National Gramophonic Society discography

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Contents

This page presents a discography of the National Gramophonic Society.

It is part of the wiki Classical 'Society' Records by Nick Morgan.

It is best viewed in landscape orientation, on a large monitor. Unfortunately, on small screens it displays poorly and is more difficult to consult.

In future, it is hoped to publish an additional page dedicated to each issue, with more information about its production, contents and reception.

For an account of the NGS itself, please see National Gramophonic Society.

For dates of creation and latest update, please see 'Page information' in left sidebar.

NB this page is still under construction

Sources

This discography is considerably expanded from an earlier version which was included in a 2013 PhD thesis on the National Gramophonic Society[1] and slightly revised for publication in 2016.[2]

Information about the planning, production, promotion and publication of NGS issues was gathered from original NGS documents, from printed or scanned issues of The Gramophone, from unpublished correspondence and from other contemporary or later sources, cited where relevant.

Additional information about recordings produced for the NGS by Columbia, including matrix details and recording dates, was obtained from Columbia manufacturing cards.[3] One unissued side recorded by Columbia (an aria from Handel's opera Deidamia, see below) was first identified from discographical research carried out by Michael Gray,[4] and further documented from its Columbia matrix card.

Recordings produced for the NGS by Parlophone and Vocalion are less well documented in original sources. Matrix details were obtained from original discs. Recording dates were either estimated from NGS notices or were obtained from unpublished discographies by Malcolm Walker[5] and Frank Andrews,[6] cited where relevant. Unissued NGS recordings made by Vocalion were documented from The Gramophone and Mr. Walker's discography, which also supplied the exact location of many Columbia electrical recordings for the Society.

All issued NGS recordings have been auditioned directly from original discs held by the British Library, or from digital transfers made by the British Library, CHARM, Pristine Audio (now Pristine Classical), Bryan Bishop, Jolyon Hudson and other private collectors. All NGS discs have also been inspected for matrix information and label copy.

Seasons and issues

The National Gramophonic Society financed its productions by subscription. In the beginning, members were obliged to take all records issued, and to pay in advance for them, plus postage and packing, in addition to their annual subscription.[7] Presumably to give members an idea of their liabilities, and for administrative purposes, the Society's programme was organized into annual seasons, starting in October. Each season would see members receiving twenty-four 12-inch (30 cm) double-sided discs, or an equivalent mix of 12-inch and 10-inch (25 cm). These were issued somewhat irregularly in batches of between three and twelve discs. The batches were not numbered publicly, only internally.[8]

Supplementary issues

The NGS's requirements that members take all issues and pay for them in advance were felt to be onerous and to deter prospective subscribers. in addition, some members resented being obliged to take repertoire they did not care for. To address the first of these concerns, the Society relaxed its rules and allowed members to take fewer than the annual quota, although this made the terms and conditions somewhat complicated. To address the second, it started to 'produce alternative records so that the Society can make some attempt to gratify the minority voters.'[9] These fell outside the annual quota, and thus outside the numbered sequence of issues; they are labelled 'supplementary' below, a term used by the NGS itself.[10] Members who took the entire annual quota plus the minority issues were referred to by the Secretary as 'whole-hoggers',[11] a term reminiscent of British public (i.e. private) school slang.

Issue dates

If the NGS published dated 'bulletins' or 'supplements' listing new issues, none have been located. Members were probably notified by circulars, now lost, and readers of The Gramophone by the Society's more or less regular 'Notes', from which issue dates have been estimated, and by occasional advertisements.

Deletion dates

The Society's 'Notes' also reported on low or exhausted stocks, re-pressings and remainder sales; together with the Society's catalogues and advertisements, they allow deletion dates to be estimated, although these are not given here. Manufacturing parts for some NGS acoustical productions were scrapped in the 1930s, the remainder in 1944. In principle, electrical recordings made for the Society could be re-pressed on demand by EMI until 1961, when its special pressing service was discontinued. All surviving NGS matrices were destroyed by early 1964.

Commercial partners

NGS discs were manufactured by the following commercial companies, using the recording systems shown in brackets:

  • Columbia, 1924-25: discs A to P, GG to MM (acoustical, proprietary)
  • Parlophone, 1925-26: discs Q to FF (acoustical, proprietary)
  • Vocalion, 1926-28: discs NN to GGG (acoustical, proprietary)
  • Parlophone, March 1928: discs 103, 104 (electrical, Western Electric)
  • Vocalion, discs HHH to 102, 105 to 108 (electrical, Marconi)
  • Columbia, 1928-31: discs 109 to 163, sides 69B–, 71– (electrical, Western Electric)

Recording locations

All NGS productions were recorded in the studios of its commercial partners:

  • Columbia, 1924-25 (acoustical): Columbia studios, 102-108 Clerkenwell Road, London EC1
  • Parlophone, 1925-26 (acoustical): Parlophone studios, 85 City Road, London EC1
  • Vocalion, 1926-28 (acoustical and electrical): Vocalion studios, 2 Duncan Avenue (off Gray's Inn Road), London WC1
  • Parlophone, March 1928 (electrical): Parlophone studio, 72a Carlton Hill, St. John's Wood, London NW8
  • Columbia, 1928-31 (electrical): Columbia studios, 73 Petty France, London SW1[12] and Central Hall, Westminster (discs 156 to 158)

Manufacturing parts

Columbia maintained a register of its inventory of the metal parts (master, mother, stampers) derived from recorded wax matrices and used to manufacture discs. This register consisted of one or more 'Manufacturing Cards' for each matrix (i.e. side), chronicling the processing, evaluation, usage and final scrapping of all parts, and logging details of content, artists, publishers and so on. All the cards for Columbia's productions for the National Gramophonic Society survive, including (as far as is known) those for unissued sides; they are a very rich resource. They were numbered, and these numbers are listed below alongside the relevant matrix.

In mid-1928, Parlophone's NGS metal parts were transferred to Columbia's factory in Bendon Valley, Wandsworth, and cards created for them, logging the condition of the master and mother as received. No Parlophone records were re-pressed by Columbia. In late 1928, after Vocalion stopped manufacturing 12-inch (30 cm) discs and ended its partnership with the Society, its metal parts for electrical NGS matrices were also transferred to Columbia and inventoried; unlike Parlophone's, some of these were re-pressed by Columbia for the Society. The fate of Vocalion's acoustical NGS matrices is not known. Columbia's cards for the two other NGS producers' parts were not numbered and are not listed below.

Playback speeds

The playback speeds of NGS discs were always advertised by the Society and were those adopted by its commercial partners. All acoustical records were recorded at a nominal 80 rpm. The speed was not shown on acoustical disc labels but usually posted in the NGS 'Notes' in The Gramophone.

Electrical issues continued to be recorded at a nominal 80 rpm, but again this was not shown on disc labels until the Society abandoned catalogue letters. Thus, the speed is absent from labels of the original issue of the Brahms Trio in Eb Op.40, with catalogue letters QQQ to TTT, but is present on later labels with catalogue IDs NGS 65 to 68, and on the labels of disc NGS 69 and upwards.

In late 1927, Vocalion changed the speed of its NGS recordings to 78 rpm, but the factory was not informed and continued to print disc labels showing the speed as 80 rpm.[13] This mistake is found on the labels of discs NGS 88 to 101, although later pressings of at least three sets in this run (NGS 88 to 91, 92 to 93 and 96 to 97) are known with disc labels showing 78 rpm. From disc NGS 103 onwards the speed shown on disc labels is nominally correct.

Some early electrical NGS productions by Columbia have disc labels of the type used on the Society's very first acoustical issues, also manufactured by Columbia, which show no speed. Perhaps Columbia was using up a stock of labels left over from its first partnership with the NGS.

Matrix numbers

In this discography, matrix prefixes are separated from matrix numbers for ease of reading, but this format was not standard in the 1920s and 1930s, when disc or matrix prefixes and numbers were unbroken, or were separated by a full stop or, less commonly, by a hyphen.

Acoustical discs recorded for the NGS by Columbia during their first partnership, up to January 1925, do not display matrix details; nor does the set recorded separately by Columbia in July 1925. For this discography, matrix details were obtained from Columbia manufacturing cards:[14] these consist of Columbia's 12-inch prefix AX, a three- or four-digit matrix number, a hyphen and a one-digit take number.

Acoustical discs recorded for the Society by Parlophone display matrix details in the run-out area[15] only, not on labels. They consist of the prefix GS followed by one or more digits;[16] a plain number, e.g. GS 3, denotes take 1, while an additional superscript number from 2 to 4 (e.g. GS 14) denotes corresponding higher takes. Parlophone was the only company to produce both 10-inch (25 cm) and 12-inch (30 cm) discs for the NGS; the matrix numbers do not distinguish between them.

All discs recorded for the NGS by Vocalion display matrix and take details. These consist of the prefix NGS,[17] shown in the run-out area only, not on most labels, followed by one or more digits. On electrical discs, all matrix numbers have suffix E. On all discs, a plain number denotes take 1, e.g. NGS 9 or NGS 50E, and additional suffixes X and XX denote takes 2 and 3, respectively, e.g. NGS 1X (take -2), NGS 142EXX (take -3). The labels of Vocalion's electrical NGS discs also display a circled capital Ⓜ, denoting licensed use of the Marconi Company's electrical recording system.

The sole set recorded electrically for the Society by Parlophone, in 1928, displays no matrix numbers; nor, unusually, do the manufacturing cards, unlike those for the acoustical records. This recording apparently fell outside Parlophone's routine production procedures. No Western Electric logo is present, although this was the system used.

All electrical discs recorded by Columbia for the Society during their second partnership, from May 1928 until March 1931, carry the circled capital Ⓦ in the run-out area, denoting licensed use of the Western Electric recording system; conventionally, this is combined with Columbia's 12-inch prefix to form ⓌAX, although they are not always next to each other. Columbia's earliest electrical pressings for the NGS display no matrix details; again, these were obtained from Columbia's manufacturing cards. Some copies of NGS discs pressed after 1931, when Columbia merged with HMV to form EMI, carry the old Gramophone Company symbol G in the run-out area, denoting a first stamper. The changing physiognomy of later NGS pressings demonstrates the historical value of multiple copies of records. Detailed comparison of these, and collation with the often barely legible stamper information on Columbia manufacturing cards, might indicate variations in demand for the Society's recordings.

Catalogue IDs

From the NGS's launch until 1927, the Society's discs were identified by letters of the alphabet, starting at A. When the end of the alphabet was reached, letters were doubled, starting at AA, and then tripled, starting at AAA. The last disc identified in this way was TTT. J, U, II and III were not used, whereas, somewhat inconsistently, JJ, JJJ and UU were used.

NGS discs issued from the spring of 1927 onwards were identified by numbers, starting at 69. At the same time, older discs, originally identified alphabetically, were retrospectively assigned the equivalent number(s), starting at 1 for old A. The Society's catalogues, notices and advertisements applied this renumbering to all issues; but only the set QQQ-TTT is known to have been re-pressed with labels bearing the equivalent numbers 65-68.

Three NGS disc numbers, 69, 70 and 71, were reused when existing recordings were recoupled with new fillers (see entries below).

Side symbols

Throughout the Society's existence, the first side of a disc was denoted by the symbol + (e.g. M+, 71+), and the second by the symbol – (e.g. M–, 71–). Occasionally, on the labels of some Columbia pressings of electrical recordings, these symbols were omitted.

Labels, sleeves and albums

National Gramophonic Society disc labels shared elements of their design with the original front cover of The Gramophone: on the magazine, two columns supporting an arch framed its title and the issue's contents, while on NGS disc labels they framed the Society's name and the label copy. The same lettering was used for the magazine's title and NGS's name:

NGS disc M label (collection & photo: the author)

(Note: in the above image, the legend 'C1' to the left of the spindle hole is not part of the design or label copy but was added, probably by a previous owner.)

The design of NGS labels did not change over the Society's lifetime, only minor details of the placing and content of label copy. Both it and the first front cover of The Gramophone were surely the work of the same artist, whose name is not known, and who must also have designed one of the Society's sleeves. NGS issues were initially distributed in 'flimsy paper bags' of unknown design, but from mid-1925 in 'stout cardboard "bags"' whose design mirrored the discs' labels.[18] As far as is known, these sleeves were uniform for all issues, carrying no copy other than the Society's name, and also did not change over the Society's lifetime:

NGS disc M in NGS sleeve (collection & photo: the author)

(Note: the bag in the above image has browned considerably with age.)

No discs were distributed by the NGS in albums. (From early 1928, NGS sets were marketed in North America in albums made up by one of the Society's agents, the Gramophone Shop of New York. Numbers were assigned to these albums which bear no relation to NGS catalogue numbers and are not given in this discography.[19])

Analytical notes

Most coarse-groove discs were not sold in stiff sleeves but in generic paper 'bags'. Usually, only records sold in albums, or for which albums were available, were provided with notes containing texts and/or analytical notes.[20] These practices and nomenclatures have yet to be charted in detail but it is clear that they sprang from the tradition of analytical notes provided for concert-goers (now known as 'programme notes') and armchair music-lovers.

The NGS made no public announcement on the matter, yet during the first two seasons all issues except single discs were accompanied by analytical notes printed on loose sheets. No copies are known of two of the first four notes. From August 1925, NGS analytical notes were also printed in The Gramophone. Eighteen months later, this system apparently broke down: notes are missing for some issues, although these may have been distributed on undocumented sheets. From the first orchestral issues, in the spring of 1927, and for the remainder of the third season, notes were published only in the new NGS catalogue. During the 1927-28 season, this system was also abandoned: two notes were printed in The Gramophone, but none are known for the Society's second orchestral batch (it is possible that John Barbirolli promised them but, under pressure of work, was unable to provide more than brief remarks). From the fifth season onwards, the NGS again provided analytical notes for most issues, usually in The Gramophone, occasionally in catalogues, and very rarely on a loose sheet (only one is known, from June 1930).

With one or two exceptions, NGS analytical notes were written by staff writers of The Gramophone. All known notes are listed in the relevant entries below.

Transfers

Guide to entries

Order of entries

Issued NGS discs are listed below in issue order. This did not always follow catalogue order; for various reasons, the Society held some issues back during its first three annual seasons. From the spring of 1927 onwards, though, issue order did follow catalogue order.

The NGS issued its discs in batches; the entries below are grouped accordingly. Ideally, individual 'sets' within each batch would be graphically separated, e.g. by a space or a double line, but MediaWiki tables don't seem to allow that (coding tips gratefully received). The NGS itself did treat sets as separate entities, in its announcements, advertisements, catalogues etc., but it did not issue them in self-contained albums.

It may therefore not be obvious at first sight that the NGS issued two sets coupling two substantial works, namely discs H to P, coupling Schubert's Trio in E flat D.929 with Schoenberg's sextet Verklärte Nacht Op.4 (see below), and discs NGS 69 to 71, coupling Corelli's Concerto grosso in g minor Op.6 No.8 with Debussy's Danse sacrée and Danse profane (see below). This practice was unusual but not unheard of; the Society must have copied it from Vocalion, which had used it in the early 1920s. More commonly, the NGS followed the other, more standard practice, of coupling one main work, taking up an odd number of sides in a set, with a 'filler' on the remaining vacant side. This occasionally resulted in the Society going against its avowed principle of issuing only complete works, uncut. All fillers are marked as such below, under 'Notes'.

Unissued NGS matrices are listed in matrix number sequence, grouped by known or estimated recording date.

Contents of entries

Each line or entry represents one side. All relevant details are repeated. Unfortunately, this makes the discography look rather cluttered but it has been preferred to the practice of somehow indicating - or, worse, assuming - 'ditto', which can lead to ambiguity or error, and which is foreign to computers.

  • Selection(s): the 'contents' of each side, including composer(s). Names and titles are modernised, up to a point. Given names are left out, except where unfamiliar or needed to disambiguate (Gibbons, Purcell, Haydn and Mozart are all the well-known ones)
  • Artist(s): the performers on each side. Given names, and instruments are left out, except where needed to disambiguate, or where the instrument is not the expected one (usually, piano for expected harpsichord)
  • #Art.: the number of performers on a side - usually obvious, but not always, and a way of keeping tabs on the NGS's coverage of genres
  • Matrix: each side's matrix prefix (if any), matrix number, take indicator (if any) and matrix suffix (see below)
  • Rec. date: exact or approximate date on which a side was recorded (see below)
  • Sys.: recording system, acoustical ('ac') or electrical ('el') (see also below)
  • Producer: the commercial company which recorded each side (and, usually, manufactured the disc)
  • Location: a side's known or presumed recording location
  • Cat. ID: each side's catalogue letter(s) and/or number(s)
  • Part ID (Columbia recordings only): reference number of a side's metal 'parts', logged on one or more manufacturing cards
  • Diam.: each side's diameter
  • Notes: notes relevant to each side or set. For reasons of space, notes are sometimes distributed among the sides of a set and do not necessarily pertain to that side only

1924-25 Season

Issue 1, October 1924

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Beethoven String Quartet in Eb Op.74
(i) Poco adagio. Allegro [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 541-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
A+
H 4907
12" / 30 cm
First issue by NGS (for earliest recording issued by NGS, see below)
(i) Allegro [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 542-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
A–
H 4906
12" / 30 cm
Disc labels list Quaife and Tomlinson in reverse order throughout
(ii) Adagio ma non troppo [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 543-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
B+
H 4900
12" / 30 cm
Analytical note: 'N.P.' [Title unknown][21]
(ii) Adagio ma non troppo [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 544-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
B–
H 4901
12" / 30 cm
(iii) Presto Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 545-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
C+
H 4902
12" / 30 cm
(iv) Allegretto con variazioni Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 546-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
C–
H 4903
12" / 30 cm
Debussy String Quartet in g Op.10
(i) Animé et très décidé [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 547-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
D+
H 4904
12" / 30 cm
Disc labels list Quaife and Tomlinson in reverse order throughout
(i) Animé et très décidé [part 2]
(iii) Andantino, doucement expressif [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 548-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
D–
H 4905
12" / 30 cm
Movements recorded in order (i), (iii), (ii), (iv), probably to reduce number of discs[22]
(iii) Andantino, doucement expressif [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 549-2
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
E+
H 4915
12" / 30 cm
Analytical note: 'N.P.' [Title unknown][23]
(ii) Assez vif et bien rythmé Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 550-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
E–
H 4914
12" / 30 cm
(iv) Très modéré [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 551-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
F+
H 4912
12" / 30 cm
(iv) Très modéré [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
AX 552-1
30 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
F–
H 4913
12" / 30 cm

Extraordinary issue, January 1925

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Rubinstein, Anton String Quartet in F Op.17 No.3 – (ii) Allegro Cobbett Quartet
(Cobbett, Keady, Spain-Dunk, Hann)
4
AX 540-1
28 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
G+
H 4908
12" / 30 cm
Both sides probably made as test recordings, not originally destined for issue[24] (two further sides unissued, see below)
Raff String Quartet No.7 in D Op.192 No.2, Die schöne Müllerin (as Maid of the Mill Suite) –
(v) Erklärung (as The Declaration). Andantino, quasi allegretto
Cobbett Quartet
(Cobbett, Keady, Spain-Dunk, Hann)
4
AX 537-1
28 July 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
G–
H 4911
12" / 30 cm
Disc distributed to NGS members gratis, in compensation for delay to next issue and as belated present for Christmas 1924[25]
Key of excerpt (G major) billed on label in place of that of source work
No analytical note known

Issue 2, February/March 1925

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Schubert Piano Trio in Eb D.929
(i) Allegro [part 1]
Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 667-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
H+
H 5026
12" / 30 cm
Coupled as one set with Schoenberg Verklärte Nacht (see below)
(i) Allegro [part 2] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 668-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
H–
H 5027
12" / 30 cm
Analytical note: 'K.K.' A Note on Schubert's Piano Trio in E flat, Op.100[26]
(i) Allegro [part 3] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 669-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
I+
H 5028
12" / 30 cm
(ii) Andante con moto [part 1] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 670-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
I–
H 5029
12" / 30 cm
(ii) Andante con moto [part 2] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 671-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
K+
H 5030
12" / 30 cm
Catalogue letter J not used
(iii) Scherzando. Allegro moderato Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 840-1
7 January 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
K–
H 5241
12" / 30 cm
(iv) Allegro moderato [part 1] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 841-1
7 January 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
L+
H 5242
12" / 30 cm
Recording date of this side stated on Columbia manufacturing card, erroneously, as '7th Jan 1924'
(iv) Allegro moderato [part 2] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 842-1
7 January 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
L–
H 5243
12" / 30 cm
(iv) Allegro moderato [part 3] Harold Craxton (piano),
Spencer Dyke, Patterson Parker
3
AX 843-1
7 January 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
M+
H 5244
12" / 30 cm
Schoenberg Verklärte Nacht, string sextet Op.4
[Part 1]
Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 663-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
M–
H 5022
12" / 30 cm
Coupled as one set with Schubert Trio D.929 (see above)
[Part 2] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 664-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
N+
H 5023
12" / 30 cm
Effectively Spencer Dyke String Quartet, although not billed as such on disc labels, plus supernumeraries
[Part 3] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 665-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
N–
H 5024
12" / 30 cm
Analytical note: 'K.K.' A Note on Schönberg's Sextet, Op.4, "Verklärte Nacht"[27]
[Part 4] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 666-1
10 October 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
O+
H 5025
12" / 30 cm
[Part 5] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 829-1
30 December 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
O–
H 5229
12" / 30 cm
[Part 6] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 830-1
30 December 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
P+
H 5230
12" / 30 cm
[Part 7] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
AX 831-1
30 December 1924
ac
Columbia Columbia studio, Clerkenwell Road, London
P–
H 5231
12" / 30 cm

Issue 3, July/August 1925

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Beethoven String Quartet in F Op.59 No.1
(i) Allegro [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 73
c. June 1925
ac
Parlophone Parlophone studio,
City Road, London
T+
12" / 30 cm
'[...] unusual difficulties have been encountered, and re-recordings have been necessary'[28]
(i) Allegro [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 8
April 1925
ac
Parlophone Parlophone studio,
City Road, London
T–
12" / 30 cm
Main recording session held shortly before 24 April 1925[29]
(i) Allegro [part 3] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 9
April 1925
ac
Parlophone Parlophone studio,
City Road, London
V+
12" / 30 cm
Catalogue letter U not used
(ii) Allegretto vivace e sempre scherzando [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 10
April 1925
ac
Parlophone Parlophone studio,
City Road, London
V–
12" / 30 cm
Analytical note: 'N.P.' [Title unknown][30]
(ii) Allegretto vivace e sempre scherzando [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 11
April 1925
ac
Parlophone Parlophone studio,
City Road, London
W+
12" / 30 cm
(ii) Allegretto vivace e sempre scherzando [part 3] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 122
April 1925
ac
Parlophone Parlophone studio,
City Road, London
W–
12" / 30 cm
(iii) Adagio molto e mesto [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 13
April 1925
ac
Parlophone Parlophone studio,
City Road, London
X+
12" / 30 cm
(iii) Adagio molto e mesto [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 14
April 1925
ac
Parlophone Parlophone studio,
City Road, London
X–
12" / 30 cm
(iii) Adagio molto e mesto [part 3]
(iv) Thème russe. Allegro [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 15
April 1925
ac
Parlophone Parlophone studio,
City Road, London
Y+
12" / 30 cm
(iv) Thème russe. Allegro [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 16
April 1925
ac
Parlophone Parlophone studio,
City Road, London
Y–
12" / 30 cm

Issue 4, October/November 1925

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Brahms String Sextet in Bb Op.18
(i) Allegro ma non troppo [part 1]
Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 22
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
Z+
12" / 30 cm
Effectively Spencer Dyke String Quartet, although not billed as such on disc labels, plus supernumeraries
(i) Allegro ma non troppo [part 2] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 23
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
Z–
12" / 30 cm
Analytical note: 'N.P.' A Note on the Brahms Sextet in B flat major, Op.18[31]
(i) Allegro ma non troppo [part 3] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 24
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
AA+
12" / 30 cm
(ii) Andante ma moderato [part 1] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 252
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
AA–
12" / 30 cm
(ii) Andante ma moderato [part 2] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 262
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
BB+
12" / 30 cm
(iii) Scherzo. Allegro molto Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 272
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
BB–
12" / 30 cm
(iv) Rondo. Poco allegretto e grazioso [part 1] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 282
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
CC+
12" / 30 cm
(iv) Rondo. Poco allegretto e grazioso [part 2] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 294
c. September 1925
ac
Parlophone Parlophone studio,
City Road, London
CC–
12" / 30 cm
First master of this side damaged at factory, necessitating re-recording[32]
(iv) Rondo. Poco allegretto e grazioso [part 3] Spencer Dyke, Quaife, Tomlinson, Lockyer (viola II), Patterson Parker, Robinson (cello II)
6
GS 30
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
DD+
12" / 30 cm
Goossens, Eugene [III] Two Sketches Op.15
(i) By the Tarn
Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli)
4
GS 172
c. May 1925
ac
Parlophone Parlophone studio,
City Road, London
DD–
12" / 30 cm
Filler. Coupled by mistake, against wishes of André Mangeot.[33] Berly's name misspelled 'Berley' on disc label. No analytical note

1925-26 Season

Issue 5, October/November 1925

This issue was held over from 1924-25 season.

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Mozart Quartet for oboe and strings in F K.370 – (i) Allegro [part 1] Leon Goossens (oboe), Spencer Dyke, Tomlinson, Patterson Parker
4
GS 14
c. June 1925
ac
Parlophone Parlophone studio,
City Road, London
Q+
10" / 25 cm
Takes 3 and above probably recorded at second session, on conjectured date[34]
(i) Allegro [part 2] Leon Goossens (oboe), Spencer Dyke, Tomlinson, Patterson Parker
4
GS 23
c. June 1925
ac
Parlophone Parlophone studio,
City Road, London
Q–
10" / 25 cm
Three members of Spencer Dyke String Quartet, although not billed as such on disc labels
(ii) Adagio Leon Goossens (oboe), Spencer Dyke, Tomlinson, Patterson Parker
4
GS 3
April 1925
ac
Parlophone Parlophone studio,
City Road, London
R+
10" / 25 cm
Main recording session reportedly held shortly before 24 April 1925[35]
(iii) Rondeau. Allegro [part 1] Leon Goossens (oboe), Spencer Dyke, Tomlinson, Patterson Parker
4
GS 4
April 1925
ac
Parlophone Parlophone studio,
City Road, London
R–
10" / 25 cm
Analytical note, issued with discs: 'N.P.' [Title unknown][36]
(iii) Rondeau. Allegro [part 2] Leon Goossens (oboe), Spencer Dyke, Tomlinson, Patterson Parker
4
GS 52
April 1925
ac
Parlophone Parlophone studio,
City Road, London
S+
10" / 25 cm
Bach, J.S. Ich steh' mit einem Fuß im Grabe BWV 156 – (i) Sinfonia Leon Goossens (oboe), Spencer Dyke String Quartet
5
GS 6
April 1925
ac
Parlophone Parlophone studio,
City Road, London
S–
10" / 25 cm
Filler. Quartet members not named on disc label; presumed to be Spencer Dyke, Quaife, Tomlinson, Patterson Parker. No analytical note

Issue 6, January/February 1926

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Schubert String Quintet in C D.956
(i) Allegro ma non troppo [part 1]
Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1066-3
16(?) July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
GG+
H 5526
12" / 30 cm
Columbia manufacturing card for first matrix shows no recording date; higher take suggests second day?
(i) Allegro ma non troppo [part 2] Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1067-2
15 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
GG–
H 5527
12" / 30 cm
Effectively final formation of Cobbett Quartet, although not billed as such on disc labels, plus supernumerary
(i) Allegro ma non troppo [part 3] Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1068-1
15 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
HH+
H 5528
12" / 30 cm
Recording paid for by Cobbett; six discs charged to NGS members as five
(i) Allegro ma non troppo [part 4]
(ii) Adagio [part 1]
Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1069-2
15 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
HH–
H 5529
12" / 30 cm
Work billed on labels as Op.163. Analytical note: W.W. Cobbett Schubert's String Quintet in C major(?)[37]
(ii) Adagio [part 2] Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1070-2
15 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
JJ+
H 5530
12" / 30 cm
Catalogue letters II not used
(ii) Adagio [part 3] Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1071-2
15 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
JJ–
H 5531
12" / 30 cm
(ii) Adagio [part 4]
(iii) [part 1] Scherzo. Presto
Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1072-2
15 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
KK+
H 5532
12" / 30 cm
(iii) [part 2] Trio. Andante sostenuto Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1073-2
16 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
KK–
H 5533
12" / 30 cm
(iii) [part 3] Scherzo. Presto, da capo Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1074-2
16 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
LL+
H 5534(?)
12" / 30 cm
Manufacturing card number cut off; extrapolated from highly regular sequence
(iv) Allegretto [part 1] Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1075-2
16 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
LL–
H 5535
12" / 30 cm
(iv) Allegretto [part 2] Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1076-2
16 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
MM+
H 5536
12" / 30 cm
(iv) Allegretto [part 3]
Più allegro
Cobbett, Keady, Spain-Dunk, Dare, Crabbe (cello II)
5
AX 1077-2
16 July 1925
ac
Columbia Columbia studio, Clerkenwell Road, London
MM–
H 5537
12" / 30 cm

Issue 7, February/March 1926

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Tomlinson, Ernest[38] A Lament Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
GS 21
c. July 1925
ac
Parlophone Parlophone studio,
City Road, London
EE+
12" / 30 cm
Coupled by mistake, against wishes of André Mangeot[39]
Gibbons arr. anon.[40]
Fantasia à 3 VdGS 3
Fantasia à 3 VdGS 9
Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli)
3
GS 18
c. May 1925
ac
Parlophone Parlophone studio,
City Road, London
EE–
12" / 30 cm
Fantasia No.3 played by violin, viola and 'cello
Fantasia No.9 played by two violins and 'cello
Gibbons arr. anon.
Fantasia à 3 VdGS 6
Fantasia à 3 VdGS 8
Music Society String Quartet
(Mangeot, Pecker, Barbirolli)
3
GS 19
c. May 1925
ac
Parlophone Parlophone studio,
City Road, London
FF+
10" / 25 cm
Fantasias both played by two violins and 'cello, although four players billed on disc label
Goossens, Eugene [III] Two Sketches Op.15
(ii) Jack o' Lantern
Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli)
4
GS 203
c. May 1925
ac
Parlophone Parlophone studio,
City Road, London
FF–
10" / 25 cm

Issue 8, May 1926

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Elgar Quintet for piano and strings in a Op.84
(i) Moderato; Allegro [part 1]
Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 1X
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
NN+
12" / 30 cm
First production by Vocalion for NGS
(i) Allegro [part 2] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 2X
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
NN–
12" / 30 cm
Quartet members not named on disc labels; presumed to be Spencer Dyke, Quaife, Tomlinson, Patterson Parker
(i) Allegro [part 3] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 3X
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
OO+
12" / 30 cm
Composer invited by Compton Mackenzie to perform piano part in NGS recording but declined, nominating Bartlett or Olive Bloom (see below) instead[41]
(i) Allegro [part 4] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 4X
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
OO–
12" / 30 cm
Analytical note, issued with discs: John F. Porte A Note on Elgar's Quintet for Pianoforte & Strings in A minor (Op.84)[42]
(ii) Adagio [part 1] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 5
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
PP+
12" / 30 cm
(ii) Adagio [part 2] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 6
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
PP–
12" / 30 cm
(ii) Adagio [part 3] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 7
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
QQ+
12" / 30 cm
(iii) Andante; Allegro [part 1] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 8X
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
QQ
12" / 30 cm
(iii) Allegro [part 2] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 9
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
RR+
12" / 30 cm
(iii) Allegro [part 3] Ethel Hobday (piano), Spencer Dyke String Quartet
5
NGS 10X
c. February/March 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
RR–
12" / 30 cm

Issue 9, June 1926

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Brahms for clarinet and strings in b Op.115
(i) Allegro [part 1]
Thurston, Spencer Dyke String Quartet
5
NGS 11X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
SS+
12" / 30 cm
Quartet members not named on labels of main work only (but see filler, below); presumed to be Spencer Dyke, Quaife, Tomlinson, Patterson Parker
(i) Allegro [part 2] Thurston, Spencer Dyke String Quartet
5
NGS 12X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
SS–
12" / 30 cm
(i) Allegro [part 3] Thurston, Spencer Dyke String Quartet
5
NGS 13X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
TT+
12" / 30 cm
(ii) Adagio [part 1] Thurston, Spencer Dyke String Quartet
5
NGS 14
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
TT–
12" / 30 cm
(ii) Adagio [part 2] Thurston, Spencer Dyke String Quartet
5
NGS 15
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
UU+
12" / 30 cm
(ii) Adagio [part 3] Thurston, Spencer Dyke String Quartet
5
NGS 16X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
UU–
12" / 30 cm
(iii) Andantino Thurston, Spencer Dyke String Quartet
5
NGS 17X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
VV+
12" / 30 cm
(iv) Con moto [part 1] Thurston, Spencer Dyke String Quartet
5
NGS 18X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
VV–
12" / 30 cm
(iv) Con moto [part 2] Thurston, Spencer Dyke String Quartet
5
NGS 19X
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
WW+
12" / 30 cm
Glière String Quartet in A Op.2
(ii) Scherzo. Allegro
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 27
c. May/June 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
WW–
12" / 30 cm
Filler

Issue 10, September 1926

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Mozart for clarinet and strings in A K.581
(i) Allegro [part 1]
Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 20
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
XX+
12" / 30 cm
Spencer Dyke String Quartet not billed as such on disc labels
(i) Allegro [part 2] Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 21X
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
XX–
12" / 30 cm
Analytical note: 'N.P.' Mozart. Clarinet Quintet in A major (K-V. No.581)[43]
(ii) Larghetto [part 1] Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 22X
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
YY+
12" / 30 cm
(ii) Larghetto [part 2]
(iii) Menuetto [part 1]
Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 23
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
YY–
12" / 30 cm
(iii) Menuetto [part 2] Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 24X
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
ZZ+
12" / 30 cm
(iv) Allegretto con variazioni [part 1] Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 25X
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
ZZ–
12" / 30 cm
(iv) Allegretto con variazioni [part 2] Charles Draper (clarinet), Spencer Dyke, Quaife, Tomlinson, Patterson Parker
5
NGS 26X
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
AAA+
12" / 30 cm
Mozart Duo for violin and viola in G K.423
(ii) Adagio
Spencer Dyke, Tomlinson
2
NGS 28
c. May to August 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
AAA–
12" / 30 cm
Filler. Brief mention only in analytical note for main work
Purcell arr. Mangeot[44] Fantasia à 4 Z.738
[part 1]
Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli)
4
GS 33
February 1926
ac
Parlophone Parlophone studio,
City Road, London
BBB+
10" / 25 cm
Recording date from Malcolm Walker
Analytical note: André Mangeot The Purcell Fantasies[45]
[part 2] Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli)
4
GS 344
April(?) 1926
ac
Parlophone Parlophone studio,
City Road, London
BBB–
10" / 25 cm
Original matrix, recorded in February, apparently damaged; re-recorded some weeks later
Purcell arr. Mangeot Fantasia à 3 Z.734 Mangeot, Berly, Barbirolli
3
GS 36
February 1926
ac
Parlophone Parlophone studio,
City Road, London
CCC+
10" / 25 cm
Recording date from Malcolm Walker
Three members of Music Society String Quartet, although not billed as such on disc label
McEwen String Quartet No.5 Nugae
(iii) Peat Reek
Music Society String Quartet
(Pecker, Mangeot, Berly, Barbirolli)
4
GS 353
April(?) 1926
ac
Parlophone Parlophone studio,
City Road, London
CCC–
10" / 25 cm
Last 10" / 25 cm disc issued by NGS
Mangeot billed first on disc label but led by Pecker[46]
No analytical note

1926-27 Season

Issue 11, December 1926

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Purcell arr. Mangeot Fantasia à 5 Z.745 Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli), Pougnet (viola II)
5
GS 31
February 1926
ac
Parlophone Parlophone studio,
City Road, London
DDD+
12" / 30 cm
Recording date from Malcolm Walker
Purcell arr. Mangeot Fantasia à 4 Z.736 Music Society String Quartet
(Mangeot, Pecker, Berly, Barbirolli)
4
GS 32
February 1926
ac
Parlophone Parlophone studio,
City Road, London
DDD–
12" / 30 cm
Schubert String Quartet in a D.804
(i) Allegro ma non troppo [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 33E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
HHH+
12" / 30 cm
First electrical recording issued by NGS; see below for possible electrical 'tests' (unissued)
(i) Allegro ma non troppo [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 34E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
HHH–
12" / 30 cm
Recording date from Malcolm Walker
(i) Allegro ma non troppo [part 3] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 35E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
JJJ+
12" / 30 cm
Catalogue letters III not used
(ii) Andante [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 36E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
JJJ–
12" / 30 cm
(ii) Andante [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 37EX
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
KKK+
12" / 30 cm
(iii) Menuetto. Allegretto [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 38E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
KKK–
12" / 30 cm
(iii) Menuetto. Allegretto [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 39E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
LLL+
12" / 30 cm
(iv) Allegro moderato [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 40E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
LLL–
12" / 30 cm
(iv) Allegro moderato [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 41E
7 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
MMM+
12" / 30 cm
Mendelssohn String Quartet in e Op.44 No.2
(ii) Scherzo. Allegro di molto
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 48EX
11(?) October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
MMM–
12" / 30 cm
Filler. Recording date not specified by Malcolm Walker; extrapolated from dated matrix sequence

Issue 12a, February 1927

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Beethoven String Quartet in F Op.135
(i) Allegretto [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 42E
11 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
NNN+
12" / 30 cm
Date from Malcolm Walker
(i) Allegretto [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 43E
11 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
NNN–
12" / 30 cm
(ii) Vivace Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 44E
11 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
OOO+
12" / 30 cm
(iii) Lento assai, cantante e tranquillo [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 45E
11 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
OOO–
12" / 30 cm
(iii) Lento assai, cantante e tranquillo [part 2]
(iv) Grave, ma non troppo tratto [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 46E
11 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
PPP+
12" / 30 cm
(iv) Grave, ma non troppo tratto [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 47EX
11 October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
PPP–
12" / 30 cm
Brahms Trio for horn, violin and piano in Eb Op.40 – (i) Andante [part 1] Brain, Spencer Dyke, Bowen
3
NGS 49E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
QQQ+ /
NGS 65+
12" / 30 cm
First pressed by Vocalion with catalogue letters
Re-pressed by Vocalion with catalogue numbers, prefixed NGS
Later re-pressed by Columbia with catalogue numbers, unprefixed
(i) Andante [part 2] Brain, Spencer Dyke, Bowen
3
NGS 50E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
QQQ– /
NGS 65–
12" / 30 cm
(ii) Scherzo. Allegro [part 1] Brain, Spencer Dyke, Bowen
3
NGS 51EX
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
RRR+ /
NGS 66+
12" / 30 cm
(ii) Scherzo. Allegro [part 2] Brain, Spencer Dyke, Bowen
3
NGS 52E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
RRR– /
NGS 66–
12" / 30 cm
(iii) Adagio mesto [part 1] Brain, Spencer Dyke, Bowen
3
NGS 53E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
SSS+ /
NGS 67+
12" / 30 cm
(iii) Adagio mesto [part 2] Brain, Spencer Dyke, Bowen
3
NGS 54E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
SSS– /
NGS 67–
12" / 30 cm
(iv) Finale. Allegro con brio [part 1] Brain, Spencer Dyke, Bowen
3
NGS 55E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
TTT+ /
NGS 68+
12" / 30 cm
(iv) Finale. Allegro con brio [part 2] Brain, Spencer Dyke, Bowen
3
NGS 56E
c. October 1926
el
Vocalion Vocalion studio,
Duncan Avenue, London
TTT– /
NGS 68–
12" / 30 cm
Last NGS disc issued with catalogue letters

Issue 12b, February 1927

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Vaughan Williams Phantasy Quintet
(i) Prelude. Lento ma non troppo
Music Society String Quartet
(Pecker, Mangeot, Berly, Barbirolli), Pougnet (viola II)
5
GS 37
c. April 1926
ac
Parlophone Parlophone studio,
City Road, London
EEE+
12" / 30 cm
Malcolm Walker dates session to February 1926 but this is contradicted by André Mangeot's private correspondence
(ii) Scherzo. Prestissimo Music Society String Quartet
(Pecker, Mangeot, Berly, Barbirolli), Pougnet (viola II)
5
GS 38
c. April 1926
ac
Parlophone Parlophone studio,
City Road, London
EEE–
12" / 30 cm
Mangeot billed first on disc labels, but Pecker reported as leading this set
(iii) Alla Sarabanda. Lento
(iv) Burlesca. Allegro moderato [part 1]
Music Society String Quartet
(Pecker, Mangeot, Berly, Barbirolli), Pougnet (viola II)
5
GS 402
c. April 1926
ac
Parlophone Parlophone studio,
City Road, London
FFF+
12" / 30 cm
Note order of matrix nos.
(iv) Burlesca. Allegro moderato [part 2] Music Society String Quartet
(Pecker, Mangeot, Berly, Barbirolli), Pougnet (viola II)
5
GS 39
c. April 1926
ac
Parlophone Parlophone studio,
City Road, London
FFF–
12" / 30 cm
Note order of matrix nos.
Goossens, Eugene [III] Violin Sonata No.1 in e Op.21
– (ii) Adagio [part 1]
Mangeot, Goossens
2
NGS 29X
19 July 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
GGG+
12" / 30 cm
Date from Andrews
Only known recording by Goossens as pianist
(ii) Adagio [part 2] Mangeot, Goossens
2
NGS 30X
19 July 1926
ac
Vocalion Vocalion studio,
Duncan Avenue, London
GGG–
12" / 30 cm
Last acoustical side issued by NGS

Issue 13, April 1927

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Corelli ed. Bridge[47] Concerto grosso in g Op.6 No.8 – (i) Vivace; Grave
(ii) Allegro
(iii) [part 1] Adagio; Allegro
NGS Chamber Orchestra[48], Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 57E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 69+ / 69A+
12" / 30 cm
First NGS orchestral issue
First issue coupled with Debussy Danses
Reissued in January 1930 with new coupling and unprefixed catalogue number (see below)
(iii) [part 2] Adagio
(iv) Vivace
(v) [part 1] Allegro
NGS Chamber Orchestra, Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 58E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 69– / 69A–
12" / 30 cm
Edition by Frank Bridge credited on disc labels
Recording date from Malcolm Walker
(v) [part 2] Pastorale ad libitum. Largo NGS Chamber Orchestra, Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 59E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 70+ / 69B+
12" / 30 cm
First orchestral recording conducted by Barbirolli
Debussy Danse sacrée [part 1] Bartlett (piano), NGS Chamber Orchestra[49], Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 62E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 70– / 70+
12" / 30 cm
First issue coupled with Corelli Concerto grosso Op.6 No.8
Reissued in January 1930 with new coupling and unprefixed catalogue number (see below)
Danse sacrée [part 2]
Danse profane [part 1]
Bartlett (piano), NGS Chamber Orchestra, Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 63E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 71+ / 70–
12" / 30 cm
Danse profane [part 2] Bartlett (piano), NGS Chamber Orchestra, Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 64EX
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 71– / 71+
12" / 30 cm
Delius Two Pieces for Small Orchestra
(ii) Summer Night on the River [part 1]
NGS Chamber Orchestra[50], Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 65EX
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 72+
12" / 30 cm
Recording date from Malcolm Walker
[part 2] NGS Chamber Orchestra, Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 66E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 72–
12" / 30 cm
Mozart Symphony No.28 in C K.200
(i) Allegro spiritoso
NGS Chamber Orchestra[51], Fry (leader),
Mangeot (conductor)
orch.
NGS 67E
4 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 73+
12" / 30 cm
Recording date from Malcolm Walker
(ii) Andante NGS Chamber Orchestra, Fry (leader),
Mangeot (conductor)
orch.
NGS 68E
4 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 73–
12" / 30 cm
(iii) Menuetto. Allegretto NGS Chamber Orchestra, Fry (leader),
Mangeot (conductor)
orch.
NGS 69E
4 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 74+
12" / 30 cm
(iv) Presto NGS Chamber Orchestra, Fry (leader),
Mangeot (conductor)
orch.
NGS 70E
4 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 74–
12" / 30 cm
Warlock Serenade (To Frederick Delius
on his sixtieth birthday
) [part 1]
NGS Chamber Orchestra[52], Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 60E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 75+
12" / 30 cm
Recording date from Malcolm Walker
[part 2] NGS Chamber Orchestra, Mangeot (leader),
Barbirolli (conductor)
orch.
NGS 61E
3 January 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 75–
12" / 30 cm

Issue 14, April 1927

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Bax Quintet for oboe and strings
(i) Tempo molto moderato; Allegro moderato
Goossens, International String Quartet
(Mangeot, Pecker, Howard, Withers)
5
NGS 71EX
3 March 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 76+
12" / 30 cm
Recording date from Vocalion Sample Records pressings of matrices 71E and 71EX, with hand-written annotations by André Mangeot (private collection)
(ii) Lento espressivo [part 1] Goossens, International String Quartet
(Mangeot, Pecker, Howard, Withers)
5
NGS 72EX
3 March 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 76–
12" / 30 cm
Quintet composed for and dedicated to Leon Goossens
(ii) Lento espressivo [part 2] Goossens, International String Quartet
(Mangeot, Pecker, Howard, Withers)
5
NGS 73E
3 March 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 77+
12" / 30 cm
First recording by André Mangeot's reformed and renamed quartet
(iii) Allegro giocoso Goossens, International String Quartet
(Mangeot, Pecker, Howard, Withers)
5
NGS 74E
3 March 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 77–
12" / 30 cm
Dvořák Quintet for piano and strings in A Op.81
(i) Allegro, ma non tanto [part 1]
Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 83EX
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 82+
12" / 30 cm
Last recording by original formation of Spencer Dyke String Quartet
(i) Allegro, ma non tanto [part 2] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 84E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 82–
12" / 30 cm
(i) Allegro, ma non tanto [part 3] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 85E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 83+
12" / 30 cm
(ii) Dumka. Andante con moto [part 1] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 86E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 83–
12" / 30 cm
(ii) Dumka. Andante con moto [part 2] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 87E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 84+
12" / 30 cm
(ii) Dumka. Andante con moto [part 3] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 88E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 84–
12" / 30 cm
(iii) Scherzo (Furiant). Molto vivace Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 89E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 85+
12" / 30 cm
(iv) Finale. Allegro [part 1] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 90E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 85–
12" / 30 cm
(iv) Finale. Allegro [part 2] Bartlett, Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
5
NGS 91E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 86+
12" / 30 cm
Speaight Some Shakespeare Fairy Characters
(1st Series) – (ii) The Lonely Shepherd
Spencer Dyke String Quartet
(Spencer Dyke, Quaife, Tomlinson, Patterson Parker)
4
NGS 92E
c. June 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 86–
12" / 30 cm
Filler

Issue 15, September 1927

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Ravel String Quartet in F
(i) Allegro moderato. Très doux [part 1]
International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 97E
April(?) 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 78+
12" / 30 cm
Issued with Ravel's approval, and with labels bearing facsimile signature 'Maurice Ravel' and legend 'Version de l'Auteur'
(i) Allegro moderato. Très doux [part 2] International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 98E
April(?) 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 78–
12" / 30 cm
(ii) Assez vif. Très rythmé [part 1] International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 104E
5 July 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 79+
12" / 30 cm
Recording date from Malcolm Walker
This side first issued, in error, from matrix NGS 99E, recorded April(?) 1927
(ii) Assez vif. Très rythmé [part 2] International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 105EX
5 July 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 79–
12" / 30 cm
Recording date from Malcolm Walker
This side first issued, in error, from matrix NGS 100EX, recorded April(?) 1927
(iii) Très lent [part 1] International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 101EX
April(?) 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 80+
12" / 30 cm
(iii) Très lent [part 2] International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 102E
April(?) 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 80–
12" / 30 cm
(iv) Vif et agité International String Quartet
(Mangeot, Pecker, Howard, Withers)
4
NGS 103E
April(?) 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 81+
12" / 30 cm
Ravel Sonatine – (i) Modéré Long
1
NGS 82E
19 March 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 81–
12" / 30 cm
Filler. Recording date from Malcolm Walker
Issued with Ravel's approval, and with label bearing facsimile MS signature 'Maurice Ravel' and legend 'Version de l'Auteur'

Supplementary issue, November 1927

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Ravel Sonatine – (ii) Mouvement de Menuet Long
1
NGS 106E
c. September 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 87+
12" / 30 cm
Completion of Sonatine (see above)
(iii) Animé Long
1
NGS 107E
c. September 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 87–
12" / 30 cm
Unlike String Quartet (see above), not issued as 'Version de l'Auteur' and not known to have been submitted to Ravel for approval

1927-28 Season

Issue 16, February 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Brahms Piano Quartet in c Op.60
(i) Allegro non troppo [part 1]
Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 108E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 88+
12" / 30 cm
First recording by members of reformed Spencer Dyke Quartet, although not billed as such on disc labels
(i) Allegro non troppo [part 2] Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 109E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 88–
12" / 30 cm
Recorded at 78 rpm, although disc labels state 80 rpm[53]; NB labels of later pressings show correct speed
(i) Allegro non troppo [part 3] Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 110E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 89+
12" / 30 cm
First known recording by Bernard Shore
Only known commercial recording by Olive Bloom
(ii) Scherzo. Allegro Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 111E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 89–
12" / 30 cm
Analytical note: P[eter].L[atham]. A Brahms Pianoforte Quartet[54]
(iii) Andante [part 1] Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 112E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 90+
12" / 30 cm
(iii) Andante [part 2] Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 113E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 90–
12" / 30 cm
(iv) Finale: Allegro comodo [part 1] Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 114E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 91+
12" / 30 cm
(iv) Finale: Allegro comodo [part 2] Olive Bloom (piano), Spencer Dyke, Shore, Patterson Parker
4
NGS 115E
c. October 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 91–
12" / 30 cm
Elgar Introduction and Allegro for strings Op.47
[part 1]
International String Quartet,
NGS Chamber Orchestra,[55] Barbirolli (conductor)
orch.
NGS 118E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 94+
12" / 30 cm
Quartet members not named on disc labels; presumed to be Mangeot, Pecker, Howard, Withers
[part 2] International String Quartet,
NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 119E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 94–
12" / 30 cm
No analytical note known[56]
[part 3] International String Quartet,
NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 120E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 95+
12" / 30 cm
Recorded at 78 rpm, although disc labels state 80 rpm[57]
[part 4] International String Quartet,
NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 121E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 95–
12" / 30 cm
Purcell orch. Barbirolli Suite for strings –
(i) Chaconne[58]
Strings of the NGS Chamber Orchestra,[59]
Barbirolli (conductor)
orch.
NGS 122E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 96+
12" / 30 cm
No analytical note known[60]
(ii) Adagio[61]
(iii) Vivace[62]
(iv) Rondeau Minuet [part 1][63]
Strings of the NGS Chamber Orchestra,
Barbirolli (conductor)
orch.
NGS 123E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 96–
12" / 30 cm
Recorded at 78 rpm, although disc labels state 80 rpm[64]; NB labels of later pressings show correct speed
(iv) Rondeau Minuet [part 2]
(v) Air[65]
Strings of the NGS Chamber Orchestra,
Barbirolli (conductor)
orch.
NGS 124E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 97+
12" / 30 cm
(vi) Hornpipe[66]

Marcello, Benedetto orch. Barbirolli Sonata for cello and continuo in C Op.1 No.5 –
(iv) Allegro (as 'Allegretto')
Strings of the NGS Chamber Orchestra,
Barbirolli (conductor)
orch.
NGS 125E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 97–
12" / 30 cm
Brief comment by Barbirolli on Marcello published in The Gramophone[67]
Haydn Symphony No.104 in D
(i) Adagio; Allegro [part 1]
NGS Chamber Orchestra,[68] Barbirolli (conductor)
orch.
NGS 126EX
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 98+
12" / 30 cm
No analytical note known[69]
(i) Allegro [part 2] NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 127E
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 98–
12" / 30 cm
Recorded at 78 rpm, although disc labels state 80 rpm[70]
(ii) Andante [part 1] NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 128E
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 99+
12" / 30 cm
(ii) Andante [part 2] NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 129EX
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 99–
12" / 30 cm
(iii) Menuetto: Allegro NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 130E
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 100+
12" / 30 cm
(iv) Finale. Allegro spiritoso [part 1] NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 131E
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 100–
12" / 30 cm
(iv) Finale. Allegro spiritoso [part 2] NGS Chamber Orchestra, Barbirolli (conductor)
orch.
NGS 132E
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 101+
12" / 30 cm
Mozart Cassation in G K.63
(iii) Andante[71]
NGS Chamber Orchestra,[72] Barbirolli (conductor)
orch.
NGS 133E
23(?) November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 101–
12" / 30 cm
Filler. Last orchestral recording issued by NGS

Supplementary issue, February 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Boccherini String Quartet in Eb G.167 –
(i) Largo [part 1]
Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
NGS 134E
late November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 92+
12" / 30 cm
Work billed on disc labels by key only[73]
Recorded at 78 rpm, although disc labels state 80 rpm[74]; NB labels of later pressings show correct speed
(i) Largo [part 2] Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
NGS 135E
late November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 92–
12" / 30 cm
First known recording by Poltronieri Quartet, made during first visit to London[75]
(iii) Tempo di minuetto Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
NGS 136E
late November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 93+
12" / 30 cm
Last two movements re-ordered probably following modern printed edition[76]
(ii) Allegro con brio Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
NGS 137E
late November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 93–
12" / 30 cm
This movement only recorded again by Poltronieri Quartet for Italian Columbia in 1930[77]

Supplementary issue, March 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Bax Moy Mell (The Happy Plain), Irish tone-poem for 2 pianos [part 1] Bartlett, Robertson
2
NGS 116E
late November 1927(?)
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 102+
12" / 30 cm
Disc labels bear facsimile MS signature 'Arnold Bax' and legend 'Composer's Edition'. Playback speed shown as 78 rpm, correctly, on this and subsequent NGS issues
[part 2] Bartlett, Robertson
2
NGS 117EX
late November 1927(?)
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 102–
12" / 30 cm
First issued duo recording by Bartlett and Robertson (for roughly contemporary but unissued recording, see below)

Issue 17, July/August 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Brahms String Sextet in G Op.36
(i) Allegro non troppo [part 1]
Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 142EXX
early/mid-1928?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 105+
12" / 30 cm
'[...] there has been a factory breakdown with one of the records […] and a re-recording has been necessary'[78]
(i) Allegro non troppo [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 143EXX
early/mid-1928?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 105–
12" / 30 cm
Last known recording by Spencer Dyke Quartet
(ii) Scherzo: Allegro non troppo [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 145E
November 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 106+
12" / 30 cm
Note order of matrix nos. on this disc
(ii) Scherzo: Allegro non troppo [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 144EX
November 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 106–
12" / 30 cm
Analytical note: P[eter]. L[atham]. The Brahms String Sextet in G, Op.36 N.G.S. Records, 105-108[79]
(iii) Poco adagio [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 146E
November 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 107+
12" / 30 cm
(iii) Poco adagio [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 147EX
November 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 107–
12" / 30 cm
(iv) Poco allegro [part 1] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 148E
November 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 108+
12" / 30 cm
(iv) Poco allegro [part 2] Spencer Dyke String Quartet
(Spencer Dyke, Tate Gilder, Shore, Patterson Parker),
Lockyer (viola II), Robinson (cello II)
6
NGS 149E
November 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
NGS 108–
12" / 30 cm
Last production by Vocalion for NGS

Supplementary issue, July/August 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Diam. Notes
Malipiero Stornelli e ballate (String Quartet No.2) [part 1] Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
103+(?)[80]
March 1928
el
Parlophone Parlophone studio,
Carlton Hill, London
NGS 103+
12" / 30 cm
Sole electrical production by Parlophone for NGS
[part 2] Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
103–(?)
March 1928
el
Parlophone Parlophone studio,
Carlton Hill, London
NGS 103–
12" / 30 cm
No analytical note known
[part 3] Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
104+(?)
March 1928
el
Parlophone Parlophone studio,
Carlton Hill, London
NGS 104+
12" / 30 cm
[part 4] Poltronieri String Quartet
(Poltronieri, Ferrari, Mora, Valisi)
4
104–(?)
March 1928
el
Parlophone Parlophone studio,
Carlton Hill, London
NGS 104–
12" / 30 cm

1928-29 Season

Issue 18, October 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Haydn String Quartet in Bb Op.76 No.4
(i) Allegro con spirito [part 1]
International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 3707-2
30 May 1928
el
Columbia Small Studio,
Petty France, London
109+
H 9500
12" / 30 cm
First issued electrical production by Columbia for NGS (but first attempt at 118 to 120 recorded earlier, see below)
(i) Allegro con spirito [part 2]
(ii) Adagio [part 1]
International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 3708-2
30 May 1928
el
Columbia Small Studio,
Petty France, London
109–
H 9501
12" / 30 cm
Pecker billed first on disc labels, as leader
(ii) Adagio [part 2] International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 3709-1
30 May 1928
el
Columbia Small Studio,
Petty France, London
110+
H 9502
12" / 30 cm
Analytical note: none known; brief note in National Gramophonic Society Catalogue of Records 1930, p.15
(iii) Menuetto. Allegro International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 3710-1
30 May 1928
el
Columbia Small Studio,
Petty France, London
110–
H 9503
12" / 30 cm
(iv) Finale. Allegro ma non troppo International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 3711-2
30 May 1928
el
Columbia Small Studio,
Petty France, London
111+
H 9498
12" / 30 cm
Purcell arr. Mangeot Fantasia à 4 Z.743 International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 3712-1
30 May 1928
el
Columbia Small Studio,
Petty France, London
111–
H 9497
12" / 30 cm
Filler. Billed on disc label without key; written in d minor but apparently transposed (sounds in f minor)
Mozart Quartet for flute and strings in D K.285
(i) Allegro [part 1]
Le Roy, Mangeot, Howard, Withers
4
ⓌAX 3891-1
12 July 1928
el
Columbia Small Studio,
Petty France, London
112+
H 9927
12" / 30 cm
Three members of International String Quartet, although not billed as such on disc labels
(i) Allegro [part 2] Le Roy, Mangeot, Howard, Withers
4
ⓌAX 3892-1
12 July 1928
el
Columbia Small Studio,
Petty France, London
112–
H 9928
12" / 30 cm
First known recording by Le Roy; given name misspelled 'Réné' on disc labels
(ii) Adagio Le Roy, Mangeot, Howard, Withers
4
ⓌAX 3893-1
12 July 1928
el
Columbia Small Studio,
Petty France, London
113+
H 9926
12" / 30 cm
Set issued in Japan on Columbia J 8484, 8485[81]
(iii) Rondeau. Allegro Le Roy, Mangeot, Howard, Withers
4
ⓌAX 3894-1
12 July 1928
el
Columbia Small Studio,
Petty France, London
113–
H 9925
12" / 30 cm

Issue 19, November/December 1928

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Beethoven Violin Sonata in G Op.96
(i) Allegro moderato [part 1]
Fachiri, Tovey (piano and speaking voice)
2
ⓌAX 3733-3
4 September 1928
el
Columbia Small Studio,
Petty France, London
114+
H 9583
12" / 30 cm
At end of exposition Tovey says, 'Repeat from beginning [pause] Second time', i.e. instructs listener to repeat first portion of side once
(i) Allegro moderato [part 2] Fachiri, Tovey
2
ⓌAX 3734-3
4 September 1928
el
Columbia Small Studio,
Petty France, London
114–
H 9579
12" / 30 cm
Last known recording by Fachiri, who wrote an account of the sessions for The Gramophone[82]
(ii) Adagio espressivo [part 1] Fachiri, Tovey
2
ⓌAX 3735-3
4 September 1928
el
Columbia Small Studio,
Petty France, London
115+
H 9584
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[83]
(ii) Adagio espressivo [part 2] Fachiri, Tovey
2
ⓌAX 3736-2
4 September 1928
el
Columbia Small Studio,
Petty France, London
115–
H 9582
12" / 30 cm
Pressings have disc labels of type used on earliest, acoustical Columbia productions for NGS, not showing speed; possibly old stock?
(iii) Scherzo. Allegro
(iv) Poco allegretto [part 1]
Fachiri, Tovey
2
ⓌAX 3737-2
6 June 1928
el
Columbia Small Studio,
Petty France, London
116+
H 9581
12" / 30 cm
First attempt recorded 6 June, from which only this disc issued. Second attempt, recorded 11 June, discarded. Third attempt recorded 4 September, from which remainder issued
(iv) Poco allegretto. Adagio espressivo [part 2] Fachiri, Tovey
2
ⓌAX 3760-2
6 June 1928
el
Columbia Small Studio,
Petty France, London
116–
H 9613
12" / 30 cm
(iv) Allegro [part 3] Fachiri, Tovey
2
ⓌAX 3761-2
4 September 1928
el
Columbia Small Studio,
Petty France, London
117+
H 9611
12" / 30 cm
Bach, J.S. Sonata for violin and obbligato keyboard in A BWV 1015 – (i) [no indication] Fachiri, Tovey (piano)
2
ⓌAX 3762-2
4 September 1928
el
Columbia Small Studio,
Petty France, London
117–
H 9612
12" / 30 cm
Filler. Billed on disc labels as as 'Andante'
Bax Fantasy Sonata for viola and harp
(i) Allegro molto [part 1]
Jeremy, Korchinska
2
ⓌAX 3701-4
20 September 1928
el
Columbia Columbia studio,
Petty France, London
118+
H 9475
12" / 30 cm
Previous attempts, recorded on 29 May and 19 June 1928, discarded
(i) Allegro molto [part 2]
(ii) Allegro moderato [part 1]
Jeremy, Korchinska
2
ⓌAX 3702-4
20 September 1928
el
Columbia Columbia studio,
Petty France, London
118–
H 9474
12" / 30 cm
Work billed on disc labels as 'Phantasy Sonata'. Dedicated to Korchinska, who gave premiere with Jeremy on 20 October 1927
(ii) Allegro moderato [part 2]
(iii) Lento espressivo [part 1]
Jeremy, Korchinska
2
ⓌAX 3703-4
20 September 1928
el
Columbia Columbia studio,
Petty France, London
119+
H 9473
12" / 30 cm
First known recording by Korchinska
(iii) Lento espressivo [part 2] Jeremy, Korchinska
2
ⓌAX 3704-3
20 September 1928
el
Columbia Columbia studio,
Petty France, London
119–
H 9472
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[84]
(iv) Allegro [part 1] Jeremy, Korchinska
2
ⓌAX 3853-3
20 September 1928
el
Columbia Columbia studio,
Petty France, London
120+
H 9801
12" / 30 cm
Pressings have disc labels of type used on earliest, acoustical Columbia productions for NGS, not showing speed; possibly old stock?
(iv) Allegro [part 2] Jeremy, Korchinska
2
ⓌAX 3854-3
20 September 1928
el
Columbia Columbia studio,
Petty France, London
120–
H 9800
12" / 30 cm

Issue 20, March 1929

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Mozart Quintet for piano, oboe, clarinet, horn and bassoon in Eb K.452
(i) Largo. Allegro moderato [part 1]
Long, Leon Goossens, Thurston, Brain, Alexandra
5
ⓌAX 4067-1
19 September 1928
el
Columbia Large Studio,
Petty France, London
121+
H 10198
12" / 30 cm
Alexandra billed on disc labels, erroneously, as 'Alexander'
Allegro moderato [part 2] Long, Leon Goossens, Thurston, Brain, Alexandra
5
ⓌAX 4068-2
19 November 1928
el
Columbia Large Studio,
Petty France, London
121–
H 10199
12" / 30 cm
Note later recording date
(ii) Larghetto [part 1] Long, Leon Goossens, Thurston, Brain, Alexandra
5
ⓌAX 4069-1
19 September 1928
el
Columbia Large Studio,
Petty France, London
122+
H 10197
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[85]
(ii) Larghetto [part 2] Long, Leon Goossens, Thurston, Brain, Alexandra
5
ⓌAX 4070-1
19 September 1928
el
Columbia Large Studio,
Petty France, London
122–
H 10196
12" / 30 cm
(iii) Rondo: Allegretto [part 1] Long, Leon Goossens, Thurston, Brain, Alexandra
5
ⓌAX 4071-1
19 September 1928
el
Columbia Large Studio,
Petty France, London
123+
H 10195
12" / 30 cm
(iii) Rondo: Allegretto [part 2] Long, Leon Goossens, Thurston, Brain, Alexandra
5
ⓌAX 4072-1
19 September 1928
el
Columbia Large Studio,
Petty France, London
123–
H 10193
12" / 30 cm

Issue 21, May 1929

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Schubert String Quartet in Eb D.112
(i) Allegro ma non troppo [part 1]
International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 4067-1
20 February 1929
el
Columbia Large Studio,
Petty France, London
124+
H 11448
12" / 30 cm
Pecker billed first on disc labels, i.e. as leader
(i) Allegro ma non troppo [part 2] International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 4068-2
20 February 1929
el
Columbia Large Studio,
Petty France, London
124–
H 11449
12" / 30 cm
Work billed on discs labels as as Op.168
(ii) Andante sostenuto [part 1] International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 4069-1
20 February 1929
el
Columbia Large Studio,
Petty France, London
125+
H 11443
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[86]
(ii) Andante sostenuto [part 2] International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 4070-1
20 February 1929
el
Columbia Large Studio,
Petty France, London
125–
H 11442
12" / 30 cm
(iii) Menuetto and Trio. Allegretto International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 4071-1
20 February 1929
el
Columbia Large Studio,
Petty France, London
126+
H 11450
12" / 30 cm
(iv) Presto International String Quartet
(Pecker, Mangeot, Howard, Withers)
4
ⓌAX 4072-1
20 February 1929
el
Columbia Large Studio,
Petty France, London
126–
H 11441
12" / 30 cm

Issue 22, July/August 1929

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Debussy Violin Sonata in g
(i) Allegro vivo
Mangeot, Barbour
2
ⓌAX 4600-3
18 April 1929
el
Columbia Large Studio,
Petty France, London
127+
H 11324
12" / 30 cm
First attempt recorded on same day as filler but discarded. Second attempt recorded after Alfred Cortot 'went through the test records with M. Mangeot and Mr. Barbour'[87]
(ii) Intermède. Fantasque et léger Mangeot, Barbour
2
ⓌAX 4602-4
18 April 1929
el
Columbia Large Studio,
Petty France, London
127–
H 11323
12" / 30 cm
Note matrix order
(ii) Final. Très animé Mangeot, Barbour
2
ⓌAX 4603-4
18 April 1929
el
Columbia Large Studio,
Petty France, London
128+
H 11322
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[88]
Debussy Preludes, Book 1 – (iv) Les sons et les parfums tournent dans l'air du soir Barbour
1
ⓌAX 4601-1
30 January 1929
el
Columbia Large Studio,
Petty France, London
128–
H 11325
12" / 30 cm
Filler. Note matrix order. First known recording by Barbour
Mozart Keyboard Sonata in D K.576
(i) Allegro
Long (piano)
1
ⓌAX 4686-1
20 February 1929
el
Columbia Columbia studio,
Petty France, London
129+
H 11447
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[89]
(ii) Adagio Long (piano)
1
ⓌAX 4687-2
20 February 1929
el
Columbia Columbia studio,
Petty France, London
129–
H 11446
12" / 30 cm
(iii) Allegretto Long (piano)
1
ⓌAX 4688-2
20 February 1929
el
Columbia Columbia studio,
Petty France, London
130+
H 11445
12" / 30 cm
Muffat, Gottlieb Componimenti musicali,
Suite No.4 – (vi) Menuet II. (vii) Air

Couperin, François 3ème Livre de pièces de clavecin, 18ème Ordre –
(vi) Le Tic-Toc-Choc ou Les Maillotins
Long (piano)
1
ⓌAX 4689-2
20 February 1929
el
Columbia Columbia studio,
Petty France, London
130–
H 11444
12" / 30 cm
Filler

1929-30 Season

Issue 23, November 1929

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Vivaldi arr. d'Indy Sonata for cello and continuo in e RV.40 (as Sonates en concert,[90] Sonate V) – (i) Largo Pitsch, string quartet
1
ⓌAX 4992-1
3 June 1929
el
Columbia Large Studio,
Petty France, London
131+
H 12130
12" / 30 cm
String quartet identified in WERM as 'Mangeot Qtt.'[91] (i.e. International String Quartet), probably correctly: recording made on same day as first, discarded attempt at Bach Concerto in f BWV 1056 with string quintet, see discs 151 and 152 (below)
(ii) Allegro Pitsch, string quartet
1
ⓌAX 4993-1
3 June 1929
el
Columbia Large Studio,
Petty France, London
131–
H 12129
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[92]
(iii) Largo [as 'Alla siciliana']
(iv) Allegro [as 'Allegro vivace']
Pitsch, string quartet
1
ⓌAX 4994-1
3 June 1929
el
Columbia Large Studio,
Petty France, London
132+
H 12133
12" / 30 cm
Trad. arr. Bartlett Three Pieces (a) Golden Slumbers, (b) An Ancient Lullaby, (c) My Love's an Arbutus Barbirolli, Bartlett
2
ⓌAX 5088-1
1 July 1929
el
Columbia Large Studio,
Petty France, London
132–
H 12379
12" / 30 cm
Filler. Arrangements dedicated to Barbirolli and published in 1925 by Oxford University Press, with sub-titles (a) '(17th Century)', (b) and (c) 'Irish Tune'
Bach, J.S. Sonata for viola da gamba and obbligato keyboard in G BWV 1027
(i) Adagio
Barbirolli (cello), Bartlett (piano)
2
ⓌAX 5084-2
1 July 1929
el
Columbia Large Studio,
Petty France, London
133+
H 12376
12" / 30 cm
Last known substantial recording by Barbirolli as cellist
(ii) Allegro ma non tanto Barbirolli (cello), Bartlett (piano)
2
ⓌAX 5085-2
1 July 1929
el
Columbia Large Studio,
Petty France, London
133–
H 12377
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[93]
(iii) Andante Barbirolli (cello), Bartlett (piano)
2
ⓌAX 5086-1
1 July 1929
el
Columbia Large Studio,
Petty France, London
134+
H 12375
12" / 30 cm
(iv) Allegro moderato Barbirolli (cello), Bartlett (piano)
2
ⓌAX 5087-1
1 July 1929
el
Columbia Large Studio,
Petty France, London
134–
H 12378
12" / 30 cm

Issue 24, December 1929

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Bach, J.S. Sonata for flute and obbligato keyboard in Eb BWV 1031
(i) Allegro moderato
Le Roy, Long (piano)
2
ⓌAX 5095-2
6 July 1929
el
Columbia Large Studio,
Petty France, London
135+
H 12480
12" / 30 cm
Analytical note: 'analytical' review printed in The Gramophone[94]
(ii) Siciliano Le Roy, Long (piano)
2
ⓌAX 5096-1
6 July 1929
el
Columbia Large Studio,
Petty France, London
135–
H 12479
12" / 30 cm
(iii) Allegro Le Roy, Long (piano)
2
ⓌAX 5097-1
6 July 1929
el
Columbia Large Studio,
Petty France, London
136+
H 12478
12" / 30 cm
Honegger Danse de la chèvre
(from incidental music for play La mauvaise pensée by Sacha Dereck)
Le Roy
1
ⓌAX 5100-1
6 July 1929
el
Columbia Large Studio,
Petty France, London
136–
H 12482
12" / 30 cm
Filler. Dedicated to Le Roy and premiered by him
Handel Sonata for flute and continuo in G 'Op.1 No.5' HWV 363b – (i) Adagio
(ii) Allegro
Le Roy, Long (piano)
2
ⓌAX 5098-1
6 July 1929
el
Columbia Large Studio,
Petty France, London
137+
H 12481
12" / 30 cm
Billed on disc labels as 'Sonata No.3'. Analytical note: 'analytical' review printed in The Gramophone, which explains that (v) Menuetto omitted, following 'first English edition'.[95]
(iii) Adagio [as 'Andante']
(iv) Bourrée
Le Roy, Long (piano)
2
ⓌAX 5099-1
6 July 1929
el
Columbia Large Studio,
Petty France, London
137–
H 12483
12" / 30 cm
Issued in Japan on Columbia J 8386

Supplementary issue, January 1930

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Bach, J.S. Was mir behagt, ist nur muntre Jagd!
BWV 208
– (ix) Aria 'Schafe können sicher weiden'
Martha Amstad (mezzo-soprano), Edward Walker, Evelyn Claye (flutes), Bernard Ord (harpsichord)
4
ⓌAX 5121-1
16 July 1929
el
Columbia Columbia studio,
Petty France, London
69B–
H 12559
12" / 30 cm
New filler for reissue of Corelli Concerto grosso Op.6 No.8, originally coupled with Debussy Danses (see above)
Debussy Six Epigraphes antiques -
(i) Pour invoquer Pan, dieu du vent d'été
(vi) Pour remercier la pluie au matin
Bartlett, Robertson
2
ⓌAX 5227-1
22 October 1929
el
Columbia Columbia studio,
Petty France, London
71–
H 12811
12" / 30 cm
New filler for reissue of Debussy Danses, originally coupled with Corelli Concerto grosso Op.6 No.8 (see above)

Issue 25, February 1930

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Haydn Keyboard Sonata in c Hob.XVI:20
(i) Allegro moderato
Long (piano)
1
ⓌAX 5235-2
30 October 1929
el
Columbia Large Studio,
Petty France, London
138+
H 12874
12" / 30 cm
Analytical note: none known; brief note in National Gramophonic Society Catalogue of Records 1930, p.22
(ii) Andante con moto Long (piano)
1
ⓌAX 5236-1
30 October 1929
el
Columbia Large Studio,
Petty France, London
138–
H 12873
12" / 30 cm
(iii) Adagio. Allegro Long (piano)
1
ⓌAX 5237-1
30 October 1929
el
Columbia Large Studio,
Petty France, London
139+
H 12872
12" / 30 cm
Rameau Nouvelles suites de pièces de clavecin, Suite in a – (vii) Gavotte et Doubles Long (piano)
1
ⓌAX 5238-2
30 October 1929
el
Columbia Large Studio,
Petty France, London
139–
H 12871
12" / 30 cm
Filler. Billed on disc label as 'Theme and Variations in A minor'
Haydn String Quartet in Eb Op.76 No.6
(i) Allegretto
International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5230-1
29 October 1929
el
Columbia Large Studio,
Petty France, London
140+
H 12868
12" / 30 cm
First known recording by new formation of International String Quartet
(ii) Fantasia: Adagio [part 1] International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5231-1
29 October 1929
el
Columbia Large Studio,
Petty France, London
140–
H 12870
12" / 30 cm
Analytical note: none known; brief note in National Gramophonic Society Catalogue of Records 1930, p.23
(ii) Fantasia: Adagio [part 2] International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5232-1
29 October 1929
el
Columbia Large Studio,
Petty France, London
141+
H 12869
12" / 30 cm
(iii) Menuetto. Presto International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5233-1
29 October 1929
el
Columbia Large Studio,
Petty France, London
141–
H 12867
12" / 30 cm
(iv) Finale: Allegro spiritoso International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5234-1
29 October 1929
el
Columbia Large Studio,
Petty France, London
142+
H 12866
12" / 30 cm
Purcell arr. Mangeot Fantasia à 4 Z.738 International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5241-1
30 October 1929
el
Columbia Large Studio,
Petty France, London
142–
H 12877
12" / 30 cm
Filler. Previously recorded acoustically for NGS by Music Society String Quartet (see above). Sole instance of electrical re-recording for NGS
Locke transcr. Warlock, ed. Mangeot[96] Consort of ffowre Parts, Suite VI in G (as 'String Quartet No.6') – (i) Fantasia International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5239-1
30 October 1929
el
Columbia Large Studio,
Petty France, London
143+
H 12875
12" / 30 cm
Analytical note: none known; brief note in National Gramophonic Society Catalogue of Records 1930, p.23
(ii) Courante
(iii) Ayre
(iv) Sarabande
International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5240-1
30 October 1929
el
Columbia Large Studio,
Petty France, London
143–
H 12876
12" / 30 cm
Repeats taken in Ayre only

Issue 26, June 1930

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Juon Octet Op.27 (as 'Chamber Symphony') –
(i) Allegro non troppo [part 1]
New Chamber Orchestra,[97] Kreshover
ⓌAX 5312-2
31 December 1929
el
Columbia Large Studio,
Petty France, London
144+
H 13149
12" / 30 cm
Claimed as first performance in UK;[99] first public performance in UK given by these artists at Aeolian Hall, London, 19 December 1930[100]
(i) Allegro non troppo [part 2] New Chamber Orchestra, Kreshover
9
ⓌAX 5313-1
31 December 1929
el
Columbia Large Studio,
Petty France, London
144–
H 13150
12" / 30 cm
Analytical note, distributed with discs: Kreshover, Dorothea, in 'Notes on New Issues, N.G.S.' (also includes note on Brahms Piano Trio in c Op.101, see below)
(ii) Andante elegiaco [part 1] New Chamber Orchestra, Kreshover
9
ⓌAX 5314-1
31 December 1929
el
Columbia Large Studio,
Petty France, London
145+
H 13151
12" / 30 cm
(ii) Andante elegiaco [part 2] New Chamber Orchestra, Kreshover
9
ⓌAX 5315-1
31 December 1929
el
Columbia Large Studio,
Petty France, London
145–
H 13154
12" / 30 cm
(iii) Allegro non troppo quasi moderato New Chamber Orchestra, Kreshover
9
ⓌAX 5316-1
31 December 1929
el
Columbia Large Studio,
Petty France, London
146+
H 13153
12" / 30 cm
Unusually for NGS, (iii) and (iv) recorded with small cuts
(iv) Moderato
(as 'Moderato (et finale giusto et più vivo)')
New Chamber Orchestra, Kreshover
9
ⓌAX 5317-1
31 December 1929
el
Columbia Large Studio,
Petty France, London
146–
H 13152
12" / 30 cm
Extended indication on disc label apparently cobbled together from selected markings within movement
Brahms Piano Trio in c Op.101
(i) Allegro energico [part 1]
Pirani Trio
(Leila Pirani, Charles Hambourg, Max Pirani)
3
ⓌAX 5349-3
16 17 January 1930
el
Columbia Large Studio,
Petty France, London
147+
H 13235
12" / 30 cm
Only known recording by Pirani Trio (members also made recordings individually). Only known recording by Charles Hambourg as 'cellist
(i) Allegro energico [part 2] Pirani Trio
(Leila Pirani, Charles Hambourg, Max Pirani)
3
ⓌAX 5350-3
16 January 1930
el
Columbia Large Studio,
Petty France, London
147–
H 13236
12" / 30 cm
Analytical note, distributed with discs: Latham, Peter, in 'Notes on New Issues, N.G.S.' (also includes note on Juon Chamber Symphony, see above)
(ii) Presto non assai Pirani Trio
(Leila Pirani, Charles Hambourg, Max Pirani)
3
ⓌAX 5351-2
16 January 1930
el
Columbia Large Studio,
Petty France, London
148+
H 13238
12" / 30 cm
Disc 148 acknowledged by Secretary as 'faulty'; refund offered to members returning entire set[101]
(iii) Andante grazioso Pirani Trio
(Leila Pirani, Charles Hambourg, Max Pirani)
3
ⓌAX 5352-2
16 January 1930
el
Columbia Large Studio,
Petty France, London
148–
H 13237
12" / 30 cm
(iv) Allegro molto [part 1] Pirani Trio
(Leila Pirani, Charles Hambourg, Max Pirani)
3
ⓌAX 5353-2
17 January 1930
el
Columbia Large Studio,
Petty France, London
149+
H 13240
12" / 30 cm
(iv) Allegro molto [part 2] Pirani Trio
(Leila Pirani, Charles Hambourg, Max Pirani)
3
ⓌAX 5354-1
17 January 1930
el
Columbia Large Studio,
Petty France, London
149–
H 13239
12" / 30 cm

Issue 27, September 1930

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Wolf Italian Serenade [part 1] International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5371-4
9 April 1930
el
Columbia Large Studio,
Petty France, London
150+
H 13288
12" / 30 cm
Lower, unissued takes recorded 6 February 1930
[part 2] International String Quartet
(Mangeot, Voorsanger, Bray, Shinebourne)
4
ⓌAX 5372-3
9 April 1930
el
Columbia Large Studio,
Petty France, London
150–
H 13287
12" / 30 cm
Analytical note, possibly distributed with disc, published in The Gramophone[102]
Bach, J.S. Concerto for keyboard, strings and continuo in f BWV 1056
(i) [no indication] (as 'Allegro moderato')
Bartlett (piano), string orchestra, (Barbirolli)
orch.
ⓌAX 5295-3
9 April 1930
el
Columbia Large Studio,
Petty France, London
151+
H 13109
12" / 30 cm
First recording of Concerto, with string quintet, made on 3 June 1929, unissued (see below)
(ii) Largo Bartlett (piano), string orchestra, (Barbirolli)
orch.
ⓌAX 5296-1
18 December 1929
el
Columbia Large Studio,
Petty France, London
151–
H 13108
12" / 30 cm
No conductor billed on disc labels but Columbia manufacturing card names John Barbirolli, probably conducting members of his Chamber Orchestra
(iii) Presto Bartlett (piano), string orchestra, (Barbirolli)
orch.
ⓌAX 5297-1
18 December 1929
el
Columbia Large Studio,
Petty France, London
152+
H 13107
12" / 30 cm
Columbia manufacturing card omits customary 'R.S.' (Recording Sheet) entry, including date, but other entries confirm date as for ⓌAX 5296
Bach, J.S. transcr. Rummel Liebster Jesu, wir sind hier BWV 731 (as 'Blessed Jesus, here we stand') Bartlett (piano)
1
ⓌAX 5311-1
23 December 1929
el
Columbia Large Studio,
Petty France, London
152–
H 13129
12" / 30 cm
Filler
Bax String Quartet (No.1) in G
(i) Allegretto semplice [part 1]
Marie Wilson String Quartet
(Wilson, Higham, Wolfe, Hasluck)
4
ⓌAX 5525-1
15 April 1930
el
Columbia Large Studio,
Petty France, London
153+
H 13577
12" / 30 cm
Work not numbered on disc labels, although String Quartet No.2 published c.1927
(i) Allegretto semplice [part 2] Marie Wilson String Quartet
(Wilson, Higham, Wolfe, Hasluck)
4
ⓌAX 5526-2
17 April 1930
el
Columbia Large Studio,
Petty France, London
153–
H 13578
12" / 30 cm
Analytical note, possibly distributed with discs, published in The Gramophone[103]
(ii) Lento e molto espressivo [part 1] Marie Wilson String Quartet
(Wilson, Higham, Wolfe, Hasluck)
4
ⓌAX 5533-1
16 April 1930
el
Columbia Large Studio,
Petty France, London
154+
H 13581
12" / 30 cm
First known recording by Marie Wilson String Quartet
(ii) Lento e molto espressivo [part 2] Marie Wilson String Quartet
(Wilson, Higham, Wolfe, Hasluck)
4
ⓌAX 5534-1
16 April 1930
el
Columbia Large Studio,
Petty France, London
154–
H 13580
12" / 30 cm
(iii) Rondo: Allegro vivace [part 1] Marie Wilson String Quartet
(Wilson, Higham, Wolfe, Hasluck)
4
ⓌAX 5535-1
16 April 1930
el
Columbia Large Studio,
Petty France, London
155+
H 13579
12" / 30 cm
(iii) Rondo: Allegro vivace [part 2] Marie Wilson String Quartet
(Wilson, Higham, Wolfe, Hasluck)
4
ⓌAX 5536-1
16 April 1930
el
Columbia Large Studio,
Petty France, London
155–
H 13576
12" / 30 cm
Bax Sonata for Two Pianos –
(i) Molto moderato (quasi andante) [part 1]
Bartlett, Robertson
2
ⓌAX 5527-1
15 April 1930
el
Columbia Central Hall, Westminster
156+
H 13573
12" / 30 cm
Sonata and Hardanger dedicated to Bartlett and Robertson, who premiered Sonata on 10 December 1929[104]
(i) Molto moderato (quasi andante) [part 2] Bartlett, Robertson
2
ⓌAX 5528-2
15 April 1930
el
Columbia Central Hall, Westminster
156–
H 13570
12" / 30 cm
Recording location from Columbia manufacturing cards
(ii) Lento espressivo [part 1] Bartlett, Robertson
2
ⓌAX 5529-1
15 April 1930
el
Columbia Central Hall, Westminster
157+
H 13568
12" / 30 cm
Analytical note, possibly distributed with discs, published in The Gramophone[105]
(ii) Lento espressivo [part 2] Bartlett, Robertson
2
ⓌAX 5530-1
15 April 1930
el
Columbia Central Hall, Westminster
157–
H 13569
12" / 30 cm
(iii) Vivace e feroce (ma non troppo presto) Bartlett, Robertson
2
ⓌAX 5531-2
15 April 1930
el
Columbia Central Hall, Westminster
158+
H 13571
12" / 30 cm
Bax (With Acknowledgments to Grieg) Hardanger
Bartlett, Robertson
2
ⓌAX 5532-1
15 April 1930
el
Columbia Central Hall, Westminster
158–
H 13572
12" / 30 cm
Filler. Recording location from Columbia manufacturing card

1930-31 Season

Issue 28, March 1931

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Mozart Trio in G K.564
(i) Allegro
Budapest Trio
(Nicholas Roth, Georges Roth, Barbour)
3
ⓌAX 5742-2
15 September 1930
el
Columbia Large Studio,
Petty France, London
159+
H 14191
12" / 30 cm
Work billed on disc labels as Trio No.5
(ii) Andante [part 1] Budapest Trio
(Nicholas Roth, Georges Roth, Barbour)
3
ⓌAX 5743-2
15 September 1930
el
Columbia Large Studio,
Petty France, London
159–
H 14186
12" / 30 cm
Analytical note: Crabtree, Cyril M. 'Chamber Music and the Gramophone', The Gramophone, Vol.VIII No.95, April 1931, p.555, and No.96, May 1931, p.602
(ii) Andante [part 2] Budapest Trio
(Nicholas Roth, Georges Roth, Barbour)
3
ⓌAX 5744-1
15 September 1930
el
Columbia Large Studio,
Petty France, London
160+
H 14187
12" / 30 cm
Issued in Japan on Columbia J 8499, 8500
(iii) Allegretto Budapest Trio
(Nicholas Roth, Georges Roth, Barbour)
3
ⓌAX 5745-2
15 September 1930
el
Columbia Large Studio,
Petty France, London
160–
H 14188
12" / 30 cm
Mozart Trio in Eb K.498
(i) Andante [part 1]
Thurston, Clarke, Long
3
ⓌAX 5791-1
16 October 1930
el
Columbia Large Studio,
Petty France, London
161+
H 14305
12" / 30 cm
Work billed on disc labels as Trio No.7
(i) Andante [part 2]
(ii) Menuetto
Thurston, Clarke, Long
3
ⓌAX 5792-1
16 October 1930
el
Columbia Large Studio,
Petty France, London
161–
H 14306
12" / 30 cm
Analytical note: Crabtree, Cyril M. 'Chamber Music and the Gramophone', The Gramophone, Vol.VIII No.96, May 1931, p.602, and No.97, June 1931, p.10
(iii) Rondeaux: Allegretto [part 1] Thurston, Clarke, Long
3
ⓌAX 5793-1
16 October 1930
el
Columbia Large Studio,
Petty France, London
162+
H 14307
12" / 30 cm
Only known recording by Rebecca Clarke
(iii) Rondeaux: Allegretto [part 2] Thurston, Clarke, Long
3
ⓌAX 5794-1
16 October 1930
el
Columbia Large Studio,
Petty France, London
162–
H 14304
12" / 30 cm
Recorded again by Budapest Trio six months later for Ultraphon[106]

1931-32 Season

Issue 29, December 1931

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Warlock The Curlew
(i) He Reproves the Curlew [part 1]
Armstrong, Murchie, Terence MacDonagh,
International String Quartet
(Mangeot, Price, Bray, Shinebourne), Lambert
ⓌAX 6027-1
24 March 1931
el
Columbia Large Studio,
Petty France, London
163+
H 14828
12" / 30 cm
Last production recorded for and issued by NGS
(i) He Reproves the Curlew [part 2]
(ii) The Lover Mourns for the Loss of Love
Armstrong, Murchie, Terence MacDonagh,
International String Quartet
(Mangeot, Price, Bray, Shinebourne), Lambert
8
ⓌAX 6028-1
24 March 1931
el
Columbia Large Studio,
Petty France, London
163–
H 14827
12" / 30 cm
Only known recording by John Armstrong
(iii) The Withering of the Boughs [part 1] Armstrong, Murchie, Terence MacDonagh,
International String Quartet
(Mangeot, Price, Bray, Shinebourne), Lambert
8
ⓌAX 6029-1
24 March 1931
el
Columbia Large Studio,
Petty France, London
164+
H 14829
12" / 30 cm
(iii) The Withering of the Boughs [part 2] Armstrong, Murchie, Terence MacDonagh,
International String Quartet
(Mangeot, Price, Bray, Shinebourne), Lambert
8
ⓌAX 6041-2
31 March 1931
el
Columbia Large Studio,
Petty France, London
164–
H 14885
12" / 30 cm
(iv) He Hears the Cry of the Sedge Armstrong, Murchie, Terence MacDonagh,
International String Quartet
(Mangeot, Price, Bray, Shinebourne), Lambert
8
ⓌAX 6042-2
31 March 1931
el
Columbia Large Studio,
Petty France, London
165+
H 14886
12" / 30 cm
Warlock Sleep (from Beaumont and Fletcher's The Woman Hater, 1607)

Peterisms, First Set
(i) Chop Cherry ('Whenas the rye') (from George Peele's The Old Wives' Tale, 1590)
Armstrong, International String Quartet
(Mangeot, Price, Bray, Shinebourne)
5
ⓌAX 6043-2
31 March 1931
el
Columbia Large Studio,
Petty France, London
165–
H 14887
12" / 30 cm
Songs performed in authentic alternative versions with string quartet[108]

Chopcherry billed on disc label as as 'Chop Cherry'

Unissued matrices

Selection(s) Artist(s) # Art. Matrix Rec. date Sys. Producer Location Cat. ID Part ID Diam. Notes
Raff String Quartet No.7 in D Op.192 No.2,
Die schöne Müllerin
(as Maid of the Mill Suite) –
(ii) Die Mühle (as The Mill Stream). Allegro
Cobbett Quartet
4
AX 538-1
28 July 1924
ac
Columbia Columbia studio,
Clerkenwell Road, London
unissued
H 4910
12" / 30 cm
Quartet members presumed as for disc G (see above)
Svendsen String Quartet in a Op.1
(ii) Andantino
Cobbett Quartet
4
AX 539-1
28 July 1924
ac
Columbia Columbia studio,
Clerkenwell Road, London
unissued
H 4909
12" / 30 cm
Quartet members presumed as for disc G (see above)
Composer(s) unknown (Schubert)?
Title(s) unknown
(String Quartet in a D.804, excerpt?)
Performer(s) unknown
(Spencer Dyke String Quartet?)
4?
NGS 31E?
September /
October 1926?
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm
Conjecture based on lacuna in documented run of Vocalion matrices recorded for NGS; possibly test of Marconi electrical system?[109]
As NGS 31E Performer(s) unknown
(Spencer Dyke String Quartet?)
4?
NGS 32E?
September /
October 1926?
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm
Conjecture, as NGS 31E
Composer(s) unknown (Ravel?)
Title(s) unknown (String Quartet in F, excerpt?)
Performer(s) unknown
(International String Quartet?)
4?
NGS 93E?
19 March 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm?
Conjecture based on lacuna in documented run of Vocalion matrices recorded for NGS, immediately followed by Ravel String Quartet (see above); possibly rejected side recorded at first, unsuccessful session on 19 March 1927?[110]
As NGS 93E Performer(s) unknown
(International String Quartet?)
4?
NGS 94E?
19 March 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm?
Conjecture, as NGS 93E
As NGS 93E Performer(s) unknown
(International String Quartet?)
4?
NGS 95E?
19 March 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm?
Conjecture, as NGS 93E
As NGS 93E Performer(s) unknown
(International String Quartet?)
4?
NGS 96E?
19 March 1927?
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm?
Conjecture, as NGS 93E
Brahms Variations on a Theme by Jos. Haydn Op.56b [part 1] Bartlett, Robertson
2
NGS 138E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm
Number missing from documented run of Vocalion matrices recorded for NGS, assigned by Malcolm Walker to this work but not dated
[part 2] Bartlett, Robertson
2
NGS 139E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm
Variations performed by Bartlett and Robertson at Wigmore Hall in London on 9 November 1927[111]
[part 3] Bartlett, Robertson
2
NGS 140E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm
Recorded, together with Bax Moy Mell (NGS 102, above), after Haydn Symphony No.104 (see NGS 98-101, above)[112]
[part 4] Bartlett, Robertson
2
NGS 141E
November 1927
el
Vocalion Vocalion studio,
Duncan Avenue, London
unissued
12" / 30 cm
Recording withheld at request of Gramophone Co.[113]
Bach, J.S. Concerto for keyboard, strings and continuo in f BWV 1056
(i) [no indication] (as 'Allegro moderato')
Bartlett (piano), string quintet
6
ⓌAX 4990-1
3 June 1929
el
Columbia Large Studio,
Petty France, London
unissued
H 12125
12" / 30 cm
Note matrix order
(ii) Largo Bartlett (piano), string quintet
6
ⓌAX 4989-1,-2
3 June 1929
el
Columbia Large Studio,
Petty France, London
unissued
H 12132
12" / 30 cm
Both takes noted as rejected because of 'Rough Surfaces'
(iii) Presto Bartlett (piano), string quintet
6
ⓌAX 4991-1
3 June 1929
el
Columbia Large Studio,
Petty France, London
unissued
H 12131
12" / 30 cm
Recorded on same day as discs 131, 132 (see above); quintet almost certainly Mangeot Quartet plus double bass
Handel Deidamia – Act I, No.12(?),
aria 'Nasconde l'usignol' in alti rami'(?)
Marietta Amstad (soprano),
Edward Walker (flute),
Bernard Ord (harpsichord)
3
ⓌAX 5122-1
16 July 1929
el
Columbia Columbia studio,
Petty France, London
unissued
H 12566
12" / 30 cm
Columbia manufacturing card supplies title of opera only; excerpt deduced from named artists and press notice of concert performance given by them two weeks before session, alongside Bach aria issued on disc 69B[114] (see above)

References

  1. Morgan, Nick The National Gramophonic Society [PhD thesis], University of Sheffield, 2013
  2. Morgan, Nick The National Gramophonic Society, Sheffield: CRQ Editions, 2016
    NB This publication is temporarily unavailable; it is being revised and extended and will be republished in due course
  3. Original Columbia manufacturing cards are held by the EMI Archive Trust at Hayes, Middlesex, in a purpose-built facility near the former HMV (later EMI) factory. For this discography, the cards were consulted from microfilm copies made for the British Institute of Recorded Sound, now held by the British Library, and available at its St. Pancras site, in Humanities 2 Reading Room; in this form, the cards' contents cannot always be seen in full (the backs of the cards, containing additional details of contents, artists etc., were not microfilmed) or fully deciphered (due to poor capture and reproduction)
  4. Over several years Michael Gray gathered discographical data from original sources about unissued recordings made by the British branch of Columbia, and in 2006 he made it available to the CHARM project; some years later, the Deidamia side was noticed there by the author and investigated furtherCHARM and since republished on Mr. Gray's own site A Classical Discography
  5. Walker, Malcolm 'NGS numerical compiled … from copies of discs in The Gramophone Library: 1969 & 1980 & Columbia Day books held by EMI: 1977'; 2007 photocopy of manuscript, kindly furnished by Mr. Walker
  6. Andrews, Frank 'The National Gramophonic Society's Records', 2005; 2008 print-out of word-processor document, kindly furnished by Mr. Andrews
  7. For a detailed account of the NGS's terms and conditions of membership, and their evolution, see Morgan, Nick The National Gramophonic Society, Sheffield: CRQ Editions, 2016, §3.5, pp.88-94
  8. The NGS's issues were initially numbered by the author for the purposes of the research this discography is based on; so it was heartening to find that a sequence of Columbia manufacturing cards (held by the EMI Archive but consulted from microform copies at the British Library) was marked 'List No.14', corresponding exactly to the numbering already worked out independently. These cards are part of a run documenting the condition of metal manufacturing parts from matrices originally recorded by Vocalion for the NGS and deposited with Columbia after the Society's partnership with Vocalion was terminated in 1928; unlike the cards for Columbia's own productions, these cards are not numbered. Only the four cards relating to Bax's Oboe Quintet (see above) are marked 'List No.14'
  9. Mackenzie, Compton 'December Records', The Gramophone, Vol.IV No.8, January 1927, pp.(314)-22 (on pp.320-21)
  10. 'It should be made quite clear to members that the records made by the Poltronieri String Quartet are in the nature of supplementary issues. They do not come out as part of the normal output for the year'; 'National Gramophonic Society Notes', The Gramophone, Vol.V No.12, May 1928, p.512
  11. 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.8, January 1927, p.349, and Vol.V No.5, October 1927, p.208
  12. For an excellent account of Columbia's tenancies in Petty France, see Hill, Hector J. 'Columbia's Petty France Studios (1925-1932)', For The Record, No.77, Spring 2021, pp.255-62
  13. 'National Gramophonic Society Notes', The Gramophone, Vol.V No.10, March 1928, p.430
  14. Original Columbia manufacturing cards are held by the EMI Archive Trust at Hayes, Middlesex, in a purpose-built facility near the former HMV (later EMI) factory. For this discography, they were consulted in microfilm copies made for the British Institute of Recorded Sound, now held by the British Library and available at its St. Pancras site, in Humanities 2 Reading Room; in microform, the cards, contents cannot always be seen in full (the backs of the cards, containing additional details of contents, artists etc., were not microfilmed) or fully deciphered (due to poor capture and reproduction)
  15. The term 'run-out area' here denotes the smooth, unrecorded, mirror-like space between the grooves and label of an edge-start disc; this space is also known as the 'dead wax area'
  16. The Parlophone matrix prefix is properly G.S. but the full-stops are not shown in this discography
  17. The Vocalion matrix prefix is properly NGS. but the full-stop is not shown in this discography
  18. 'National Gramophonic Society Notes', The Gramophone, Vol.II No.12, May 1925, p.480
  19. 'The Gramophone Shop' (advertisement), Music Lovers' Phonograph Monthly Review, Vol.II No.7, April 1928, p.262
  20. One should always beware of sweeping statements: some of the earliest Berliner records marketed in Europe were furnished with sung texts, printed on a small sheet affixed to the back of the single-faced disc
  21. 'Beethoven's "Harp" Quartet in E flat, Op.74 and Debussy's Quartet in G [sic]' (advertisement), The Gramophone, Vol.II No.6, November 1924, p.215; no copy of note currently known
  22. The NGS published no announcement of or explanation for this lay-out
  23. 'Beethoven's "Harp" Quartet in E flat, Op.74 and Debussy's Quartet in G [sic]' (advertisement), The Gramophone, Vol.II No.6, November 1924, p.215; no copy of note currently known
  24. Cobbett's disc was never publicly acknowledged by the NGS as a test; this conclusion is based on unpublished correspondence between Compton Mackenzie and Christopher Stone, future NGS Secretary:
    • In June 1924, Arthur Liedtke (1873-1937), Columbia's general manager, wrote to Stone to the effect that, '"Before commencing work [recording for the NGS] it wd be well to have a test record made [...] early in July".' Stone, Christopher Draft or copy of letter to Compton Mackenzie, Thursday 26 June 1924
    • Three days earlier, Stone had reported, 'Old Cobbett (he's 77) came here to see Faith [Mackenzie] about the chamber music & is quite keen but evidently wha wants to do the recording with his own quartet.' Stone, Christopher Letter to Compton Mackenzie, Monday 23 June 1924
    • Mackenzie's reply was, 'Of course prevent(?) Cobbett's playing!' Mackenzie, Compton Letter to Christopher Stone, Friday [no date; possibly 27 June 1924?]
    All correspondence quoted by kind permission of Anthony Pollard Esq.
  25. 'At the moment of going to press it is doubtful whether the Schönberg and Schubert records will be ready for distribution before the February number [of The Gramophone] is out [...] But in the meantime we are, by great good fortune, able to offer a substantial compensation. Mr. W.W. Cobbett [...] has generously added to his other benefactions by undertaking to give a twelve-inch double-sided record to every member of the Society as a Christmas present. [...] though it cannot be denied that it comes under the category of "snippets," it is just the kind of record which in the past has formed a path for many a gramophone-lover from the pleasant lowlands to the higher fields of music.' 'National Gramophonic Society Notes', The Gramophone, Vol.II No.8, January 1925, p.294
  26. A copy of this note has been scanned and made freely available online, together with a transfer of the discs, on the Shellackophile blog
  27. A copy of this note has been scanned and made freely available online, together with a transfer of the discs, on the Shellackophile blog
    The note was also reprinted in Wilson, H.L. (editor) Music and the Gramophone and Some Masterpiece Recordings, London: Allen & Unwin, for Gramophone (Publications) Ltd., 1926
  28. 'National Gramophonic Society Notes', The Gramophone, Vol.III No.2, July 1925, p.80
  29. Minutes of 24 April 1925 board meeting of Gramophone (Publications) Limited, undated. Cited by kind permission of Anthony Pollard Esq.
  30. Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.3, August 1925, p.135
  31. Printed in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.7, December 1925, p.323; it is not known if this note was also printed separately and distributed to members with the discs
  32. 'To N.G.S. Members', The Gramophone, Vol.III No.4, September 1925, p.201; 'National Gramophonic Society Notes', ibid., Vol.III No.5, October 1925, p.237
  33. '[...] would it be possible to get the Lament of Tomlinson on 12 inch put together[?] with the Brahms 6tet of Spencer Dyke and get our Goossens By the Tarn go on the back of Gibbons 3,9' Annotation in André Mangeot's hand on letter from Robert Gathorne-Hardy to Mangeot, dated 23 December 1925, André Mangeot Collection, Royal College of Music, London
    'Shame [?, barely legible] about the Goossens Qt[?]. Whose fault was it?' Mackenzie, Compton Letter to Christopher Stone, dated 29[?] Nov[?, overwritten] 1925. Quoted by kind permission of Anthony Pollard Esq.
  34. '[...] unusual difficulties have been encountered, and re-recordings have been necessary', 'National Gramophonic Society Notes', The Gramophone, Vol.III No.2, July 1925, p.80
  35. Minutes of 24 April 1925 board meeting of Gramophone (Publications) Limited, undated. Cited by kind permission of Anthony Pollard Esq.
  36. Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.3, August 1925, p.135
  37. The National Gramophonic Society Catalogue of Records 1927, p.11: 'A descriptive leaflet by Mr. Cobbett is included with the records.' No copy of leaflet currently known; analytical note reprinted, with title shown above, in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.9, February 1926, p.433
  38. Ernest Tomlinson (1877-1957), well-known teacher and viola player in several distinguished quartets including the Spencer Dyke String Quartet, is not to be confused with the composer and conductor Ernest Tomlinson (1924-2015)
  39. '[...] would it be possible to get the Lament of Tomlinson on 12 inch put together[?] with the Brahms 6tet of Spencer Dyke and get our Goossens By the Tarn go on the back of Gibbons 3,9'
    Annotation in André Mangeot's hand on MS letter from Robert Gathorne-Hardy to Mangeot, dated 23 December 1925, André Mangeot Collection, Royal College of Music, London
  40. Gibbons' 3-part fantasias were probably performed in the edition by Edmund Fellowes for modern string trio, published by Stainer & Bell, London, 1924
  41. Mackenzie, Compton Letter [number 5628] to Sir Edward Elgar, dated 8 November 1925, Sir Edward Elgar papers, The Firs (Elgar Birthplace Museum), Lower Broadheath, Worcester
    Elgar, Sir Edward Letter to Compton Mackenzie, dated 17 November 1925, reprinted in Mackenzie, Compton My Life and Times – Octave 6: 1915-1923, London: Chatto & Windus, 1967, p.83
    (Both letters also reprinted in Northrop Moore, Jerrold Elgar on Record, London: EMI Records Ltd. in association with Oxford University Press, 1974, pp.55-56)
  42. Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.12, May 1926, p.559
  43. Printed in 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.4, September 1926, p.163; not known to have been distributed with discs
  44. Purcell's Fantasias for viols were transcribed from the composer's autograph MS by Peter Warlock in 1925, arranged for modern strings by André Mangeot, and published by J. Curwen & Sons, London, in 1927
  45. Reprinted in The Gramophone, Vol.IV No.6, November 1926, pp.231-32, from 'The Purcell Fantasies and their Influence on Modern Music', Music and Letters, Vol.7 No.2, April 1926, pp.143-49, itself a partial translation of 'Les fantaisies d'Henry Purcell et le quatuor de Gabriel Fauré', Le Monde musical, Vol.XXXVI Nos.19-20, October 1925, pp.345-46; not known to have been distributed with discs
  46. 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.6, November 1926, p.238
  47. No. viii ... of Corelli's Twelve grand Concertos, for 2 Violins & Violoncello (Solo), 2 Violins, Viola and Basso (Tutti). Edited by F. Bridge. (Parts.) London: Goodwin & Tabb, [1911]
  48. Personnel: 'First violins: André Mangeot, John Fry, A. [sic, for H.?] Ayckborn, J. Price.
    Second violins: George Whitaker, V. Allchurch, V. Leonard, J. Rosenthal.
    Violas: L. Rubens, L. D'Oliviera [sic, for d'Oliveira].
    'Cellos: J. Leonard, J. Moore.
    Basses: Victor Watson, Charles Winterbottom.'
    'National Gramophonic Society Notes', The Gramophone, Vol.IV No.9, February 1927, pp.390-91 (on p.390)
    NB Concertino players not specified; probably Mangeot (violin I), Fry (violin II), J. Leonard ('cello)
  49. Personnel: 'First violins: André Mangeot, John Fry, A. [sic, for H.?] Ayckborn, J. Price.
    Second violins: George Whitaker, V. Allchurch, V. Leonard, J. Rosenthal.
    Violas: L. Rubens, L. D'Oliviera [sic, for d'Oliveira].
    'Cellos: J. Leonard, J. Moore.
    Basses: Victor Watson, Charles Winterbottom.
    [...]
    Piano: Ethel Bartlett.'
    'National Gramophonic Society Notes', The Gramophone, Vol.IV No.9, February 1927, pp.390-91 (on p.390)
  50. Personnel: 'First violins: André Mangeot, John Fry, A. [sic, for H.?] Ayckborn, J. Price.
    Second violins: George Whitaker, V. Allchurch, V. Leonard, J. Rosenthal.
    Violas: L. Rubens, L. D'Oliviera [sic, for d'Oliveira].
    'Cellos: J. Leonard, J. Moore.
    Basses: Victor Watson, Charles Winterbottom.
    Flutes: Robert Murchie, Gordon Walker.
    Oboes: Horace Halstead [...]
    Clarinets: George Anderson, A.N. Tschaikov.
    Bassoon [sic]: Jack Alexander [sic, for Alexandra], E. Duboucq [sic, for Dubrucq].
    Horns: Aubrey Brain, Frank Probyn.'
    'National Gramophonic Society Notes', The Gramophone, Vol.IV No.9, February 1927, pp.390-91 (on p.390)
  51. Personnel: 'First violins: [...] John Fry, A. [sic, for H.?] Ayckborn, J. Price.
    Second violins: George Whitaker, V. Allchurch, V. Leonard, J. Rosenthal.
    Violas: L. Rubens, L. D'Oliviera [sic, for d'Oliveira].
    'Cellos: J. Leonard, J. Moore.
    Basses: Victor Watson, Charles Winterbottom.
    [...]
    Oboes: Horace Halstead, J. McDonagh.
    [...]
    Horns: Aubrey Brain, Frank Probyn.
    Trumpets: E. Hall, H. Barr.'
    'National Gramophonic Society Notes', The Gramophone, Vol.IV No.9, February 1927, pp.390-91 (on p.390)
  52. Personnel: 'First violins: André Mangeot, John Fry, A. [sic, for H.?] Ayckborn, J. Price.
    Second violins: George Whitaker, V. Allchurch, V. Leonard, J. Rosenthal.
    Violas: L. Rubens, L. D'Oliviera [sic, for d'Oliveira].
    'Cellos: J. Leonard, J. Moore.
    Basses: Victor Watson, Charles Winterbottom.'
    'National Gramophonic Society Notes', The Gramophone, Vol.IV No.9, February 1927, pp.390-91 (on p.390)
  53. 'Owing to an unfortunate lack of liaison between recording studio and factory [...] all the records from the Brahms Piano Quartet (Nos.88 to 91) onwards were made at a speed of 78 revolutions to the minute (not 80, as stated on the labels).' 'National Gramophonic Society Notes', The Gramophone, Vol.V No.10, March 1928, p.430
  54. Printed in 'Chamber Music', The Gramophone, Vol.V No.8, January 1928, pp.331-41 (on p.331); not distributed with discs
  55. Leader and personnel unknown
  56. Brief comments on work and recording in Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
  57. 'Owing to an unfortunate lack of liaison between recording studio and factory [...] all the records from the Brahms Piano Quartet (Nos.88 to 91) onwards were made at a speed of 78 revolutions to the minute (not 80, as stated on the labels).' 'National Gramophonic Society Notes', The Gramophone, Vol.V No.10, March 1928, p.430
  58. Purcell The Gordian Knot Untied Z.597 (incidental music) – (vi) Chaconne
  59. Leader and personnel unknown
  60. Brief comments on music in Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
  61. Purcell My heart is inditing Z.30 – (i) Symphony
  62. Purcell Distressed Innocence, or The Princess of Persia Z.577 (incidental music) – (viii) Minuet
  63. Purcell The Gordian Knot Untied Z.597 (incidental music) – (iii) Rondeau Minuet
  64. 'Owing to an unfortunate lack of liaison between recording studio and factory [...] all the records from the Brahms Piano Quartet (Nos.88 to 91) onwards were made at a speed of 78 revolutions to the minute (not 80, as stated on the labels).' 'National Gramophonic Society Notes', The Gramophone, Vol.V No.10, March 1928, p.430
  65. Purcell Distressed Innocence, or The Princess of Persia Z.577 (incidental music) – (iii) Slow Air
  66. Purcell The Married Beau, or The Curious Impertinent Z.603 (incidental music) – (iii) Hornpipe on a Ground
  67. Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
  68. Leader and personnel unknown
  69. Brief comments on music in Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
  70. 'Owing to an unfortunate lack of liaison between recording studio and factory [...] all the records from the Brahms Piano Quartet (Nos.88 to 91) onwards were made at a speed of 78 revolutions to the minute (not 80, as stated on the labels).' 'National Gramophonic Society Notes', The Gramophone, Vol.V No.10, March 1928, p.430
  71. Key of Andante billed on disc label, correctly if perhaps unnecessarily, as C major
  72. Leader and personnel unknown
  73. Entered in the composer's autograph work catalogue as Op.8 No.3 but first published as Op.6 No.3 and usually known as such, see Gérard, Yves Thematic, Bibliographical and Critical Catalogue of the Works of Luigi Boccherini, London, etc.: Oxford University Press, 1969, pp.185-86, and The World's Encyclopaedia of Recorded Music (below)
  74. 'Owing to an unfortunate lack of liaison between recording studio and factory [...] all the records from the Brahms Piano Quartet (Nos.88 to 91) onwards were made at a speed of 78 revolutions to the minute (not 80, as stated on the labels).' 'National Gramophonic Society Notes', The Gramophone, Vol.V No.10, March 1928, p.430
  75. 'National Gramophonic Society Notes', The Gramophone, Vol.V No.8, January 1928, p.350, which reports that the Quartet broadcast this work on 20 November (NB the Radio Times billing does not identify it), and that it was 'still in manuscript' (but see below); the Quartet probably played this work again at the Music Society in London on 23 November, although it was not identified in the only known review, see E[ric?].B[lom?]. 'Music in London', The Manchester Guardian, Wednesday 23 November 1927, p.12
  76. The Tempo di minuetto is placed third in the first printed editions (no autograph manuscript survives) but second in the edition by Enrico Polo published by Ricordi in 1915 (see IMSLP for these editions); as the work was reported in 1927 to be 'still in manuscript' (see above), perhaps the Poltronieri Quartet was following a set of manuscript parts with the same variant order of movements?
  77. matrix ⓌB 3465-2, recorded 13 June 1930, 10" / 25 cm, issued in Italy on GQ 7015 and in Britain on DB 397; NB erroneously attributed in Clough, F.F. & Cuming, G.J. The World's Encyclopaedia of Recorded Music, London: Sidgwick & Jackson Ltd. in association with The Decca Record Company Ltd., 1952, p.78, to String Quartet in C Op.33 No.4
  78. 'National Gramophonic Society Notes', The Gramophone, Vol.VI No.61, June 1928, p.31; takes EXX (i.e. -3) and unusual notation '2X' in run-off area point to disc 105 as re-recorded
  79. Printed in The Gramophone, Vol.VI No.63, August 1928, p.115
  80. Discs bear face numbers only in runoff or 'dead wax'; it is unclear if these also served as matrix numbers
  81. Clough, F.F. & Cuming, G.J. The World's Encyclopaedia of Recorded Music, London: Sidgwick & Jackson Ltd. in association with The Decca Record Company Ltd., 1952, p.405
  82. Fachiri, Adila 'Beethoven's Sonata in G major', The Gramophone, Vol.VI No.67, December 1928, p.277
  83. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VI No.69, February 1929, pp.395-96
  84. C.J. 'Chamber Music', The Gramophone, Vol.VI No.68, January 1929, p.355
  85. P[eter].L[atham]. 'National Gramophonic Society Mozart's Quintet in E flat for Oboe, Clarinet, Horn, Bassoon and Piano', The Gramophone, Vol.VI No.71, April 1929, p.493
  86. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.73, June 1929, p.17
  87. 'National Gramophonic Society Notes', The Gramophone, Vol.VII No.74, July 1929, p.82
  88. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.75, August 1929, p.113
  89. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.75, August 1929, p.113
  90. d'Indy arranged six Vivaldi cello sonatas 'en concert', of which Sonate V was the first to be published, by Maurice Senart, c.1922. The phrase 'en concert' means 'concerted'; d'Indy's arrangement expands the continuo line into four parts, for first and second violins, violas, 'cellos and optional double basses. The original edition (not consulted for this page) appears to suggest performance by string orchestra only (the parts are headed 'violins', 'violas' etc.), but an edition by Salabert, c.1950s, makes explicit the option of performance by string quartet
  91. Clough, F.F. & Cuming, G.J. The World's Encyclopaedia of Recorded Music, London: Sidgwick & Jackson Ltd. in association with The Decca Record Company Ltd., 1952, p.664
  92. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.77, October 1929, p.200
  93. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.77, October 1929, p.200
  94. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.79, December 1929, p.309
  95. P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.79, December 1929, p.309
  96. Locke's Consort of ffowre Parts was transcribed for modern string quartet by Warlock in 1927 with a view to possible publication by Curwen or the Oxford University Press, see letter to André Mangeot from Philip Heseltine dated 14 March 1927, André Mangeot Collection, Royal College of Music, London; Mangeot prepared the transcriptions for performance with indications of tempo and expression, phrasings, bowings etc., but the six suites were not published until 1932, by J. & W. Chester Ltd., as Six String Quartets by Matthew Locke
  97. Personnel (not listed on disc labels): Samuel Kutcher (violin), Raymond Jeremy (viola), Cedric Sharpe (cello), Leon Goossens (oboe), George W. Anderson (clarinet), A. Richard Newton (bassoon), Aubrey [Cocks-]Thonger (horn), Rae Robertson (piano), see 'First Performance in England Just Published' (advertisement), The Gramophone, Vol.VII No.84, May 1930, p.563 (players' instruments not specified), and Kreshover, Dorothea 'Notes on New Issues, N.G.S.' (players' instruments specified)
  98. NB This count includes the conductor, even though he is not heard
  99. 'National Gramophonic Society's Notes', The Gramophone, Vol.VII No.81, February 1930, p.397
  100. Fox-Strangways, A.H.(?) 'New Chamber Orchestra', in 'Music of the Week', The Observer, Sunday 21 December 1930, p.8 (Fox-Strangways is credited as author of the leading rubric on the page, 'Music and Musicians', but it is not clear if the byline also covers the following 'Music of the Week')
    NB The date and location of the world premiere of Juon's Octet have not been ascertained; it was played in the US as early as 1913, see review of performance on 9 November 1913 by the Longy New York Modern Chamber Music Society at Aeolian Hall, New York, in 'The Concert Season Is In Full Swing', The Brooklyn Daily Eagle [Brooklyn, New York], Monday, 10 November 1913, p.7
  101. 'National Gramophonic Society Notes', The Gramophone, Vol.VIII No.85, June 1930, p.11
  102. P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180
  103. P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180
  104. E[ric?].B[lom?]. 'New Work by Arnold Bax Sonata for Two Pianos', The Manchester Guardian, Wednesday, 11 December 1929, p.15
  105. P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180
  106. Recorded 15 March 1931, issued on Telefunken A 967, 968
  107. NB This count includes the conductor, even though he is not heard
    Lambert waived his fee for conducting this recording, see Foss, Hubert 'Constant Lambert', The Gramophone, Vol.XXIX No.340, September 1951, p.73
  108. Tomlinson, Fred A Peter Warlock Handbook Volume 1, London: Triad Press, 1974, pp.18, 20
  109. '[...] if the tests now being made by the Spencer Dyke String Quartet by electrical methods are successful the Schubert A minor Quartet (D.804, see above) may be ready for distribution in the first batch.' 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.6, November 1926, p.238
  110. '[...] when we arrived in the recording room to "wax" Ravel [...] we made tests and then we recorded the 7 sides in one morning, and Miss Kathleen Long [...] came to make a record to fill the 8th side. All went well till we heard the white label pressings. I thought they were not good enough: there was not enough clarity or "limpidity"; tone was not transparent enough.' Mangeot, André 'The Ravel String Quartet', The Gramophone, Vol.V No.4, September 1927, pp.138-39
  111. E[ric?].B[lom?]. 'Music for Two Pianos', The Manchester Guardian, Thursday, 10 November 1927, p.14
  112. 'National Gramophonic Society Notes', The Gramophone, Vol.V No.8, January 1928, p.350
  113. 'Trade Winds and Idle Zephyrs', The Gramophone, Vol.VII No.75, August 1929, pp.132-34
  114. 'Songs Of Two Voices The Misses Amstad', The Times, issue 45245, Wednesday 3 July 1929, p.14; see also 'Trade Winds and Idle Zephyrs', The Gramophone, Vol.VII No.75, August 1929, pp.132-34