Johann Strauss II Paraphrases and Piano Transcriptions By

111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 8

Moritz von BOMHARD (1908-1996) Arthur WHITTEMORE (1915-1984) 8.111226 # “Die Fledermaus” Waltzes, Opus 56 6:13 and Jack LOWE (1917-1996) Paraphrases and Piano Transcriptions Philharmonic Piano Quartet $ Waltz-Fantasy on Themes 6:50 ADD (Ada Kopetz, Bertha Melnik, Max Walmer and of Johann Strauss II John Scales, Pianos) Arthur Whittemore and Jack Lowe, Piano-duo Columbia A1572-1 (7-1291) (ZSP 12148) RCA Victor 10-1362-A/B Recorded in 30th Street Studio, New York, Recorded in New York, 18th February 1941 2nd April 1949 Johann Strauss II Paraphrases and Piano Transcriptions by

DOHNÁNYI TAUSIG SCHULHOF NIEDZIELSKI and others

An Anthology of Historic Performances Volume 1 (1930-1954)

8.111226 8 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 2

Johann Strauss II · Paraphrases and Piano Transcriptions Ernö DOHNÁNYI (1877-1960) Otto SCHULHOF (1889-1958) 1 Schatz Waltz 4:29 7 Neue Pizzicato-Polka, Opus 449 3:25 An Anthology of Historic Performances · Volume 1 (1930-1954) (Treasure Waltz, from “Zigeunerbaron”), Opus 418 (Schulhof’s Op.9, No. 2) Ernö Dohnányi, Piano Paul Badura-Skoda, Piano One of Strauss’s waltzes as far surpasses in charm, performances, are fourteen wonderful examples of the HMV C2363 (2B391-II) Westminster WL 5277 (XTV20515-1G)) finish, and real musical worth hundreds of the artificial art of transcription, performed by some of the master Recorded in London, 25th February 1931 Recorded in the Konzerthaus, Vienna, Austria, compositions of his contemporaries as the steeple of St pianists of the past. We have included solo piano December 1951 – January 1952 Stephen’s surpasses the advertising columns on the performances, as well as duo-piano transcriptions and Maryan RAWICZ (1898-1970) Paris boulevards. one recording on four pianos. A number of these and Walter LANDAUER (1910-1983) Alec TEMPLETON (1909-1963) Richard Wagner (1813-1883) historic recordings appear for the first time on compact 2 Annen Polka, Opus 117 3:15 8 Improvisation on “Tales from the Vienna Woods” disc. Maryan Rawicz and Walter Landauer, Piano-duo (Geschichten aus dem Wienerwald, Opus 325) 5:47 An astute observer of nineteenth-century Viennese Opening the programme is a scintillating Columbia DB2788 (CA21610-2) Alec Templeton, Piano culture aptly described Strauss’s popular compositions elaboration on Strauss’s Schatz Waltz (Treasure Waltz, Recorded in London, 1st January 1950 Remington R-199-158 (1200B) as “those irresistible waltzes that first catch the ear, and from Zigeunerbaron), Op. 418 by the Hungarian Recorded in New York, in 1954 then curl round the heart, until suddenly they invade the virtuoso Ernö Dohnányi (1877-1960). A brilliant Andrei SCHULTZ-EVLER (1852-1905) legs”. Of the many light-hearted pleasures in which the pianist, an outstanding conductor, and a venerated 3 Concert Arabesques on themes of Strauss’s Waltz Leonard PENNARIO (b.1924) Viennese indulged with so lusty a spirit, none was more teacher, Dohnányi’s 1931 recording illustrates the “On the Beautiful Blue Danube”, Opus 314 7:27 9 Emperor Waltz (Kaiser Walzer, Opus 437) 7:32 dear to them than dancing. According to contemporary stylish, well-nuanced approach to Strauss, emotionally Isador Goodman, Piano Leonard Pennario, Piano statistics, one out of every four people in Vienna performed, sweeping in its gestures, yet with a very HMV (Australia) EB65 (HV6507/8) Capitol H8167-Z1 danced regularly. They danced the polka, and the clear feeling for pacing and subtlety. Dohnányi wrote Recorded in Sydney, 1932 Recorded in Los Angeles, 9th May 1952 quadrille; but most of all they danced the waltz. The his three Strauss transcriptions in Budapest in 1928, undisputed master of these dance forms was Johann and performed the Schatz Waltz for the first time there Alfred GRÜNFELD (1852-1924) Eduard SCHÜTT (1856-1933) Strauss II (1825-1899), who brought a seemingly on 4th November 1929. 4 Soirée de Vienne 5:35 0 Concert Paraphrase inexhaustible fertility of ideas as well as imagination, The Annen Polka, Op. 117, first performed by (on themes from “Die Fledermaus”) on “Die Fledermaus” Waltzes 4:42 sound instincts, good taste and fine musicianship. Strauss in Vienna’s Prater on 26th July, 1852, became Jakov Fliere, Piano Adolf Wolff, Piano Strauss not only achieved popularity but greatness. His one of his first works to achieve universal fame. Aprelevski Zavod (NKOM USSR) V10626-4 Telefunken E2527 (022963) efforts in rhythm and harmony, and his innovations in Created in celebration of the Saint’s Day of Anna, it is (GRK576) and V10627-6 (GRK577) Recorded 18th March 1938 form, were sometimes so daring that there were some also a tribute to Strauss’s mother, whose name was Recorded in Moscow, 1939 critics in his day who branded him a “futurist”. The Anna. It is one Strauss’s most tender and charming Stanislas NIEDZIELSKI (1905-1975) great classical musicians of his generation – Brahms, creations and as performed by duo-pianists Maryann Carl TAUSIG (1841-1871) ! Thousand and One Nights Waltz 4:14 Verdi, Offenbach, Gounod and Wagner – all regarded Rawicz (1898-1970) and Walter Landauer (1910- 5 Valse-Caprice No. 2 d’après J. Strauss II 6:03 (Tausen und eine Nacht Walzer, Opus 346) his music with genuine respect and admiration. He 1983), proves to be full of smiles, as it teases us through (“Man lebt nur einmal”, Opus 167) Stanislas Niedzielski, Piano became the most popular musician of his generation this Strauss bon-bon. Polish-born Rawicz met Viennese Ania Dorfmann, Piano HMV C1993 (Cc19398-1) because his music had extraordinary appeal with the pianist Landauer in 1933. Playing classical and pop duo Columbia 4270-M (CA17184/5) Recorded in London, 14th June 1930 connoisseur and the masses. His publishers printed piano transcriptions in Continental cabarets, they Recorded in London, 5th November 1938 countless copies of his sheet music making it possible eventually settled in England in 1935. Their duo piano Roderich BASS (1873-1933) for anyone who had access to a piano to play his team lasted some 37 years, and enjoyed enormous Abram CHASINS (1903-1987) @ “Voices of Spring” - Concert Paraphrase compositions at social gatherings or simply for success and many recordings, including some best 6 Concert Paraphrase on Strauss’s “Artists’ Life” on the B major Waltz by Strauss, Opus 410 5:49 enjoyment at home. The demand for his music was sellers with Mantovani and His Orchestra. (Kunstlerleben Walzer, Opus 316) 7:11 Walter Rehberg, pianist astronomical and concert pianists in the late nineteenth Although On the Beautiful Blue Danube, Op. 314, Vera Appleton and Michael Field, Piano-duo Polydor B47100/1 (23737) (2572 and 2573) century and throughout the twentieth century added to was first heard not in a purely orchestral form but Allegro/Royale 1587 A Recorded in Germany, in 1930 Strauss’s popularity by creating paraphrases and performed by a male-choir (the Vienna Men’s Singing Recorded in New York, 1954 transcriptions on many of his works. Club in 1867), this distinctive waltz became Strauss’s Gathered here, in this anthology of historic most famous composition. Seldom had Strauss written

8.111226 27 8.111226 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 6

way, giving the impression that there is only one large pianos. They were also responsible for the world music so literal. From the distinctive opening measures, Emperor Wilhelm I of Germany. He knew Brahms, piano being played. The piece is pure fun. premières of many significant two-piano compositions, there is a liquid flow to the music that depicts with Strauss and Leschetizky. Based on extant concert This anthology closes with one of the best known including works by Quincy Porter, Ralph Vaughan astonishing accuracy the rhythmic ebb and rise of the programmes, Grünfeld was a pianist of intellect and duo piano teams of all time - Arthur Whittemore (1915- Williams, Francis Poulenc and Morton Gould. Their Danube current. Its transcribed state, Concert virtuosic abilities. He performed many of the major 1984) and Jack Lowe (1917-1996). The two pianists own Waltz-Fantasy on Themes of Johann Strauss II (a Arabesques on themes of Strauss’s Waltz “On the works of Beethoven, Bach, Chopin, Schumann, met while students at the Eastman School of Music, in distillate of an earlier work entitled Straussiana that Beautiful Blue Danube” by Andrei Schulz-Evler (1852- Schubert and Brahms, often including new works by Rochester, New York, and began performing together Whittemore and Lowe wrote for two pianos and 1905), was praised by Albert Lockwood in his book composers of the day, such as Grieg’s Ballade, Op. 24. in 1935 in Puerto Rico. In 1940 they made their orchestra) was one of their earliest recordings, made in Notes on the Literature of the Piano (1940). He stated He was a prolific composer, mostly of shorter character American concert début in Town Hall, New York. New York in 1941. that “the Blue Danube found, at last, an able and pieces, and effective transcriptions. He recorded During the War both men served in the Navy, returning satisfactory transcription. It will be long before anyone extensively, as early as 1899 (on acoustic Berliners). to their concert career in 1946. Their repertory included Marina A. Ledin and Victor Ledin does a better one”. It is perhaps fitting that Schultz- Although he recorded his own interpretation of his several hundred of their own transcriptions for two Encore Consultants LLC © 2007. Evler used the term “arabesques” since this bravura transcription Soirée de Vienne (on themes by Johann show-piece is not simply a literal transcription but a Strauss II) as early as 1905, we present a fairly rare concert work full of embellishments and effective Russian recording of this work played by Jakov Fliere musical flights of fancy, requiring of the performer the (1912-1977). Grünfeld’s music was popular in Russia. utmost virtuosity and ease of execution. Of Strauss After all, he concertized there (performing in the best transcriptions, this one is probably the most recorded. venues, including the Winter Palace and Princess With wonderful performances by Lhevinne, Mildner, Voronozov’s Palace) and received an honour from Czar Renard, Kentner, Lympany and others, one of the rarest Alexander III. Fliere, who studied with Igumnov, was is the 1932 performance by Isador Goodman (1909- introduced to Grünfeld’s music while a student, and 1982). Born in South Africa of Jewish parents, he spent Grünfeld’s Soirée de Vienne was among Fliere’s his formative years in England and eventually moved in favourite encores of his early concert career. In 1936 he 1930 to Australia. There he taught, concertized and won the International Piano Competition in Vienna. played an important rôle in the development of the From 1937 until his death he was on the faculty of the Australian Broadcasting Commission (ABC). Moscow Conservatory of Music. Alexander Sverjensky, shortly after Goodman’s first Another transcriber who transformed Strauss’s concert in Sydney, brought a gift of music to the young original waltz themes into pianistic masterpieces was pianist – Schultz-Evler’s Concert Arabesques on Carl Tausig (1841-1871). A Franz Liszt pupil, he settled themes of Strauss’s Waltz “On the Beautiful Blue in Vienna in 1861 and published his first suite of three Danube” - indicating that there was no chance that he Nouvelles Soirées de Vienne a year later. Subtitled, would ever be able to play it, but that the work would Valses-Caprices d’après Strauss, the works were suit Isador’s technical abilities and would invariably be intended to follow in the footsteps of Liszt’s Soirées de very popular with audiences as well. Two years later Vienne (Valses-Caprices d’après Schubert), to whom Goodman recorded the work in Australia. The Schultz- Tausig dedicated his set. In Valse–Caprice No. 2 Evler work remained in Goodman’s active repertoire d’après J. Strauss II (“Man lebt nur einmal”, Op. 167) Acknowledgements for the rest of his career. Goodman’s interpretation is Tausig weaves an intriguing path through Strauss’s magnificent. His technical assurance is evident from the themes tinged with unusual harmonies, occasional Since many of the recordings in this anthology are quite rare and scarce, we have relied on musical colleagues and very first notes, but Goodman also brings lyricism and dissonant chords and enharmonic sleighs-of-hand. Ania collectors who provided advice, their discerning ears, their extensive collections, and willingness to help in order poetry to his interpretation, making this virtuoso encore Dorfmann’s 1938 recording of Tausig’s transcription to preserve and share recordings not commonly heard today. Many thanks to engineer and collector Richard piece into a musical masterpiece. was only the second recording of this work Wahlberg, historian and collector Lance Bowling, pianist William Corbett-Jones, and to archivist and discographer Pianist Alfred Grünfeld (1852-1924) was born in (Rachmaninov’s magnificent performance was first, Michael Gray for making sure that the historical data was accurate. Additional thanks go to Michael Gartz and Prague, studied at the Kullak Academy in Berlin and issued in 1927). Russian-born Dorfmann (1899-1982) Peter Ford for their advice, and for searching and locating extra copies of some of the recordings. eventually moved to Vienna, where he became a studied at the Paris Conservatoire under Isidor Philipp. popular teacher and performer. He was court pianist to She moved to the United States in 1936 and performed 8.111226 63 8.111226 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 4

with all of the major orchestras and made numerous Fischer. In 1949, Wilhelm Furtwängler and Herbert von Midnight on the Cliffs (1942) depicting the cliffs of A pianist and composer of short, salon piano pieces recordings, including a much praised performance of Karajan became aware of Badura-Skoda, and invited Newport, Rhode Island, which was prominently (mostly published by Bosworth and Eberle), he was a Beethoven’s First Piano Concerto with Arturo him to play concerts. Practically overnight the young featured in the 1956 film Julie (starring Louis Jourdan colleague and friend of pianist Walter Rehberg (1900- Toscanini. Dorfmann was a greatly revered teacher at Viennese became a world-famous artist. Paul Badura- and Doris Day). Among his earliest and most effective 1957). Swiss pianist Rehberg received his first piano the Juilliard School. Skoda has recorded a vast repertoire – more than 200 transcriptions is the Emperor Waltz, which he recorded instruction from his father Willy Rehberg (1863-1937). Abram Chasins (1903-1987) studied with Ernest LPs and dozens of compact discs including the in 1952. In his paraphrase of Strauss’s Kaiser Walzer, In Germany he continued his studies with Toch and Hutcheson and Rubin Goldmark in New York. When he complete cycles of the piano sonatas of Mozart, Op. 437, Pennario manages to transmit the special d’Albert. In his younger years Rehberg performed enrolled at the Curtis Institute in Philadelphia, he was Beethoven and Schubert. Among numerous encores, the charm of this waltz, retaining much of the natural concert cycles devoted to the history of the piano fortunate to have studied with the legendary Josef delightful Schulhof transcription of Strauss’s Pizzicato- flavour of the original, while also creating a piece which sonata, or of chromatic piano literature, or of the Hofmann. For many American pianists of his day, radio Polka, Op. 449, has been a favourite of Badura-Skoda’s is a test of a player’s piano technique. complete piano works of Brahms. He taught at the offered a new and exciting venue for performance. since he first recorded it 55 years ago. Eduard Schütt (1856-1933) is today a forgotten Musikhochschule in Stuttgart, and after 1934 at the Chasins saw the clear opportunities and became musical Alec Templeton (1909-1963) studied at London’s pianist and composer. Born in Russia, he studied at the Music Academy of Zürich and the Music School in director of WQXR in New York in 1946. Later in life, Royal Academy. In 1936 he moved from Wales to the St Petersburg Conservatory. In Germany he continued Winterthur. After the war Rehberg devoted himself to Chasins was musician-in-residence at the University of United States, where he performed with many his studies with Richter, Jadassohn and Reinecke. Later teaching, composing, editing and writing books with his Southern California, Los Angeles, and director of radio orchestras and began a successful radio career, he became a private pupil of the legendary Leschetizky. wife, Paula Rehberg. Bass’s rarely heard “Voice of station KUSC. As a composer, Chasins wrote many appearing on The Rudy Vallee Show, The Chase and As a composer he published over a hundred works, Spring” – Concert Paraphase on the B major Waltz by pieces, primarily for his own performance, and later, Sanborn Hour, the Kraft Music Hall and The Magic Key including an opera, two piano concerti, two piano trios Strauss, Op. 410, was recorded by Rehberg in Germany when he married pianist Constance Keene, for their programmes. His own radio programme, Alec and a piano quartet, songs, and many piano pieces. He in 1930 on a Bechstein concert grand. duo-piano concerts. The Concert Paraphrase on Templeton Time, was heard on the air in 1939-1941, created very effective transcriptions and paraphrases of The Philharmonic Piano Quartet made its public Strauss’s “Artists’ Life”, is among his best works for 1943 and 1946-47. Blind from birth, Templeton was a the music of Brahms, Wagner, Weber, Lanner and début at a Lewisohn Stadium concert in New York in two pianos, four hands. Although Chasins and Keene serious musician who also was a marvellous satirist. Strauss. His Concert Paraphrase on “Die Fledermaus” June 1949. Four pianists playing together must have recorded this work, we present another contemporary His 1939 Carnegie Hall concert included works by Waltzes is among his best known. The unusual been quite a spectacle. The reviewer, writing for the performance from 1954 in this anthology, played by the Bach, Handel, Beethoven, Chopin, Rachmaninov, performance from 1938 of Schütt’s transcription is by New York Times, stated that “the four young pianists duo piano team of Vera Appleton (b.1918) and Michael Debussy and several of his own transcriptions and Adolf Wolff, who was active in Germany as both brought freshness to their difficult medium, as well as Field (1918-1971). Vera Appleton and Michael Field improvisations. Templeton’s creative improvisations pianist and Wurlitzer organ virtuoso. Little information precision, agility and some fairly successful attempts to studied at the Juilliard School and formed their duo became his calling card and he recorded and published a about Wolff seems to have survived, although he was obtain color contrasts”. The four pianists were Ada piano team in 1943. Unlike other piano teams of their number of them. The 1954 recording of his still active, recording for German radio in the early Kopetz, Bertha Melnik, Max Walmer and John G. day, Appleton and Field where not married to each Improvisation on Strauss’s “Tales from the Vienna 1950s. Scales. Two months before their first public other. Their recordings of Mozart, Schumann, Liszt, Woods” shows his effortless technique and inventive Stanislas Niedzielski (1905-1975) was born in performance, the Philharmonic Piano Quartet recorded Stravinsky, and Chasins’s Concert Paraphrase on musicality. Warsaw and studied with S´liwin´ski and Opien´ski, in the 30th Street Studio of Columbia Records a very Strauss’s “Artists’ Life”, show that they were virtuosos Leonard Pennario (b.1924) gave his first piano before taking lessons from Paderewski in Switzerland. effective paraphrase on “Die Fledermaus” Waltzes, Op. of the first rank. Their duo played its final performance recital at the age of eight. At twelve, he was the last At the age of twenty he gave his first concert in London, 56, specially written for them by Moritz von Bomhard in 1964. minute replacement for an ailing pianist with the Dallas which launched his international career. He toured all (1908-1996). Born in Germany, Bomhard received a Viennese pianist and composer Otto Schulhof Symphony Orchestra (conducted by Eugene Goossens) over the world, including frequent performances in law degree from the University of Leipzig and a music (1889-1958) was a professor at the Wiener in Grieg’s Piano Concerto. His sensational performance South Africa. Although his repertoire was varied and degree from the Leipzig Conservatory of Music. He Musikakademie. He was the pianist on various of the work launched him on a glorious career. In 1986 extensive, he is today, perhaps best known for his moved to the United States in 1935, continued his recordings and on concert tours with Pablo Casals, as Pennario returned to Dallas to celebrate his fiftieth impassioned performances of Chopin’s music. studies at Juilliard and became a music instructor at well as with many other singers and cellists. He often anniversary, playing the Miklos Rósza Piano Concerto. Niedzielski made his home in Paris, where he died in Princeton University, where he also directed its performed his own transcriptions and paraphrases on A student of Guy Maier, Olga Steeb, Isabelle 1975 from a tropical disease contracted during an orchestra and glee clubs. He eventually settled in Strauss themes, making a few recordings into the LP Vengerova and Ernst Toch, Pennario has toured the African tour. His astonishing technique serves him well Louisville where he founded Kentucky Opera and era. In 1945 Paul Badura-Skoda (b.1927) entered the world, playing with virtually every major symphony in his own paraphrase on Strauss’s Thousand and One taught at the University of Louisville. His transcription Vienna Conservatory, and two years later won first orchestra and in all the major music centres. A pianist Nights Waltz, recorded in London in 1930. for four pianos of Strauss’s best known melodies, gives prize in the Austrian Music Competition and a with a phenomenal technique, Pennario also is a Roderich Bass was born in 1873 in Pardubitz (now equal time to each of the four pianists to shine, and also scholarship which allowed him to study with Edwin composer of note. Among his best known works is Pardubice, Czech Republic) and died in Vienna in 1933. combines the four instruments in an amazingly unifying 8.111226 45 8.111226 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 4

8.111226 27 8.111226 111226 bk Strauss transcriptions 01 EU 3/15/07 11:11 AM Page 8

DOHNÁNYI TAUSIG SCHULHOF NIEDZIELSKI and others

An Anthology of Historic Performances Volume 1 (1930-1954)

8.111226 8 CMYK NAXOS Historical 8.111226 Johann Strauss II ADD Paraphrases and Piano Transcriptions Playing DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL 8.111226

& Time

An Anthology of Historic Performances • Volume 1 (1930-1954) 78:33 2007 Naxos Rights International Ltd. 1 DOHNÁNYI: Schatz Waltz (Treasure Waltz) 4:29 The undisputed master of Viennese Ernö Dohnányi (Rec: 25th February 1931) dance forms, “those irresistible

2 RAWICZ and LANDAUER: Annen Polka 3:15 Strauss II Maryan Rawicz and Walter Landauer (Rec: 1st January 1950) waltzes that first catch the ear, and 3 SCHULTZ-EVLER: then curl round the heart, until Concert Arabesques “On the Beautiful Blue Danube” 7:27 suddenly they invade the legs”, Isador Goodman (Rec: 1932) Johann Strauss II became the most 4 GRÜNFELD: Soirée de Vienne 5:35 popular musician of his Jakov Fliere (1939) generation. His publishers printed : 5 TAUSIG: Valse-Caprice No.2 6:03 Paraphrases and Piano Transcriptions • Vol. 1 Ania Dorfmann (Rec: 5th November 1938) countless copies of his sheet music, 6 CHASINS: Concert Paraphrase on “Artists’ Life” 7:11 making it possible for anyone who Vera Appleton and Michael Field (Rec: 1954) had access to a piano to play his 7 SCHULHOF: Neue Pizzicato-Polka, Opus 449 3:25 compositions at social gatherings Paul Badura-Skoda (Rec: December 1951– January 1952) 8 TEMPLETON: or simply for enjoyment at home. Improvisation on “Tales from the Vienna Woods” 5:47 Concert pianists in the late Alec Templeton (Rec: 1954) nineteenth century and throughout 9 PENNARIO: Emperor Waltz 7:32 the twentieth century added to Leonard Pennario (Rec: 9th May 1952) Strauss’s popularity by creating 0 SCHÜTT : Concert Paraphrase on “Die Fledermaus” 4:42 paraphrases and transcriptions of Adolf Wolff (Rec: 18th March 1938)

Paraphrases and Piano Transcriptions • Vol. 1 Vol. • Transcriptions Paraphrases and Piano ! NIEDZIELSKI: Thousand and One Nights Waltz 4:14 many of his works. The examples : Stanislas Niedzielski (Rec: 14th June 1930) gathered together on this disc @ BASS: Concert Paraphrase on “Voices of Spring” 5:49 include solo piano performances, Walter Rehberg (Rec: 1930) as well as duo-piano transcriptions # VON BOMHARD : “Die Fledermaus” Waltzes, Opus 56 6:13 and one recording on four pianos. Philharmonic Piano Quartet (Rec: 2nd April 1949) $ WHITTEMORE and LOWE: A number of these historic Strauss II Waltz-Fantasy on Themes of Johann Strauss II 6:50 recordings appear for the first time MADE IN Arthur Whittemore and Jack Lowe (Rec: 18th February 1941) on compact disc. THE EU A more detailed list of the works, the artists and the recording venues, where known, can be found on pages 7 and 8

Producers and Audio Restoration Engineers: Marina and Victor Ledin 8.111226 Restoration Mastering Engineer: Anthony Casuccio www.naxos.com A complete track list can be found in the booklet

NAXOS Historical NAXOS Cover Image: Johann Strauss II (Private Collection)