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Catalogue of Columbia Records

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RECO ETICAL CATALOGUE OF COLUMBIA RECORDS INCLUDING ALL RECORDS ISSUED UP TO 30th JUNE, 1945 ★ IMPORTANT In order to give our readers early notice of those Columbia Records which it is intended to with¬ draw from the next Catalogue, the sign • has been placed against such Records in this Catalogue. Records so marked will not be supplied by us after the date indicated against each label category given beiow but might be obtainable from your dealer's stock. Columbia Graphophone Company Ltd. lO-inch Magenta Label 10-inch Dark Blue Label ... Ijanuary 31st, 1946 12-inch Dark Blue Label ...J 10-inch Light Blue Label ..."1 , 12-inch Liiht Blue Label BUYER'S GUIDE TO PRICES (Prices do not include Purchase Tax) FB series 10-inch Magenta Label 2/6 3000, 4000 and SOOO series 10-inch Dark Blue Label 3/3 (without prefix letters) DB. series 10-inch Dark Blue Label 3/3 9000 series ... 12-inch Dark Blue Label 4/- (without prefix letters) DX series ... 12-inch Dark Blue Label 41- YB series 10-inch Light Blue Label 41- D series 10-inch Light Blue Label 4/- LB series 10-inch Light Blue Label ^1- L series 12-inch Light Blue Label 61- LX series 12-inch Light Blue Label 6;- LXS series ... 12-inch Single-sided Light Blue Label 3/- ALBUM SERIES.—Special attention is called to the " Masterworks " Album Series. The Albums included in the Light Blue Series (marked l!) are not charged for. Albums in the Dark Blue Label Series (markéd can only be supplied where stocks still exist, and at an extra charge of 4/- per 12-inch Album, and 3/- per 10-inch Album. (There is, however, an exception in the case of the Columbia History of Music, Albums for which are 4/-). Albums will, however, be re-instated when paper control permits. COLUMBIA HISTORY OF MUSIC. Volumes I to V. Each outflit com¬ prises 8 records (3/3 each) together with book by Percy Scholes (Volumes i to IV, price 2/6 each ; Volume V special price 3/-), Total Cost—Volumes I to IV, 28/6 per Volume. Volume V, 29/-. Extra Booklets for class use: Volun es I to IV, 2/6; Volume V, 3/-. FIRST ENGLISH BOOK. Outfit comprises 12 Records, 4/- each ; Special Album, 4/-; Textbook, 2/6. Total Cost S4/6. LECTURE RECORDS issued by Columbia for the International Educa¬ tional Society are all 12-inch records. Double-sided, 4/- each. See special section at end. DANCE RECORDS. For a complete list of all popular dance titles, see under * Dance ' in the Catalogue. COLUMBIA NEEDLES DETAILS AT END OF CATALOGUE Above prices not valid in Eire Alphabetical Catalogue of COLUMBIA RECORDS Copyright of the Columbia Oraphophone Co., Ltd., £ Hayes, Middlesex. These notes will help you ★ TITLES exceptions are noted in the records The Catalogue is In strict alpha¬ given under the Artist. betical order, letter for letter. COMPOSERS When looking for a title it is, Your attention is drawn to therefore, a good rule to bear the i mportantsection marked the first four letters in mind. COMPOSERS. Under this will be found the names all The title of each selection is of shown twice: composers whose music is represented in the Columbia (a) In its alphabetical order. Catalogue, v/ith the excep¬ (b) Under the heading of the tion of those whose composi¬ Artist, in detail. tions fall chiefly into the popular, present-day song or To find the reverse of a certain dance category. An excep¬ title, note the Record Number tion is made in the case of and see under the Artist's the following well-known name, where the Records are composers of popular music: arranged numerically. Irving Berlin, Rudolf Friml, Jerome PRICES Kern, Noel Gay, George Gershwin, Ivor The prices of all Columbia Novello and Cole Porter. A records are given on page 2, complete list of their together with their label recorded titles is given under category and size. each of the composers. The names of composers are also LANG UAGE AND given against the titles u.nder ACCOMPANIMENTS Artists. Vocal Records are sung in English, A UTO M ATI C unless stated to the contrary. COUPLINGS Vocal and Solo instrumental Many Album and other works Records are, in most cases, In complete form are also avail¬ orchestrally accompanied. The able In Automatic Couplings for These notes will help you—continued use on Automatic Record - SPEED OF RECORDS changing Radio - gramophones It is important that Columbia and Automatic Record Players. Records be played at the The numbers of these Auto- speed indicated on tfie label to ensure are in each Couplings case reproduction at correct pitch given under the artist and the and tempo. reference line. No extra charge is made for these Automatic EDUCATIONAL Couplings Records, but they A must be ordered under the special list of Educational Lecture Records special Automatic Couplings appears orí pages 267-270. are numbers. Albums, where These records sup¬ published by the Columbia plied, are available as with the Graphophone Co., Ltd., on ordinary edition. To find the behalf of the International complete list of Automatic Educational Society. Coüplings at a glance, look under'Automatic Couplings'. THE * SIGN " Before a record number de¬ ORCHESTRAS AND notes pre-electric recording. CONDUCTORS The only remaining pre- electric A useful feature of this recording is listed on page 266. Catalogue is the inclusion of * After a Title denotes'With ail classical orchestras under Vocal Refrain. the names of both orchestra and conductor; in the case SOCIETIES of concertos, under the name Delius, Bach, Mahler, Purcell and of the soloist also, Bax are specially represented for example, if you wish in limited editions of records to see at a glance all the available records made by subscription only. by Sir Thomas Details of these will be found look under Beecham, under ' Societies.' Beecham; if your interest » Í ♦ lies in the orchestras, rather than the conductors, you Each year efforts are made to improve will find the complete re¬ the Catalogue and suggestions are corded repertoire of each always welcomed. These shvuld be under the name of the sent to The Columbia Catalogue orchestra. Similarly with Editor, Advertising Dept., Columbia soloists who play in orchestral Graphophone Co., Ltd., Hayes, recordings. Middlesex. CLASSIFIED LIST OF ARTISTS BANDS (For list of Dance Bands, see pages 77 and 78) B.B.C. MI LITARY BAÍíD GRENADIER GVAUDS, BAND MASSED BANDS, ROYAL CAMPBELL, BIG BILL, AND OF H.M. MARINES (Portsmouth) BILLY MOURIS MOTORS BAND His HILL BAND HIGHLAND MILITARY BAND COLDSTllEAJl AND WELSH NATIONAL MILITARY BAND GUAllDS, BANDS OF H.W. LEWIS, TED, AND HIS BAND ROYAL AIR FORCE BAND —See Massed Choirs LIFE GUARDS, BAND OF H.M. ROYAL HAWAIIAN BAND DEBROY SOMERS BAND FODEN'S MOTOR WORKS MASSED BANDS (Northern WELSH GUARDS, BAND OF BAND i Command Tattoo—See Tattoo H.M.—See Massed Choirs CHILDREN'S RECORDS—See under the following Artists: BLACKWELL, ANNETTE GOURLEY, RONALD new century quartette BRITISH LIGHT ORCH. HALL, HENRY, AND B.B.C. penrose, DANCE ORCHESTRA charles CON MOTO smith, j. dale NATIONAL FOLK uncle his DEBROY SOMERS BAND DANCE george and ORCHESTRA nieces EYANS, EDITH NATIONAL MILITARY who's zoo FOLK DANCE ORCHESTRA BAND wood, sir henry j. CONDUCTORS This Section includes the names of all the conductors who record for Columbia (except those of Dance and Light Instrumental combinations). For Dance Band conductors, see pages 77 and 78. ANCLIFFE, CHARL1ÍS GOEHR, WALTER pitt, percy BARLOW, HOWARD GOOSSENS, EUGENE, Senr. ravel BATH, HUBERT HAKTY. SIR HAMILTON raybould, clarence BEECHAM, SIR THOMAS HEWARI). LESLIE robinson, stanford BIGOT, EUGENE HOESSLIN, FRANZ VON hodzinski, artur BOHM, KARL HOLST, GUSTAV rosbaud, hans BRAITHWAITE, WARWICK KAJANUS, ROBERT ruhlmann; f. BRANCO, FRIETAS KERRY, PAUL sa rgent, dr. malcolm BUESST, AYLMER KETELBEY, ALBERT W. schneevoigt, georg CAMERON. BASIL KURTZ, EFREM stock. frederick COATES, ERIC LAMBERT, CONSTANT strauss, johann 3rd COHEN, ELIE MENGELBERG, WILLEM stravinsky, igor DOBROWEN, JSSAY MEYROWITZ. SELMAR szell, georg DORATI, ANTAL MILES, MAURICE truc, georges EHRLICH, JULIUS MITROPÜULOS, DIMITIU turner. laurance ELMENDORFF, KARL MOLAJOIH, CAV. LORENZO va ughan williams, dr. r. FINCK, HERMAN MUCK, DR. KARL wagner, siegfried FOSTER, ARNOLD MUNCH, CHARLES walter, bruno FRIED. OSCAR P'DONNELL, B. WALTON weingartner, felix GAUBERT, PHILLIPPE , ORLOV, PROFESSOR A. I. weldon, george GODFREY, SIR DAN I PARAY, PAUL wood, sir henry" j. INSTRUMENTAL ACCORDEON i 'CELLO FLUTE DESTIFANO BROTHERS AUBER, STEFAN MOYSE, MARCEL TOLLEFSEN, TORALF FEUERMANN, EMANUEL ilURCHIE, ROBERT WILL'S ACCORDEON PINI, ANTHONY MEISTER-ORCHESTER SQUIRE, W. H. GUITAR CLARINET HARRIS, ALBERT BASSOON DRAPER, CHARLES CAMDEN, ARCHIE . DRAPER. HAYDN KELL. REGINALD HARPSICHORD BELLS BOW BELLS, Cheapside, CLAVICHORD DOLMETSCH FAMILY London DOLMETSCH, ARNOLD DOLMETSCH, RUDOLPH 5 INSTRUMENTAL continued HAWAIIAN GUITARS AND I OBOE PIA NO —continued COMBINATIONS ! GODSSENS, LEON- SCIIARRER, IRENE HAWAIIAN ISLANBEUH I SERKIN, RUDOLF lONA, ANDY, AND JUS OCTETS SMITH, CYRIL IST.ANDKHS SOLOMON FOLIC DANCE OCTET M3ÜNDKLSS0 HN.FELIX, AND SEIUONA- SQUIRE, .T, H., CELESTE HIS HAWAilAN OCTF/C DEllS QUARTETS BUSCH CHAMBER PLAYERS ROYAL HAWAIIAN HAND GOOSSENS. LENER, ROTH ORGAN (Cinema and Grand) AND HARTMAN HORN BEAVEN, l)UDLEY~5tfC LENER STRING. QUARTET lUlAIN, DENNIS Oreanolians .I'HILHARMONIA STRING CLEAVER. H. ROBINSON - QUAR'lHíT • .Sir (IreanoIlaiiK (Hoist., PouKiiPl . Riddle, PInl) INSTRUMENTAL COMBINA¬ COMMETTE. EDOUA U.D (HoIhI, WiHO, RIddh*, Piiil) TIONS CUNNINGHAM, G. D. iUJHCIl niAMIUCR FT,AVIONS FARMIÍR, IIARR Y- -.Srr QUINTETS DOLMETHÍJIl FAMILY (OM- Oreanoln ; Oreanollanr^ K ELL AND PIII LI I A H IA Worlii IiiHl.nitnmii.H) HAMMOND ELIiCTRIC OR- MON STRING GIJUIONB. (JAIMIOLL (IMntio) <IAN- .Sir Oreaiioia ; QUARTE'I' AND IMS HOY FIUl·lNDH Ot'ennnlianK (Holat, Jilnitictil., Dovvnca, Plid) (MIU5()N.S,(;AIIRÜLL(I'Í;iii'>) MACIJÍAN, QUENTIN lEner string QUAIUI'IíT AND MIS STRXND MAIMMIEKHON, SANDY and chaim/es dba piír UKINTET MASON, BERKELIÍY püugniít.
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  • La Gioconda (Review) William Ashbrook

    La Gioconda (Review) William Ashbrook

    La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3.
  • Sir John in Love

    Sir John in Love

    REAM.2122 MONO ADD RALPH VAUGHAN WILLIAMS Sir John in Love (1924-28) An Opera in Four Acts Libretto by the composer, based on Shakespeare’s (in order of appearance) Shallow, a country Justice Heddle Nash Sir Hugh Evans, a Welsh Parson Parry Jones Slender, a foolish young gentleman, Shallow’s cousin Gerald Davies Peter Simple, his servant Andrew Gold, Page, a citizen of Windsor Denis Dowling, Sir John Falstaff Roderick Jones Bardolph John Kentish Nym Sharpers attending on Falstaff Denis Catlin Pistol } Forbes Robinson Anne Page, Page’s daughter April Cantelo Mrs Page, Page’s wife Laelia Finneberg Mrs Ford, Ford’s wife Marion Lowe Sir John in Love Fenton, a young gentleman of the Court at Windsor James Johnston Dr. Caius, a French physician Francis Loring Rugby, his servant Ronald Lewis Mrs Quickly, his housekeeper Pamela Bowden The Host of the ‘Garter Inn’ Owen Brannigan Ford, a citizen of Windsor John Cameron The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996 c © Of all the musical forms essayed by Ralph Vaughan Williams (1872-1958), his operas have received the least recognition or respect. His propensity to write without commissions and to encourage amateur or student groups to premiere his stage pieces 3 EVANS As we sat down in Papylon 4’36” has perhaps played a part in this neglect. Yet he was incontestably a man of the theatre. 4 HOST Peace, I say! 3’04” He produced an extensive, quasi-operatic score of incidental music for Aristophanes’ , for the Cambridge Greek Play production in 1909.
  • Verdi's Rigoletto

    Verdi's Rigoletto

    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.