victor 2029 A) ( Unterm Fenster, Op. 34, No. 3 1:26 with Lauritz Melchior, tenor WOLF: 30th January 1939; BS 031861-1 (Victor 1907 B) 0 Auf ein altes Bild 2:24 6th January 1939; BS 031406-1 (Victor 2030 A) New transfers by Mark Obert-Thorn 8.111094 5 6 8.111094 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 2

Lotte Lehmann (1888-1976) singers and conductors, and a growing number of over new listeners. The second session in March the hardly necessary for them to make more than two complete cycle. It affected her so deeply that she was 1937-40 Recordings Lieder recitals. She enjoyed a substantial career following year included five lighter songs, the first of ‘takes’ of any song. One can be forgiven for not compelled to spread the feeling of loneliness and between the years 1916 and 1938, and because her which is by Ernö Balogh. The Hungarian pianist Balogh regarding Lehmann as a mainstream Hugo Wolf tragedy that it engendered by painting a picture of each Lotte Lehmann has gone down in history as the most be very important for her, because Hans Gregor, the personality and voice were warm, with something of a had studied composition with Bartók and Kodály in interpreter since so few examples of her singing this of the 24 songs - all in blue. celebrated Marschallin of her time in Richard Strauss’s new director of the Vienna Court Opera, had come to mezzo-soprano’s mellowness, it was inevitable that she Budapest, but was known in the United States mainly as repertoire were recorded, but judging by the records she By contrast Lehmann could be full of fun, and the Der Rosenkavalier. Opera, however, was not all, and Hamburg to hear the Don José in Carmen, but he was should be a successful concert singer and recording a fine accompanist. He said that his happiest artistic did make, she was one of Wolf’s most skilled Schumann duets with Lauritz Melchior, her partner in her abilities as a consummate Lieder singer must never far more impressed with Lehmann’s Micaëla, and artist, especially in major nineteenth-century Lieder. It association was with Lehmann, and judging by the rate advocates. many Wagner performances going back to 1926, be overlooked, nor her final career at the Music immediately offered her a contract. In the following is likely that Lehmann gave her first proper song recital at which they completed the session (with two As to the question of which composer best illustrate an unexpected aspect of their collaboration. It Academy of the West in Santa Barbara. Emigrating to October she gave a proving performance as Eva in Die in Argentina in 1922. It was not until Salzburg in 1934 recording machines going) it would appear that they represented Lehmann, Schubert would have to be high is difficult to believe that Lehmann was able to present the United States in 1938, she continued singing at the Meistersinger. that she and Bruno Walter gave the first of their ‘Lieder worked as though it were a recital: one Lied after on the list. In her last session for RCA records she her part with such delightful relish, considering that somewhat critical age of fifty, then took citizenship and Now she had become ‘a property’, and her new Evenings’ where she realised how easily she could hold another, using the alternative recording machine to keep recorded eleven Lieder from the Winterreise. Only these records were made in the shadow of her husband’s stayed on the West Coast as a successful voice teacher agent arranged appearances for her in London with audiences by this very personal form of music-making. up the momentum. Certainly the frequency with which Elena Gerhardt among female singers had essayed the death only eight days before. for the rest of her life. Thomas Beecham, Hans Pfitzner in Cologne and at The ‘two darlings of Salzburg’ were to pack the concert the first of two ‘takes’ was chosen indicates a ‘Winter journey’ on disc, but she had only made eight Sixty years ago, singers trained for a longer time Zoppot with Richard Tauber, all before her first hall at the annual Salzburg Festival until 1937, as well spontaneity not always accomplished in the studio. of them whereas Lehmann was to continue to record the © Alan Jefferson than they do today; they were more patient about appearance in Vienna. On arrival she was regarded as a as appearing together in Vienna. The next recording session took place a year later, working their way up from the bottom of the profession provincial in speech, manners and clothes, her Prussian Lotte Lehmann was a prolific recording artist. In shortly before the Anschluss in Austria, when Lehmann under a strict discipline, not, as now, under early coldness and stiffness equally unwelcome, but she sang the primitive studios before electrical recording, her was already worrying about her husband and his (not pressure to perform. Conditions were such that the well, and became a member of the company in August introduction to the large acoustic horn was in 1921 with her) four, part-Jewish, children in Vienna. She was wisest of them, including Lotte Lehmann, sang from 1916 when her contract with Hamburg had expired. Richard Strauss’s Cäcilie and Morgen for Polydor. She occupied for the rest of 1937 and 1938 with many their vocal income, not from its capital. The ways of the German northerners were very was an Odeon artist between 1924 and 1933, and, personal troubles. Her husband and the children had to Lotte Lehmann came from Mecklenburg in North different from the central European Viennese who because they favoured the 10-inch 78 rpm record, she be ransomed for a huge sum in order to get them out of Germany, was blessed with a pure voice from birth, but considered Lehmann to be bourgeois, badly dressed, was encouraged to extend her output of Lieder. The Austria, and he never recovered from the anxiety and in spite of her father’s discouragement (he was a civil with a curious accent and boorish. The great Maria fashion of the time was for orchestrated misery of this. There were no further recordings by servant) she was accepted as a pupil with free tuition at Jeritza never so much as spoke to her. This disconcerted accompaniments, often of an inappropriate and Lehmann for Victor until January 1939 when Balogh a private academy in Berlin. After a year she found Lehmann considerably. Soon after she arrived, schmaltzy nature, rather than solo piano as originally yielded to another accompanist, Paul Ulanowsky, who herself at odds with her teacher, and the principal of the however, she was given an important understudy rôle in intended. In 1933 Lehmann began recording for HMV, became her recital partner until her retirement in 1951. school dismissed the young Lehmann at the end of a new opera by Richard Strauss and Hugo von before transferring her allegiance to the Victor Ulanowsky was Austrian, and had been thoroughly 1908 because she had ‘no talent’. Her father’s Hofmannsthal. Very shortly before the première, the Recording Company in 1935. By the time she left trained in musicology, violin and viola and Producer’s Note suggestion that she should become a teacher was a spur two creators told her that she was going to sing The Vienna, her operatic voice was no longer as luxurious as composition, as well as the piano. After playing piano to the determined girl. She wrote to the great Mathilde Composer in Ariadne auf Naxos because the famous it had been, but these recorded Lieder reflect the care and celesta with the Vienna Philharmonic for ten The present collection was originally released in 1994 by Romophone as the second disc in a two-CD set devoted Mallinger (Wagner’s first Eva) and sang for her. ‘No Marie-Gutheil Schoder, originally cast, had missed too which she had always taken of that priceless asset, seasons, he went in 1935 to the United States as to Lehmann’s 1935-40 Victor recordings. In remastering my transfers for this Naxos reissue, I have removed many talent, indeed!’ scoffed Mallinger, who took Lehmann many rehearsals. After the first night (4th October coupled with the years of experience which give great accompanist to his compatriot, the contralto Enid pops and clicks that were in the original release, and have re-equalised all the tracks in order to present a as a special pupil, renewing her confidence and vocal 1916) everybody in Vienna had heard of Lotte artists depths. Including previously unissued ‘takes’ Szantho, and remained there. Two years later he met comparatively warmer sound. In addition, several of the tracks have been entirely re-transferred, including all the freedom. Lehmann and her future was assured. This was the first which open up new discoveries about Lehmann, there Lehmann, and their professional partnership turned out duets with Melchior. The Hamburg Opera accepted her in 1910 where of her three Strauss world premières (hers was also the are 64 pre-war Victor recordings of Lieder, representing to be ideal. Ulanowsky memorised all the music and The miking of the original 78s was extremely close, and Lehmann’s voice frequently overloads the recording she became friendly with another young soprano, first Arabella in Vienna). her voice and artistry at a very high level. could easily transpose into any key (so long as she told equipment. In addition, the piano tone of the 1937 sides as recorded is very tinny; and while things seem to Elisabeth Schumann. Thanks to Artur Nikisch, Enrico Lehmann remained a member of the Vienna Opera On 17th October 1935, her first day in the Victor him which one it was to be). He could also adjust to improve for the 1939 sessions, they regress somewhat by 1940. While not Victor’s finest hour from an engineering Caruso and Otto Klemperer, who were all helpful to until 1937, singing 54 different rôles. There were many studios, she recorded ten 10-inch 78 rpm discs. The Lehmann’s spontaneous rhythmic variations which standpoint, these recordings, several of which were unissued on 78 rpm, feature Lehmann in a variety of repertoire her, she progressed from tiny parts to the major ones dates in South America, London, Paris, Chicago, the Lieder programme of Mozart, Schubert, Brahms and depended on an almost telepathic sympathy between she never otherwise set down on disc, and are thus valuable despite their flaws. until, by early 1915, she was singing Elsa and Sieglinde Met and her always beloved Salzburg between 1927 Hugo Wolf would seem to be aimed at the specialist them. They had performed together so frequently during - and Micaëla in Carmen. The last casting turned out to and 1937 involving her in association with many fine collector, but Lehmann’s voice and personality won the year that when they came to make recordings, it was Mark Obert-Thorn 8.111094 23 8.111094 4 8.111094 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 2

Lotte Lehmann (1888-1976) singers and conductors, and a growing number of over new listeners. The second session in March the hardly necessary for them to make more than two complete cycle. It affected her so deeply that she was 1937-40 Recordings Lieder recitals. She enjoyed a substantial career following year included five lighter songs, the first of ‘takes’ of any song. One can be forgiven for not compelled to spread the feeling of loneliness and between the years 1916 and 1938, and because her which is by Ernö Balogh. The Hungarian pianist Balogh regarding Lehmann as a mainstream Hugo Wolf tragedy that it engendered by painting a picture of each Lotte Lehmann has gone down in history as the most be very important for her, because Hans Gregor, the personality and voice were warm, with something of a had studied composition with Bartók and Kodály in interpreter since so few examples of her singing this of the 24 songs - all in blue. celebrated Marschallin of her time in Richard Strauss’s new director of the Vienna Court Opera, had come to mezzo-soprano’s mellowness, it was inevitable that she Budapest, but was known in the United States mainly as repertoire were recorded, but judging by the records she By contrast Lehmann could be full of fun, and the Der Rosenkavalier. Opera, however, was not all, and Hamburg to hear the Don José in Carmen, but he was should be a successful concert singer and recording a fine accompanist. He said that his happiest artistic did make, she was one of Wolf’s most skilled Schumann duets with Lauritz Melchior, her partner in her abilities as a consummate Lieder singer must never far more impressed with Lehmann’s Micaëla, and artist, especially in major nineteenth-century Lieder. It association was with Lehmann, and judging by the rate advocates. many Wagner performances going back to 1926, be overlooked, nor her final career at the Music immediately offered her a contract. In the following is likely that Lehmann gave her first proper song recital at which they completed the session (with two As to the question of which composer best illustrate an unexpected aspect of their collaboration. It Academy of the West in Santa Barbara. Emigrating to October she gave a proving performance as Eva in Die in Argentina in 1922. It was not until Salzburg in 1934 recording machines going) it would appear that they represented Lehmann, Schubert would have to be high is difficult to believe that Lehmann was able to present the United States in 1938, she continued singing at the Meistersinger. that she and Bruno Walter gave the first of their ‘Lieder worked as though it were a recital: one Lied after on the list. In her last session for RCA records she her part with such delightful relish, considering that somewhat critical age of fifty, then took citizenship and Now she had become ‘a property’, and her new Evenings’ where she realised how easily she could hold another, using the alternative recording machine to keep recorded eleven Lieder from the Winterreise. Only these records were made in the shadow of her husband’s stayed on the West Coast as a successful voice teacher agent arranged appearances for her in London with audiences by this very personal form of music-making. up the momentum. Certainly the frequency with which Elena Gerhardt among female singers had essayed the death only eight days before. for the rest of her life. Thomas Beecham, Hans Pfitzner in Cologne and at The ‘two darlings of Salzburg’ were to pack the concert the first of two ‘takes’ was chosen indicates a ‘Winter journey’ on disc, but she had only made eight Sixty years ago, singers trained for a longer time Zoppot with Richard Tauber, all before her first hall at the annual Salzburg Festival until 1937, as well spontaneity not always accomplished in the studio. of them whereas Lehmann was to continue to record the © Alan Jefferson than they do today; they were more patient about appearance in Vienna. On arrival she was regarded as a as appearing together in Vienna. The next recording session took place a year later, working their way up from the bottom of the profession provincial in speech, manners and clothes, her Prussian Lotte Lehmann was a prolific recording artist. In shortly before the Anschluss in Austria, when Lehmann under a strict discipline, not, as now, under early coldness and stiffness equally unwelcome, but she sang the primitive studios before electrical recording, her was already worrying about her husband and his (not pressure to perform. Conditions were such that the well, and became a member of the company in August introduction to the large acoustic horn was in 1921 with her) four, part-Jewish, children in Vienna. She was wisest of them, including Lotte Lehmann, sang from 1916 when her contract with Hamburg had expired. Richard Strauss’s Cäcilie and Morgen for Polydor. She occupied for the rest of 1937 and 1938 with many their vocal income, not from its capital. The ways of the German northerners were very was an Odeon artist between 1924 and 1933, and, personal troubles. Her husband and the children had to Lotte Lehmann came from Mecklenburg in North different from the central European Viennese who because they favoured the 10-inch 78 rpm record, she be ransomed for a huge sum in order to get them out of Germany, was blessed with a pure voice from birth, but considered Lehmann to be bourgeois, badly dressed, was encouraged to extend her output of Lieder. The Austria, and he never recovered from the anxiety and in spite of her father’s discouragement (he was a civil with a curious accent and boorish. The great Maria fashion of the time was for orchestrated misery of this. There were no further recordings by servant) she was accepted as a pupil with free tuition at Jeritza never so much as spoke to her. This disconcerted accompaniments, often of an inappropriate and Lehmann for Victor until January 1939 when Balogh a private academy in Berlin. After a year she found Lehmann considerably. Soon after she arrived, schmaltzy nature, rather than solo piano as originally yielded to another accompanist, Paul Ulanowsky, who herself at odds with her teacher, and the principal of the however, she was given an important understudy rôle in intended. In 1933 Lehmann began recording for HMV, became her recital partner until her retirement in 1951. school dismissed the young Lehmann at the end of a new opera by Richard Strauss and Hugo von before transferring her allegiance to the Victor Ulanowsky was Austrian, and had been thoroughly 1908 because she had ‘no talent’. Her father’s Hofmannsthal. Very shortly before the première, the Recording Company in 1935. By the time she left trained in musicology, violin and viola and Producer’s Note suggestion that she should become a teacher was a spur two creators told her that she was going to sing The Vienna, her operatic voice was no longer as luxurious as composition, as well as the piano. After playing piano to the determined girl. She wrote to the great Mathilde Composer in Ariadne auf Naxos because the famous it had been, but these recorded Lieder reflect the care and celesta with the Vienna Philharmonic for ten The present collection was originally released in 1994 by Romophone as the second disc in a two-CD set devoted Mallinger (Wagner’s first Eva) and sang for her. ‘No Marie-Gutheil Schoder, originally cast, had missed too which she had always taken of that priceless asset, seasons, he went in 1935 to the United States as to Lehmann’s 1935-40 Victor recordings. In remastering my transfers for this Naxos reissue, I have removed many talent, indeed!’ scoffed Mallinger, who took Lehmann many rehearsals. After the first night (4th October coupled with the years of experience which give great accompanist to his compatriot, the contralto Enid pops and clicks that were in the original release, and have re-equalised all the tracks in order to present a as a special pupil, renewing her confidence and vocal 1916) everybody in Vienna had heard of Lotte artists depths. Including previously unissued ‘takes’ Szantho, and remained there. Two years later he met comparatively warmer sound. In addition, several of the tracks have been entirely re-transferred, including all the freedom. Lehmann and her future was assured. This was the first which open up new discoveries about Lehmann, there Lehmann, and their professional partnership turned out duets with Melchior. The Hamburg Opera accepted her in 1910 where of her three Strauss world premières (hers was also the are 64 pre-war Victor recordings of Lieder, representing to be ideal. Ulanowsky memorised all the music and The miking of the original 78s was extremely close, and Lehmann’s voice frequently overloads the recording she became friendly with another young soprano, first Arabella in Vienna). her voice and artistry at a very high level. could easily transpose into any key (so long as she told equipment. In addition, the piano tone of the 1937 sides as recorded is very tinny; and while things seem to Elisabeth Schumann. Thanks to Artur Nikisch, Enrico Lehmann remained a member of the Vienna Opera On 17th October 1935, her first day in the Victor him which one it was to be). He could also adjust to improve for the 1939 sessions, they regress somewhat by 1940. While not Victor’s finest hour from an engineering Caruso and Otto Klemperer, who were all helpful to until 1937, singing 54 different rôles. There were many studios, she recorded ten 10-inch 78 rpm discs. The Lehmann’s spontaneous rhythmic variations which standpoint, these recordings, several of which were unissued on 78 rpm, feature Lehmann in a variety of repertoire her, she progressed from tiny parts to the major ones dates in South America, London, Paris, Chicago, the Lieder programme of Mozart, Schubert, Brahms and depended on an almost telepathic sympathy between she never otherwise set down on disc, and are thus valuable despite their flaws. until, by early 1915, she was singing Elsa and Sieglinde Met and her always beloved Salzburg between 1927 Hugo Wolf would seem to be aimed at the specialist them. They had performed together so frequently during - and Micaëla in Carmen. The last casting turned out to and 1937 involving her in association with many fine collector, but Lehmann’s voice and personality won the year that when they came to make recordings, it was Mark Obert-Thorn 8.111094 23 8.111094 4 8.111094 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 2

Lotte Lehmann (1888-1976) singers and conductors, and a growing number of over new listeners. The second session in March the hardly necessary for them to make more than two complete cycle. It affected her so deeply that she was 1937-40 Recordings Lieder recitals. She enjoyed a substantial career following year included five lighter songs, the first of ‘takes’ of any song. One can be forgiven for not compelled to spread the feeling of loneliness and between the years 1916 and 1938, and because her which is by Ernö Balogh. The Hungarian pianist Balogh regarding Lehmann as a mainstream Hugo Wolf tragedy that it engendered by painting a picture of each Lotte Lehmann has gone down in history as the most be very important for her, because Hans Gregor, the personality and voice were warm, with something of a had studied composition with Bartók and Kodály in interpreter since so few examples of her singing this of the 24 songs - all in blue. celebrated Marschallin of her time in Richard Strauss’s new director of the Vienna Court Opera, had come to mezzo-soprano’s mellowness, it was inevitable that she Budapest, but was known in the United States mainly as repertoire were recorded, but judging by the records she By contrast Lehmann could be full of fun, and the Der Rosenkavalier. Opera, however, was not all, and Hamburg to hear the Don José in Carmen, but he was should be a successful concert singer and recording a fine accompanist. He said that his happiest artistic did make, she was one of Wolf’s most skilled Schumann duets with Lauritz Melchior, her partner in her abilities as a consummate Lieder singer must never far more impressed with Lehmann’s Micaëla, and artist, especially in major nineteenth-century Lieder. It association was with Lehmann, and judging by the rate advocates. many Wagner performances going back to 1926, be overlooked, nor her final career at the Music immediately offered her a contract. In the following is likely that Lehmann gave her first proper song recital at which they completed the session (with two As to the question of which composer best illustrate an unexpected aspect of their collaboration. It Academy of the West in Santa Barbara. Emigrating to October she gave a proving performance as Eva in Die in Argentina in 1922. It was not until Salzburg in 1934 recording machines going) it would appear that they represented Lehmann, Schubert would have to be high is difficult to believe that Lehmann was able to present the United States in 1938, she continued singing at the Meistersinger. that she and Bruno Walter gave the first of their ‘Lieder worked as though it were a recital: one Lied after on the list. In her last session for RCA records she her part with such delightful relish, considering that somewhat critical age of fifty, then took citizenship and Now she had become ‘a property’, and her new Evenings’ where she realised how easily she could hold another, using the alternative recording machine to keep recorded eleven Lieder from the Winterreise. Only these records were made in the shadow of her husband’s stayed on the West Coast as a successful voice teacher agent arranged appearances for her in London with audiences by this very personal form of music-making. up the momentum. Certainly the frequency with which Elena Gerhardt among female singers had essayed the death only eight days before. for the rest of her life. Thomas Beecham, Hans Pfitzner in Cologne and at The ‘two darlings of Salzburg’ were to pack the concert the first of two ‘takes’ was chosen indicates a ‘Winter journey’ on disc, but she had only made eight Sixty years ago, singers trained for a longer time Zoppot with Richard Tauber, all before her first hall at the annual Salzburg Festival until 1937, as well spontaneity not always accomplished in the studio. of them whereas Lehmann was to continue to record the © Alan Jefferson than they do today; they were more patient about appearance in Vienna. On arrival she was regarded as a as appearing together in Vienna. The next recording session took place a year later, working their way up from the bottom of the profession provincial in speech, manners and clothes, her Prussian Lotte Lehmann was a prolific recording artist. In shortly before the Anschluss in Austria, when Lehmann under a strict discipline, not, as now, under early coldness and stiffness equally unwelcome, but she sang the primitive studios before electrical recording, her was already worrying about her husband and his (not pressure to perform. Conditions were such that the well, and became a member of the company in August introduction to the large acoustic horn was in 1921 with her) four, part-Jewish, children in Vienna. She was wisest of them, including Lotte Lehmann, sang from 1916 when her contract with Hamburg had expired. Richard Strauss’s Cäcilie and Morgen for Polydor. She occupied for the rest of 1937 and 1938 with many their vocal income, not from its capital. The ways of the German northerners were very was an Odeon artist between 1924 and 1933, and, personal troubles. Her husband and the children had to Lotte Lehmann came from Mecklenburg in North different from the central European Viennese who because they favoured the 10-inch 78 rpm record, she be ransomed for a huge sum in order to get them out of Germany, was blessed with a pure voice from birth, but considered Lehmann to be bourgeois, badly dressed, was encouraged to extend her output of Lieder. The Austria, and he never recovered from the anxiety and in spite of her father’s discouragement (he was a civil with a curious accent and boorish. The great Maria fashion of the time was for orchestrated misery of this. There were no further recordings by servant) she was accepted as a pupil with free tuition at Jeritza never so much as spoke to her. This disconcerted accompaniments, often of an inappropriate and Lehmann for Victor until January 1939 when Balogh a private academy in Berlin. After a year she found Lehmann considerably. Soon after she arrived, schmaltzy nature, rather than solo piano as originally yielded to another accompanist, Paul Ulanowsky, who herself at odds with her teacher, and the principal of the however, she was given an important understudy rôle in intended. In 1933 Lehmann began recording for HMV, became her recital partner until her retirement in 1951. school dismissed the young Lehmann at the end of a new opera by Richard Strauss and Hugo von before transferring her allegiance to the Victor Ulanowsky was Austrian, and had been thoroughly 1908 because she had ‘no talent’. Her father’s Hofmannsthal. Very shortly before the première, the Recording Company in 1935. By the time she left trained in musicology, violin and viola and Producer’s Note suggestion that she should become a teacher was a spur two creators told her that she was going to sing The Vienna, her operatic voice was no longer as luxurious as composition, as well as the piano. After playing piano to the determined girl. She wrote to the great Mathilde Composer in Ariadne auf Naxos because the famous it had been, but these recorded Lieder reflect the care and celesta with the Vienna Philharmonic for ten The present collection was originally released in 1994 by Romophone as the second disc in a two-CD set devoted Mallinger (Wagner’s first Eva) and sang for her. ‘No Marie-Gutheil Schoder, originally cast, had missed too which she had always taken of that priceless asset, seasons, he went in 1935 to the United States as to Lehmann’s 1935-40 Victor recordings. In remastering my transfers for this Naxos reissue, I have removed many talent, indeed!’ scoffed Mallinger, who took Lehmann many rehearsals. After the first night (4th October coupled with the years of experience which give great accompanist to his compatriot, the contralto Enid pops and clicks that were in the original release, and have re-equalised all the tracks in order to present a as a special pupil, renewing her confidence and vocal 1916) everybody in Vienna had heard of Lotte artists depths. Including previously unissued ‘takes’ Szantho, and remained there. Two years later he met comparatively warmer sound. In addition, several of the tracks have been entirely re-transferred, including all the freedom. Lehmann and her future was assured. This was the first which open up new discoveries about Lehmann, there Lehmann, and their professional partnership turned out duets with Melchior. The Hamburg Opera accepted her in 1910 where of her three Strauss world premières (hers was also the are 64 pre-war Victor recordings of Lieder, representing to be ideal. Ulanowsky memorised all the music and The miking of the original 78s was extremely close, and Lehmann’s voice frequently overloads the recording she became friendly with another young soprano, first Arabella in Vienna). her voice and artistry at a very high level. could easily transpose into any key (so long as she told equipment. In addition, the piano tone of the 1937 sides as recorded is very tinny; and while things seem to Elisabeth Schumann. Thanks to Artur Nikisch, Enrico Lehmann remained a member of the Vienna Opera On 17th October 1935, her first day in the Victor him which one it was to be). He could also adjust to improve for the 1939 sessions, they regress somewhat by 1940. While not Victor’s finest hour from an engineering Caruso and Otto Klemperer, who were all helpful to until 1937, singing 54 different rôles. There were many studios, she recorded ten 10-inch 78 rpm discs. The Lehmann’s spontaneous rhythmic variations which standpoint, these recordings, several of which were unissued on 78 rpm, feature Lehmann in a variety of repertoire her, she progressed from tiny parts to the major ones dates in South America, London, Paris, Chicago, the Lieder programme of Mozart, Schubert, Brahms and depended on an almost telepathic sympathy between she never otherwise set down on disc, and are thus valuable despite their flaws. until, by early 1915, she was singing Elsa and Sieglinde Met and her always beloved Salzburg between 1927 Hugo Wolf would seem to be aimed at the specialist them. They had performed together so frequently during - and Micaëla in Carmen. The last casting turned out to and 1937 involving her in association with many fine collector, but Lehmann’s voice and personality won the year that when they came to make recordings, it was Mark Obert-Thorn 8.111094 23 8.111094 4 8.111094 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 5

SCHUMANN: WOLF: SCHUMANN : ¶ No. 15 Die Krähe 2:59 8.111094 1 Alte Laute, Op. 35, No. 12 2:29 ! In der Frühe 2:14 ) Familien-Gemälde, Op. 34, No. 4 3:31 26th February 1940; BS 047271-2 GREAT SINGERS • LEHMANN 16th March 1937; BS 06662-1 (Victor 1859 B) 6th January 1939; BS 031407-1 (Victor 2029 B) with Lauritz Melchior, tenor (Victor 2109 A) ADD 30th January 1939; BS 031862-1 (Victor 1907 A) BRAHMS: WOLF: • No. 21 Das Wirtshaus 4:32 2 Botschaft, Op. 47, No. 1 2:08 @ Auch kleine Dinge 2:18 SCHUMANN : 26th February 1940; CS 047272-1 16th October 1937; BS 0957-2 (Victor 1857 B) 6th January 1939; BS 031408-1 (Victor 2031 A) ¡ Ich denke dein, Op. 78, No. 3 2:39 (Victor 17191 B) with Lauritz Melchior, tenor Lotte BRAHMS: WOLF: 30th January 1939; BS 031863-1 (Victor 1906 B) ª No. 19 Taüschung 1:17 3 Das Mädchen spricht, Op. 107, No. 3 1:17 # Und willst du deinen Liebsten sterben sehen 2:24 6th January 1939; BS 031409-1 SCHUBERT: Winterreise, D. 911: º No. 22 Mut! 1:27 LEHMANN BRAHMS: 49 Volkslieder: (unpublished on 78rpm) ™ No. 23 Die Nebensonnen 2:26 26th February 1940; BS 047273-1 (Victor 2109 B) 4 No. 25 Mein Mädel hat einen Rosenmund 1:40 26th Febuary 1940; BS 047267-1 (Victor 2108 B) 16th March 1937; BS 06666-2 (Victor 1857 A) WOLF: ⁄ No. 17 Im Dorfe 2:46 $ Peregrina I 1:52 £ No. 13 Die Post 2:07 Lieder Recordings, Vol. 2 SJØBERG: 6th January 1939; BS 031410-1 (Victor 2031 B) ¤ No. 8 Rückblick 2:32 5 Visions (Tonerna) 2:25 ¢ No. 18 Der stürmische Morgen 0:45 26th February 1940; CS 047274-1 16th March 1937; BS 06667-1 (Victor 1972 A) WOLF: 26th February 1940; BS 047268-1 (Victor 2108 A) (Victor 17190 B) 1937-1940 % Der Knabe und das Immlein 2:47 CALCOTT: 6th January 1939; BS 031411-1 ∞ No. 5 Der Lindenbaum 4:08 Tracks 1-6: Ernö Balogh, Piano 6 Drink to me only 3:06 (unpublished on 78rpm) 26th February 1940; CS 047269-1 Tracks 7-16, 22-32: Paul Ulanowsky, Piano 16th March 1937; BS 06668-1 (Victor 1893 B) (Victor 17190 A) Tracks 17-21: orchestra conducted by WOLF: Bruno Reibold SCHUBERT WOLF: ^ Heimweh 2:51 § No. 20 Der Wegweiser 4:14 7 Gebet 2:47 6th January 1939; BS 031412-1 (Victor 2030 B) 26th February 1940; CS 047270-1 Tracks 1-4, 7-32 sung in German 6th January 1939; BS 031403 (Victor 17191 A) Tracks 5-6 sung in English (unpublished on 78rpm) SCHUMANN: SCHUMANN & Er und sie, Op. 78, No. 2 3:48 WOLF: with Lauritz Melchior, tenor 8 Nun lass uns Frieden schliessen 1:55 30th January 1939; BS 031860-1 (Victor 1906 A) BRAHMS 6th January 1939; BS 031404-1 (unpublished on 78rpm) SCHUMANN : * So wahr die Sonne scheinet, Op. 37, No. 12 1:51 WOLF: WOLF 9 Frühling übers Jahr 1:45 SCHUMANN : 6th January 1939; BS 031405-2 (Victor 2029 A) ( Unterm Fenster, Op. 34, No. 3 1:26 with Lauritz Melchior, tenor WOLF: 30th January 1939; BS 031861-1 (Victor 1907 B) 0 Auf ein altes Bild 2:24 6th January 1939; BS 031406-1 (Victor 2030 A) New transfers by Mark Obert-Thorn 8.111094 5 6 8.111094 111094 bk Lehmann2 EU 4/3/06 1:29 PM Page 5

SCHUMANN: WOLF: SCHUMANN : ¶ No. 15 Die Krähe 2:59 8.111094 1 Alte Laute, Op. 35, No. 12 2:29 ! In der Frühe 2:14 ) Familien-Gemälde, Op. 34, No. 4 3:31 26th February 1940; BS 047271-2 GREAT SINGERS • LEHMANN 16th March 1937; BS 06662-1 (Victor 1859 B) 6th January 1939; BS 031407-1 (Victor 2029 B) with Lauritz Melchior, tenor (Victor 2109 A) ADD 30th January 1939; BS 031862-1 (Victor 1907 A) BRAHMS: WOLF: • No. 21 Das Wirtshaus 4:32 2 Botschaft, Op. 47, No. 1 2:08 @ Auch kleine Dinge 2:18 SCHUMANN : 26th February 1940; CS 047272-1 16th October 1937; BS 0957-2 (Victor 1857 B) 6th January 1939; BS 031408-1 (Victor 2031 A) ¡ Ich denke dein, Op. 78, No. 3 2:39 (Victor 17191 B) with Lauritz Melchior, tenor Lotte BRAHMS: WOLF: 30th January 1939; BS 031863-1 (Victor 1906 B) ª No. 19 Taüschung 1:17 3 Das Mädchen spricht, Op. 107, No. 3 1:17 # Und willst du deinen Liebsten sterben sehen 2:24 6th January 1939; BS 031409-1 SCHUBERT: Winterreise, D. 911: º No. 22 Mut! 1:27 LEHMANN BRAHMS: 49 Volkslieder: (unpublished on 78rpm) ™ No. 23 Die Nebensonnen 2:26 26th February 1940; BS 047273-1 (Victor 2109 B) 4 No. 25 Mein Mädel hat einen Rosenmund 1:40 26th Febuary 1940; BS 047267-1 (Victor 2108 B) 16th March 1937; BS 06666-2 (Victor 1857 A) WOLF: ⁄ No. 17 Im Dorfe 2:46 $ Peregrina I 1:52 £ No. 13 Die Post 2:07 Lieder Recordings, Vol. 2 SJØBERG: 6th January 1939; BS 031410-1 (Victor 2031 B) ¤ No. 8 Rückblick 2:32 5 Visions (Tonerna) 2:25 ¢ No. 18 Der stürmische Morgen 0:45 26th February 1940; CS 047274-1 16th March 1937; BS 06667-1 (Victor 1972 A) WOLF: 26th February 1940; BS 047268-1 (Victor 2108 A) (Victor 17190 B) 1937-1940 % Der Knabe und das Immlein 2:47 CALCOTT: 6th January 1939; BS 031411-1 ∞ No. 5 Der Lindenbaum 4:08 Tracks 1-6: Ernö Balogh, Piano 6 Drink to me only 3:06 (unpublished on 78rpm) 26th February 1940; CS 047269-1 Tracks 7-16, 22-32: Paul Ulanowsky, Piano 16th March 1937; BS 06668-1 (Victor 1893 B) (Victor 17190 A) Tracks 17-21: orchestra conducted by WOLF: Bruno Reibold SCHUBERT WOLF: ^ Heimweh 2:51 § No. 20 Der Wegweiser 4:14 7 Gebet 2:47 6th January 1939; BS 031412-1 (Victor 2030 B) 26th February 1940; CS 047270-1 Tracks 1-4, 7-32 sung in German 6th January 1939; BS 031403 (Victor 17191 A) Tracks 5-6 sung in English (unpublished on 78rpm) SCHUMANN: SCHUMANN & Er und sie, Op. 78, No. 2 3:48 WOLF: with Lauritz Melchior, tenor 8 Nun lass uns Frieden schliessen 1:55 30th January 1939; BS 031860-1 (Victor 1906 A) BRAHMS 6th January 1939; BS 031404-1 (unpublished on 78rpm) SCHUMANN : * So wahr die Sonne scheinet, Op. 37, No. 12 1:51 WOLF: WOLF 9 Frühling übers Jahr 1:45 SCHUMANN : 6th January 1939; BS 031405-2 (Victor 2029 A) ( Unterm Fenster, Op. 34, No. 3 1:26 with Lauritz Melchior, tenor WOLF: 30th January 1939; BS 031861-1 (Victor 1907 B) 0 Auf ein altes Bild 2:24 6th January 1939; BS 031406-1 (Victor 2030 A) New transfers by Mark Obert-Thorn 8.111094 5 6 8.111094 K Y M C

NAXOS Historical LEHMANN: Lieder Recordings, Vol. 2 8.111094 Time 78:50 recordings Playing Playing Winterreise Lieder , particularly with Bruno , particularly (Lehmann was the first female (Lehmann was the first singer the complete to record and five Wolf cycle), several by duets delightful Schumann Volume with Lauritz Melchior. 1 is available on Naxos 8.111093. From 1916-37 Lotte Lehmann 1916-37 From was one of the (1888-1976) Vienna at the illustrious stars was also Opera. Lehmann noted for herof interpretations spontaneous intimate yet Lieder Walter as her accompanist at during the Salzburg Festival This is the second of the 1930s. of her two Naxos discs complete songs 1935-40. It features from Schubert’s from Lotte Lehmann (1888-1976) Lehmann Lotte Lieder 2 (1937-1940) Vol. Recordings, No. 25 Rosenmund Mein Mädel hat einen Er und sie, Op. 78, No. 2 So wahr die Sonne scheinet, Op. 37, No. 12 No. 4 Familien-Gemälde, Op. 34, 3 Ich denke dein, Op. 78, No. Alte Laute, Op. 35, No. 12 Op. 35, Alte Laute, Unterm Fenster, Op. 34, No. 3 Unterm Fenster, Drink to me only Visions (Tonerna) Visions Botschaft, Op. 47, No. 1 Op. 47, No. Botschaft, spricht, Op. 107, No. 3 Das Mädchen Gebet Frieden schliessen Nun lass uns Jahr Frühling übers In der Frühe sterben sehen Und willst du deinen Liebsten I Peregrina Der Knabe und das Immlein Heimweh Auch kleine Dinge Auf ein altes Bild Auf ein altes ADD 8.111094 No. 8 Rückblick No. 23 Die Nebensonnen No. 13 Die Post No. 18 DerNo. 5 stürmische Morgen No. 20 Der Lindenbaum DerNo. 15 Wegweiser Die Krähe No. 21Wirtshaus Das No. 19 Taüschung No. 22 Mut! No. 17 Im Dorfe WOLF: WOLF: WOLF: WOLF: WOLF: WOLF: SCHUMANN: SCHUMANN: SCHUMANN SCHUMANN: SCHUMANN: D. 911: Winterreise, SCHUBERT: SCHUMANN: SCHUMANN: BRAHMS: BRAHMS: Volkslieder: BRAHMS: 49 SJØBERG: CALCOTT: WOLF: WOLF: WOLF: WOLF: www.naxos.com Producer and Audio Restoration Engineer: Mark Obert-Thorn Audio Restoration Engineer: Mark Producer and Floris Juynboll, Alan Jefferson, Special thanks to Lawrence Holdridge, and Jim Peters Marston, Peter Munves, David Norbeck Peter Lack, Ward A the booklet complete track list can be found in Potter Collection) Cover image: Lotte Lehmann (Tully ¤ ™ £ ¢ ∞ § ¶ • ª º ⁄ ! @ # $ % ^ & * ( ) ¡ 1 2 3 4 5 6 7 8 9 0

All rights in this sound recording, artwork, texts and translations reserved. Unauthorised public performance, broadcasting and copying of this compact disc prohibited. & 2006 Naxos Rights International Ltd.

THE EU MADE IN

LEHMANN: Lieder Recordings, Vol. 2 2 Vol. Recordings, Lieder LEHMANN: 8.111094 NAXOS Historical NAXOS