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Elena Gerhardt, the Saxon girl from Connewitz (she always had a slight Saxon inflection in her German), considered a singers singer, and the pioneer of intelligent Lieder interpretation in the line of Schwarzkopf and Fischer-Dieskau is considered by critics to be the singer with greatest subtlety and variety of impression.Her concert evenings with Artur Nikisch at the piano in the Pre WW I Berlin were the toast of town Coenraad van Bos pianoHMV, London 1927-03-11Cc10436-2 Mariä Wiegenlied (Reger) (79) DB1030 (2-043068)Cc10439-1 Geistliches Wiegenlied (Brahms) (79) DB1030 (2-043070)Orig issue red label HMV 12" 78rpmCondition: EXCELLENT close to pristine BUT Reger has a 4mm scratch causes rare ticks, plays very quiet light crackleA GREAT COPY Elena Gerhardt Elena Gerhardt (11 November 1883, Connewitz (nr. Leipzig) – 11 January 1961, London) was a German mezzo-soprano singer associated with the singing of German classical lieder, of which she was considered one of the great interpreters. She left Germany for good to live in London in October 1934. Training, and first recitals with NikischElena Gerhardt, daughter of a Leipzig restaurateur, studied at the Leipzig Conservatory from 1899 to 1903, first with Professor Carl Rebling and then with Marie Hedmondt (d. 1941), who remained her friend and vocal adviser for many years. After a year of only technical study, she began work on operatic roles, such as Cherubino, Dorabella, the Mignon of Ambroise Thomas and Hermann Goetz's Katharina, interspersed with Lieder. She won the Carl Reinecke Scholarship. Leipzig provided many opportunities to hear international artists and to hear the early masters. In 1902 Arthur Nikisch became director of the Leipzig Conservatory, and approved her to sing publicly in Leipzig, which she first did in November 1902: he also gave her a solo in Liszt's Entfesselte Prometheus. On graduating in 1903, and with many engagements, she mentioned her wish to give a lieder recital, and Nikisch offered to be her accompanist, their first (victorious) performance being at the Kaufhaus in Leipzig on her twentieth birthday. Concert engagements poured in, and she sang lieder in almost every university town as supporting artist to names such as Ysaye, Teresa Carreño or Max Reger. By 1905 she made her first appearances (with Nikisch) in Hamburg and Berlin (the Bechsteinhall), and in Berlin made the friendship of Richard Strauss. From summer 1905 she spent holidays with the Nikisch family near Ostend. [edit] London, Europe, Russia and USA before 1914Gerhardt first appeared at the Leipzig Opera as Mignon, in June 1905, and also performed Charlotte in Massenet's Werther there, under Nikisch, being coached by his student Albert Coates as Korrepetitor. Nikisch arranged and accompanied her 1906 London debut, first in a Mischa Elman concert, and then in a Lieder recital (songs of Schubert, Schumann, Brahms, Hugo Wolf, etc.) at the Bechstein Hall. In April 1907 she first sang at the Royal Albert Hall, with an orchestra under Nikisch. Thereafter she returned to England annually until 1914 for autumn seasons, including regular tours of the provinces with Hamilton Harty or her loyal accompanist Paula Hegner. The partnership with Nikisch was preserved in two series of records made in 1907 and 1911, made in Berlin. A particular triumph was their appearance in the 1908 season of the Philharmonic Society in London. She sang by invitation to entertain royal guests to the Coronation of George V and Queen Mary in 1911. Nikisch introduced her into the highest circles, including the Villa Wahnfried. She sang in many European capitals - Vienna, Budapest, Prague, Copenhagen, Christiania (Oslo) - and with old musical Societies at Cologne and Frankfort, annually in Paris and London, and under Mengelberg at The Hague. Nikisch usually accompanied the first Lieder concert at each centre, after which other accompanists took over. Alexander Siloti arranged her first visit to Russia (to Moscow) in 1909, and until the War she sang there and in St Petersburg. Gerhardt made her American debut at the Carnegie Hall in January 1912, with Paula Hegner, and was then in Cincinnati and Philadelphia with Leopold Stokowski (singing the Wesendonck Lieder), and with the Boston Symphony Orchestra under Max Fiedler, before finally combining there with Nikisch and the London Symphony Orchestra tour. In London in 1912 she performed the angel in Elgar's The Dream of Gerontius, a role more associated with her 'rival' and friend Julia Culp. Her second American tour was in early 1913, opening with the Boston Symphony under Karl Muck, and with Karl Wolff as accompanist, who died during the tour. They visited Boston, New York, Baltimore, Washington and Baton Rouge, Louisiana. Next season she sang in Paris, Moscow, Scandinavia, Hungary, Austria, Holland, Italy, Scotland and England, culminating in London in July 1914 at the Queen's Hall under Richard Strauss - her last appearance there for eight years. [edit] The First World WarReturning from Ostend to Leipzig in August 1914, her English tours were impossible to fulfil, but she sang from Hamburg to Vienna and Budapest and returned triumphantly to America in 1915, and that winter sang in Denmark and Norway. In August 1916 she sang to German troops on the Western Front at Laon, through efforts of her brother the singer Reinhold Gerhardt, a pupil of Karl Scheidemantel. Meanwhile in late 1916 she returned to the USA to give the east coast tour with Karl Muck, and in April 1917 was singing in Los Angeles and San Francisco. As America entered the war she was shipped back to Germany with many other artists. She visited the Front again in summer 1918 with Wilhelm Backhaus (in uniform) as accompanist and concert partner. She continued to tour, from Norway to Hungary, through the chaos following the armistice, and was in Munich when Kurt Eisner was assassinated. [edit] Between the warsIn early 1920 she made a prolonged tour of Spain with Paula Hegner, and later that year to the USA again, where her collaboration with the model accompanist Coenraad van Bos began. This partnership was renewed in the winter season of 1921-22 in New York. In March 1922 (soon after the death of Nikisch) she braved the return to London (Queen's Hall) with Paula Hegner, where her German art was received with an ovation. That was the start of an unbroken tie with England, which later became her home. The following years saw annual winter tours in USA (and the Pacific coast from San Francisco to Vancouver in 1925), with extensive tours in UK, Europe and Germany. There were further Spanish tours, including one in winter 1928 with van Bos. She was then singing Schubert's Winterreise which, as a female singer, she made particularly her own. At the start of 1929 she became head teacher of singing at the Leipzig Conservatory, and after October 1930 she discontinued her American tours, though still touring intensively in Britain and Europe. In 1928 she met and fell in love with Dr Fritz Kohl, Director of Administration of the Mitteldeutsche Rundfunk in Leipzig, and they married in November 1932. In London she reappeared before the Royal Philharmonic Society in January 1931, under John Barbirolli, to perform Wolf songs with orchestral accompaniment, and the Kindertotenlieder of Mahler. Her Hugo Wolf Song Society recordings were made in 1932. Following Hitler's rise to power Kohl was arrested and imprisoned, and not until June 1935 was he released, the only one of the German Broadcasting Directors to be acquitted by the Reichsgericht in Leipzig. With the help of Landon Ronald at the Guildhall School of Music, Elena meanwhile got a foothold in London in 1934, and after a last visit to Bayreuth to see Strauss conduct Parsifal ('It was no longer Richard Wagner's Bayreuth, but Hitler's'[1]), London became the settled home of the couple. Over the following years, as the storm gathered, Elena gave recitals in Holland, France and Britain, often with Gerald Moore accompanying, and developed a circle of singing pupils. [edit] Wartime recitals in EnglandWith the outbreak of war, Gerhardt expected that her singing career was at an end as there should be no taste for German music in Britain, especially as she would only sing in German, and the broadcast of the German language was forbidden on the BBC home programmes. However, Myra Hess insisted upon involving her in the National Gallery mid-day concerts, where she first appeared in December 1939, and afterwards in twenty-two concerts with Myra Hess or Gerald Moore, being very greatly appreciated. With Myra Hess and Lionel Tertis she sang the Brahms viola songs and other Lieder recitals in many parts of England and Scotland, including a complete Winterreise in Reading, and in 1942 gave BBC Lieder broadcasts to Argentina. Her teaching picked up again after 1941. With Myra Hess she sang at Haslemere for Tobias Matthay and his pupils. She gave a sixtieth birthday concert in the Wigmore Hall in 1943, and further National Gallery and Wigmore Hall concerts in 1944. News of the destruction of Leipzig and Dresden, of course, filled her with deep sadness. [edit] Late careerIn 1946, when the BBC Third Programme (i.e., Radio 3, the classical music station) was inaugurated, she gave three broadcasts, including Lieder recitals and talks about her career and the interpretation of Winterreise. She also recorded the Frauenliebe und -leben in that year. She made a broadcast on Brahms's songs in May 1947. That was soon after her formal retirement from the platform in March 1947. Her husband Dr Kohl died in May 1947, and the remainder of her professional life was devoted to teaching in London. She managed to arrange the escape of her brother Reinhold and his family from Eastern Germany, and he joined the staff of the Guildhall School of Music. Gerhardt was one of the very great interpreters of German Lieder, a singer who made her career almost entirely in this genre. She published her autobiography in 1953 and died in 1961. [edit] Recordings(See discography by Desmond Shawe-Taylor, with titles and number listings. Dates may be of recording or of issue.)[2] Acoustic recordings: 1907 G&T recordings with Arthur Nikisch (Wolf, Bungert, Brahms, Strauss, Rubinstein) - six 10" and one 12" record/seven songs. 1911 Red Label German HMV recordings with Arthur Nikisch (Wolf, Brahms, Bungert, Strauss, Schumann, Schubert, Wagner) - ten 10" and seven 12" records/seventeen songs. 1913-1914 as above, with Bruno Seidler-Winkler (pno) - eleven 10" records/songs. (Strauss, Brahms, Schubert, Wolf). 1913-1914 as above, with orchestra cond. Seidler-Winkler - five 12" records/songs. (Strauss, Wagner, Gluck, Wolf). 1915 American Columbia, about 7 titles with orchestral accompaniment. (J. Strauss, Schulz, Grüber, and folk-songs) 1923 Aeolian Vocalion with Ivor Newton (pno) - six 12" records/songs. (Schubert, Grieg, Schumann, Strauss, Brahms) 1924 as above, with Harold Craxton (pno) - six 12" records/songs. (Schubert, Strauss and Brahms) 1924-1925 HMV red label, with ?Harold Craxton (pno) - seven titles (three 10" 2-sided records and one side unissued). (Schubert, Schumann, Wolf and Brahms) Electric recordings: 1926 HMV red label, with Paula Hegner - eight songs, three 10" and two 12" records. (Brahms, Schubert) 1927 HMV red label, with Coenraad van Bos - three songs, two 12" records. (Brahms, Reger) 1928 HMV Black Label Schubert Centenary Album - seven 12" and one 10" record (eight items from Winterreise, and ten other songs). 1929 HMV black label, with Harold Craxton - one 12" record, three songs (Brahms). 1929 HMV black label, with Coenraad van Bos - two 12" records, six songs (Brahms). 1929 HMV red label, with van Bos - one 10" record, three songs (Schubert and Wolf). 1929 HMV red label, with van Bos - one 12" record, two songs (Schumann): another two sides of Schumann were recorded at this time (Wer machte dich so krank, and Alte Laute), but were not issued. 1932 HMV red label Hugo Wolf Society Volume I, with Coenraad van Bos - six 12" records, nineteen songs. 1939 HMV White Label, privately published, with Gerald Moore - six 10" records, GR16-GR21. (Brahms, Complete Zigeunerlieder (eight songs), three other songs; Schubert (four), Wolf (two)). 1947-1948 HMV White Label, privately published, with Gerald Moore - (Schumann, Frauenliebe und -leben Complete, three 12" records). Also Schumann's Meine Rose was recorded, on one 12"" side, but was not issued. More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS - VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise."EXCEPTIONALLY QUIET" is close to noiseless, like a vinyl pressing."VERY QUIET" is an above average quiet record for a given pressing."Quiet" is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit's eCommerce Solution
Price: 12.99 USD
Location: San Francisco, California
End Time: 2024-11-15T23:38:33.000Z
Shipping Cost: 7.49 USD
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Restocking Fee: No
Return shipping will be paid by: Buyer
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Artist: CLICK RIGHT ARROW > FOR CONDITION, ELENA GERHARDT, Coenraad Bos, Coenraad v. Bos, Coenraad van Bos
Format: Record
Material: Shellac
Genre: Classical, Opera
Record Label: Gramophone Company
Record Size: 12"
Style: A Capella, Aria, Ars Nova, Ballad, Barcarolle, Canon, Cantata, Canzona, Chorale, Duet, Eastern European Music, Elegy, Film Score/Soundtrack, France & Belgium, French Music & Chansons, German music, Germany & Austria, Italian Music, Lied, Lullaby, Madrigal, Mass, Motet, Musical/Original Cast, Oratorio, Requiem, Russian Music, Spanish Music, Traditional & Vocal, Vocal
Speed: 78 RPM
Release Title: Reger Mariä Wiegenlied/ Brahms Geistliches Wiegenlied
Language: Czech, French, German, Italian
Catalog Number: DB 1030, DB-1030, DB1030
Sub-Genre: Opera
