Difference between revisions of "National Gramophonic Society discography"

Revision as of 22:49, 8 March 2021

1 Sources
2 Seasons and issues
3 Commercial partners
- 3.1 Recording locations
- 3.2 Playback speeds
4 Matrix numbers
5 Catalogue IDs
- 5.1 Side symbols
6 Labels, sleeves and albums
7 Analytical notes
8 Transfers
9 Guide to entries
- 9.1 Order of entries
- 9.2 Contents of entries
10 1924-25 Season
11 1925-26 Season
12 1926-27 Season
13 1927-28 Season
14 1928-29 Season
15 1929-30 Season
16 1930-31 Season
- 16.1 Issue 28, March 1931
17 1931-32 Season
- 17.1 Issue 29, December 1931
18 Unissued matrices
19 References

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 further expanded from versions originally submitted in a 2013 PhD thesis on the National Gramophonic Society^[1] and revised for publication in 2016.^[2]

In preparation, all issued NGS discs were auditioned directly from original copies 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 were inspected for matrix information and label copy.

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of NGS issues was gathered from original NGS documents and original copies of The Gramophone, or scans, from unpublished correspondence and from other contemporary or later sources, cited where relevant.

Production information about issued and unissued NGS recordings made by Columbia, including matrix details and recording dates, was obtained from Columbia manufacturing cards.^[3] One unissued side was identified from discographical research by Michael Gray, first published by CHARM and since republished on Mr. Gray's own site A Classical Discography.

Matrix details of NGS recordings made by Parlophone and Vocalion were obtained from original discs. Recording dates were either estimated from NGS announcements, or were obtained from unpublished discographies by Malcolm Walker^[4] and Frank Andrews,^[5] 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.

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.^[6] 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.^[7]

Supplementary issues

The NGS's requirements that members take all issues and pay for them in advance were clearly felt to be onerous and to deter prospective subscribers. At the same time, some members resented being obliged to accept repertoire they did not like. To address the first of these concerns, the Society attempted to relax the rules and allow members to take fewer than the annual quota, although this also made its terms and conditions somewhat complicated. Some members must have indicated that they preferred to be sent the annual quota automatically. To address the second, it demarcated recordings of potentially unpopular music as 'minority' issues, falling outside the annual quota. They also fall outside the numbered sequence of issues and are labelled 'supplementary' below, a term used by the NGS itself.^[8] Adventurous members who took everything, including minority issues, were referred to by the Secretary as 'whole-hoggers', a term reminiscent of British public (i.e. private) school slang.

Issue dates

Unlike the commercial companies, the NGS did not publish dated 'bulletins' or 'supplements' listing new issues. Members were probably notified by circulars, now lost, and readers of The Gramophone by the Society's more or less regular 'Notes', from which NGS 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 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, 1926-27: 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)

Columbia also re-pressed some recordings made for the NGS by Vocalion after the latter's partnership with the Society ended.

Recording locations

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

Columbia, 1924-25 (acoustical): Columbia studios, Clerkenwell Road, London
Parlophone, 1925-26 (acoustical): Parlophone studios, City Road, London
Vocalion, 1926-27 (acoustical and electrical): Vocalion studios, Duncan Avenue (off Gray's Inn Road), London
Parlophone, March 1928 (electrical): Parlophone studio, Carlton Hill, St. John's Wood, London
Columbia, 1928-31 (electrical): Columbia studios, Petty France, and Central Hall, Westminster (discs 156 to 158)

Playback speeds

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:^[9] 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^[10] only, not on labels. They consist of the prefix GS followed by one or more digits;^[11] 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,^[12] 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.

NGS discs were distributed initially in paper 'bags' of unknown design, and from mid-1925 in card sleeves whose design mirrored the discs' labels. These were uniform and carried no copy other than the Society's name. No discs were distributed by the NGS in albums.

From mid-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. These albums were assigned numbers which bear no relation to NGS catalogue numbers and are not given in this discography.

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.^[13] 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]^[14]
(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^[15]
(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]^[16]
(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^[17] (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^[18] 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^[19]
(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"^[20]
[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'^[21]
(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^[22]
(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]^[23]
(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^[24]
(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^[25]
(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.^[26] 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^[27]
(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^[28]
(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]^[29]
(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	Analytical note: W.W. Cobbett Schubert's String Quintet in C major(?)^[30]
(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; Più allegro [part 3]	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^[31] 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^[32]
Gibbons arr. anon.^[33] 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^[34]
(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)^[35]
(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)^[36]
(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^[37] 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^[38]
[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^[39] 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^[40] Concerto grosso in g Op.6 No.8 – (i) Vivace; Grave (ii) Allegro (iii) [part 1] Adagio; Allegro	NGS Chamber Orchestra^[41], 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^[42], 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^[43], 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^[44], 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^[45], 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^[46]
(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^[47]
(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,^[48] 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^[49]
[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
[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^[50]	Strings of the NGS Chamber Orchestra,^[51] Barbirolli (conductor)	orch.	NGS 122E	November 1927	el	Vocalion	Vocalion studio, Duncan Avenue, London	NGS 96+	12" / 30 cm	No analytical note known^[52]
(ii) Adagio^[53] (iii) Vivace^[54] (iv) Rondeau Minuet [part 1]^[55]	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
(iv) Rondeau Minuet [part 2] (v) Air^[56]	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^[57] 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^[58]
Haydn Symphony No.104 in D – (i) Adagio; Allegro [part 1]	NGS Chamber Orchestra,^[59] Barbirolli (conductor)	orch.	NGS 126EX	23(?) November 1927	el	Vocalion	Vocalion studio, Duncan Avenue, London	NGS 98+	12" / 30 cm	No analytical note known^[60]
(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
(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^[61]	NGS Chamber Orchestra,^[62] 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^[63]
(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^[64]
(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^[65]
(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^[66]

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 correctly as 78 rpm
[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 unissued, slightly later 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'^[67]
(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^[68]
(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+(?)^[69]	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^[70]
(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^[71]
(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^[72]
(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
(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^[73]
(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
(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^[74]
(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^[75]
(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'^[76]
(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^[77]
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^[78]
(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,^[79] 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.'^[80] (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^[81]
(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^[82]
(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^[83]
(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'.^[84]
(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^[85] 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,^[86] Kreshover	9^[87]	Ⓦ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;^[88] first public performance in UK given by these artists at Aeolian Hall, London, 19 December 1930^[89]
(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^[90]
(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^[91]
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^[92]
(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^[93]
(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^[94]
(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^[95]

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	8^[96]	Ⓦ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^[97] 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?^[98]
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?^[99]
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^[100]
[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)^[101]
[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.^[102]
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^[103] (see above)

References

↑ Morgan, Nick The National Gramophonic Society [PhD thesis], University of Sheffield, 2013
↑ 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
↑ 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 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)
↑ 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
↑ Andrews, Frank 'The National Gramophonic Society's Records', 2005; 2008 print-out of word-processor document, kindly furnished by Mr. Andrews
↑ 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
↑ 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'
↑ '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
↑ 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)
↑ 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'
↑ The Parlophone matrix prefix is properly G.S. but the full-stops are not shown in this discography
↑ The Vocalion matrix prefix is properly NGS. but the full-stop is not shown in this discography
↑ 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
↑ '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
↑ The NGS published no announcement of or explanation for this lay-out
↑ '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
↑
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 w^d 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.
↑ '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
↑ A copy of this note has been scanned and made freely available online, together with a transfer of the discs, on the Shellackophile blog
↑ 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
↑ 'National Gramophonic Society Notes', The Gramophone, Vol.III No.2, July 1925, p.80
↑ Minutes of 24 April 1925 board meeting of Gramophone (Publications) Limited, undated. Cited by kind permission of Anthony Pollard Esq.
↑ Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.3, August 1925, p.135
↑ 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
↑ '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
↑ '[...] would it be possible to get the Lament of Tomlinson on 12 inch put together[?] with the Brahms 6^tet 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.
↑ '[...] 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
↑ Minutes of 24 April 1925 board meeting of Gramophone (Publications) Limited, undated. Cited by kind permission of Anthony Pollard Esq.
↑ Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.3, August 1925, p.135
↑ The National Gramophonic Society Catalogue of Records 1927, p.11: 'A descriptive leaflet by Mr. Cobbett is included with the records.' No copy of note currently known; reprinted, with title shown above, in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.9, February 1926, p.433
↑ 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)
↑ '[...] would it be possible to get the Lament of Tomlinson on 12 inch put together[?] with the Brahms 6^tet 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
↑ Gibbons' 3-part fantasias were probably performed in the edition by Edmund Fellowes for modern string trio, published by Stainer & Bell, London, 1924
↑ 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)
↑ Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.12, May 1926, p.559
↑ Printed in 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.4, September 1926, p.163; not known to have been distributed with discs
↑ 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
↑ 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
↑ 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.6, November 1926, p.238
↑ 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]
↑ 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)
↑ 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)
↑ 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)
↑ 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)
↑ 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)
↑ '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
↑ Printed in 'Chamber Music', The Gramophone, Vol.V No.8, January 1928, pp.331-41 (on p.331); not distributed with discs
↑ Leader and personnel unknown
↑ 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
↑ Purcell The Gordian Knot Untied Z.597 (incidental music) – (vi) Chaconne
↑ Leader and personnel unknown
↑ Brief comments on music in Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
↑ Purcell My heart is inditing Z.30 – (i) Symphony
↑ Purcell Distressed Innocence, or The Princess of Persia Z.577 (incidental music) – (viii) Minuet
↑ Purcell The Gordian Knot Untied Z.597 (incidental music) – (iii) Rondeau Minuet
↑ Purcell Distressed Innocence, or The Princess of Persia Z.577 (incidental music) – (iii) Slow Air
↑ Purcell The Married Beau, or The Curious Impertinent Z.603 (incidental music) – (iii) Hornpipe on a Ground
↑ Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
↑ Leader and personnel unknown
↑ Brief comments on music in Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450
↑ Key of Andante billed on disc label, correctly if perhaps unnecessarily, as C major
↑ Leader and personnel unknown
↑ 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)
↑ '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
↑ 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?
↑ 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
↑ '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
↑ Printed in The Gramophone, Vol.VI No.63, August 1928, p.115
↑ Discs bear face numbers only in runoff or 'dead wax'; it is unclear if these also served as matrix numbers
↑ 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
↑ Fachiri, Adila 'Beethoven's Sonata in G major', The Gramophone, Vol.VI No.67, December 1928, p.277
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VI No.69, February 1929, pp.395-96
↑ C.J. 'Chamber Music', The Gramophone, Vol.VI No.68, January 1929, p.355
↑ 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
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.73, June 1929, p.17
↑ 'National Gramophonic Society Notes', The Gramophone, Vol.VII No.74, July 1929, p.82
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.75, August 1929, p.113
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.75, August 1929, p.113
↑ 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
↑ 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
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.77, October 1929, p.200
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.77, October 1929, p.200
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.79, December 1929, p.309
↑ P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.79, December 1929, p.309
↑ 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
↑ 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)
↑ NB This count includes the conductor, even though he is not heard
↑ 'National Gramophonic Society's Notes', The Gramophone, Vol.VII No.81, February 1930, p.397
↑ 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
↑ 'National Gramophonic Society Notes', The Gramophone, Vol.VIII No.85, June 1930, p.11
↑ P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180
↑ P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180
↑ E[ric?].B[lom?]. 'New Work by Arnold Bax Sonata for Two Pianos', The Manchester Guardian, Wednesday, 11 December 1929, p.15
↑ P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180
↑ Recorded 15 March 1931, issued on Telefunken A 967, 968
↑ 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
↑ Tomlinson, Fred A Peter Warlock Handbook Volume 1, London: Triad Press, 1974, pp.18, 20
↑ '[...] 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
↑ '[...] 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
↑ E[ric?].B[lom?]. 'Music for Two Pianos', The Manchester Guardian, Thursday, 10 November 1927, p.14
↑ 'National Gramophonic Society Notes', The Gramophone, Vol.V No.8, January 1928, p.350
↑ 'Trade Winds and Idle Zephyrs', The Gramophone, Vol.VII No.75, August 1929, pp.132-34
↑ '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

[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, they 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] 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

[5] Andrews, Frank 'The National Gramophonic Society's Records', 2005; 2008 print-out of word-processor document, kindly furnished by Mr. Andrews

[6] 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

[7] 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'

[8] '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

[9] 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)

[10] 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'

[11] The Parlophone matrix prefix is properly G.S. but the full-stops are not shown in this discography

[12] The Vocalion matrix prefix is properly NGS. but the full-stop is not shown in this discography

[13] 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

[14] '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

[15] The NGS published no announcement of or explanation for this lay-out

[16] '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

[17] 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 w^d 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.

[18] 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 w^d 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

[19] 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

[20] Mackenzie's reply was, 'Of course prevent(?) Cobbett's playing!' Mackenzie, Compton Letter to Christopher Stone, Friday [no date; possibly 27 June 1924?]

[18] '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

[19] A copy of this note has been scanned and made freely available online, together with a transfer of the discs, on the Shellackophile blog

[20] 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

[21] 'National Gramophonic Society Notes', The Gramophone, Vol.III No.2, July 1925, p.80

[22] Minutes of 24 April 1925 board meeting of Gramophone (Publications) Limited, undated. Cited by kind permission of Anthony Pollard Esq.

[23] Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.3, August 1925, p.135

[24] 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

[25] '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

[26] '[...] would it be possible to get the Lament of Tomlinson on 12 inch put together[?] with the Brahms 6^tet 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.

[27] '[...] 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

[28] Minutes of 24 April 1925 board meeting of Gramophone (Publications) Limited, undated. Cited by kind permission of Anthony Pollard Esq.

[29] Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.3, August 1925, p.135

[30] The National Gramophonic Society Catalogue of Records 1927, p.11: 'A descriptive leaflet by Mr. Cobbett is included with the records.' No copy of note currently known; reprinted, with title shown above, in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.9, February 1926, p.433

[31] 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)

[32] '[...] would it be possible to get the Lament of Tomlinson on 12 inch put together[?] with the Brahms 6^tet 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

[33] Gibbons' 3-part fantasias were probably performed in the edition by Edmund Fellowes for modern string trio, published by Stainer & Bell, London, 1924

[34] 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)

[35] Reprinted in 'National Gramophonic Society Notes', The Gramophone, Vol.III No.12, May 1926, p.559

[36] Printed in 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.4, September 1926, p.163; not known to have been distributed with discs

[37] 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

[38] 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

[39] 'National Gramophonic Society Notes', The Gramophone, Vol.IV No.6, November 1926, p.238

[40] 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]

[41] 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)

[42] 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)

[43] 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)

[44] 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)

[45] 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)

[46] '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

[47] Printed in 'Chamber Music', The Gramophone, Vol.V No.8, January 1928, pp.331-41 (on p.331); not distributed with discs

[48] Leader and personnel unknown

[49] 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

[50] Purcell The Gordian Knot Untied Z.597 (incidental music) – (vi) Chaconne

[51] Leader and personnel unknown

[52] Brief comments on music in Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450

[53] Purcell My heart is inditing Z.30 – (i) Symphony

[54] Purcell Distressed Innocence, or The Princess of Persia Z.577 (incidental music) – (viii) Minuet

[55] Purcell The Gordian Knot Untied Z.597 (incidental music) – (iii) Rondeau Minuet

[56] Purcell Distressed Innocence, or The Princess of Persia Z.577 (incidental music) – (iii) Slow Air

[57] Purcell The Married Beau, or The Curious Impertinent Z.603 (incidental music) – (iii) Hornpipe on a Ground

[58] Barbirolli, John 'The N.G.S. Orchestral Records', The Gramophone, Vol.V No.11, April 1928, p.450

[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] Key of Andante billed on disc label, correctly if perhaps unnecessarily, as C major

[62] Leader and personnel unknown

[63] 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)

[64] '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

[65] 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?

[66] trix Ⓦ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

[67] '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

[68] Printed in The Gramophone, Vol.VI No.63, August 1928, p.115

[69] Discs bear face numbers only in runoff or 'dead wax'; it is unclear if these also served as matrix numbers

[70] 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

[71] Fachiri, Adila 'Beethoven's Sonata in G major', The Gramophone, Vol.VI No.67, December 1928, p.277

[72] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VI No.69, February 1929, pp.395-96

[73] C.J. 'Chamber Music', The Gramophone, Vol.VI No.68, January 1929, p.355

[74] 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

[75] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.73, June 1929, p.17

[76] 'National Gramophonic Society Notes', The Gramophone, Vol.VII No.74, July 1929, p.82

[77] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.75, August 1929, p.113

[78] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.75, August 1929, p.113

[79] '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

[80] 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

[81] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.77, October 1929, p.200

[82] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.77, October 1929, p.200

[83] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.79, December 1929, p.309

[84] P[eter]. L[atham]. 'Chamber Music', The Gramophone, Vol.VII No.79, December 1929, p.309

[85] 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

[86] 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)

[87] NB This count includes the conductor, even though he is not heard

[88] 'National Gramophonic Society's Notes', The Gramophone, Vol.VII No.81, February 1930, p.397

[89] 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

[90] 'National Gramophonic Society Notes', The Gramophone, Vol.VIII No.85, June 1930, p.11

[91] P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180

[92] P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180

[93] E[ric?].B[lom?]. 'New Work by Arnold Bax Sonata for Two Pianos', The Manchester Guardian, Wednesday, 11 December 1929, p.15

[94] P[eter].L[atham]. 'National Gramophonic Society A Note on the New Issues', The Gramophone, Vol.VIII No.88, September 1930, pp.179-180

[95] Recorded 15 March 1931, issued on Telefunken A 967, 968

[96] 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

[97] Tomlinson, Fred A Peter Warlock Handbook Volume 1, London: Triad Press, 1974, pp.18, 20

[98] '[...] 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

[99] '[...] 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

[100] E[ric?].B[lom?]. 'Music for Two Pianos', The Manchester Guardian, Thursday, 10 November 1927, p.14

[101] 'National Gramophonic Society Notes', The Gramophone, Vol.V No.8, January 1928, p.350

[102] 'Trade Winds and Idle Zephyrs', The Gramophone, Vol.VII No.75, August 1929, pp.132-34

[103] '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

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@@ Line 20: / Line 20: @@
 This discography is further expanded from versions originally submitted in a 2013 PhD thesis on the National Gramophonic Society<ref>Morgan, Nick ''The National Gramophonic Society'' [PhD thesis], University of Sheffield, 2013</ref> and revised for publication in 2016.<ref>Morgan, Nick ''The National Gramophonic Society'', Sheffield: <span class="plainlinks">[https://crqeditions.co.uk/ CRQ Editions]</span>, 2016<br />NB This publication is temporarily unavailable; it is being revised and extended and will be republished in due course</ref>
-For both versions, all issued NGS discs were auditioned directly from original copies held by the British Library, or from digital transfers made by the British Library, <span class="plainlinks">[https://charm.kcl.ac.uk/index.html CHARM]</span>, Pristine Audio (now <span class="plainlinks">[https://www.pristineclassical.com/ Pristine Classical]</span>), <span class="plainlinks">[http://shellackophile.blogspot.com/2011/10/national-gramophonic-society-part-1.html Bryan Bishop]</span>, <span class="plainlinks">[http://fluffontheneedle.blogspot.com/2012/04/oh-dear-another-blog.html Jolyon Hudson]</span> and other private collectors. Copies of all NGS discs were inspected for matrix information and label copy.
+In preparation, all issued NGS discs were auditioned directly from original copies held by the British Library, or from digital transfers made by the British Library, <span class="plainlinks">[https://charm.kcl.ac.uk/index.html CHARM]</span>, Pristine Audio (now <span class="plainlinks">[https://www.pristineclassical.com/ Pristine Classical]</span>), <span class="plainlinks">[http://shellackophile.blogspot.com/2011/10/national-gramophonic-society-part-1.html Bryan Bishop]</span>, <span class="plainlinks">[http://fluffontheneedle.blogspot.com/2012/04/oh-dear-another-blog.html Jolyon Hudson]</span> and other private collectors. All NGS discs were inspected for matrix information and label copy.
-Ancillary information about the planning, production, promotion and publication of NGS issues was gathered from original copies of ''The Gramophone'' and original NGS documents, or scans of them, from unpublished correspondence and from other contemporary or later sources, cited where relevant.
+Information about the planning, production, promotion and publication of NGS issues was gathered from original NGS documents and original copies of ''The Gramophone'', or scans, from unpublished correspondence and from other contemporary or later sources, cited where relevant.
 Production information about issued and unissued NGS recordings made by Columbia, including matrix details and recording dates, was obtained from Columbia manufacturing cards.<ref>Original Columbia manufacturing cards are held by the <span class="plainlinks">[https://www.emiarchivetrust.org/about/about-emi/ EMI Archive Trust]</span> at <span class="plainlinks">[https://en.wikipedia.org/wiki/Hayes,_Hillingdon Hayes]</span>, Middlesex, in a purpose-built facility near the former HMV (later EMI) factory. For this discography, they 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)</ref> One unissued side was identified from discographical research by Michael Gray, first published by <span class="plainlinks">[https://charm.kcl.ac.uk/discography/disco.html CHARM]</span> and since republished on Mr. Gray's own site <span class="plainlinks">[https://classical-discography.org/ A Classical Discography]</span>.
-Matrix details of NGS recordings made by Parlophone and Vocalion were obtained from original discs. Recording dates were either estimated from NGS announcements, or were obtained from unpublished discographies by Malcolm Walker<ref>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</ref> and Frank Andrews,<ref>Andrews, Frank 'The National Gramophonic Society's Records', 2005; 2008 print-out of word-processor document, kindly furnished by Mr. Andrews</ref> cited where relevant. Unissued NGS recordings made by Vocalion were documented from ''The Gramophone'' and Mr. Walker's discography.
+Matrix details of NGS recordings made by Parlophone and Vocalion were obtained from original discs. Recording dates were either estimated from NGS announcements, or were obtained from unpublished discographies by Malcolm Walker<ref>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</ref> and Frank Andrews,<ref>Andrews, Frank 'The National Gramophonic Society's Records', 2005; 2008 print-out of word-processor document, kindly furnished by Mr. Andrews</ref> 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.
 ==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 the subscription. Presumably to give members an idea of their liabilities, and for administrative purposes, the Society's programme was organized into annual seasons, which started in October. Like the commercial companies, the NGS issued records in batches, although not as regularly or often. These batches were not numbered publicly, only internally.<ref>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 [[#Issue 14, April 1927|above]]) are marked 'List No.14'</ref>
+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.<ref>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</ref> 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.<ref>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 [[#Issue 14, April 1927|above]]) are marked 'List No.14'</ref>
 ===Supplementary issues===
-The NGS's requirements that members take all issues and pay for them in advance were clearly felt to be onerous and to deter prospective subscribers, so the Society gradually relaxed them, allowing members to pick and choose, as long as they took a minimum number. This made its terms and conditions somewhat complicated, and some members must have indicated that they preferred to be sent all issues automatically. These members were referred to as 'whole-hoggers', a term reminiscent of British public (i.e. private) school slang, and a few issues were intended mainly for them; these fall outside the numbered sequence of issues and are labelled 'supplementary' below, a term used by the NGS itself.<ref>'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</ref>
+The NGS's requirements that members take all issues and pay for them in advance were clearly felt to be onerous and to deter prospective subscribers. At the same time, some members resented being obliged to accept repertoire they did not like. To address the first of these concerns, the Society attempted to relax the rules and allow members to take fewer than the annual quota, although this also made its terms and conditions somewhat complicated. Some members must have indicated that they preferred to be sent the annual quota automatically. To address the second, it demarcated recordings of potentially unpopular music as 'minority' issues, falling outside the annual quota. They also fall outside the numbered sequence of issues and are labelled 'supplementary' below, a term used by the NGS itself.<ref>'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</ref> Adventurous members who took everything, including minority issues, were referred to by the Secretary as 'whole-hoggers', a term reminiscent of British public (i.e. private) school slang.
 ===Issue dates===
@@ Line 57: / Line 57: @@
 *Parlophone, March 1928 (electrical): Parlophone studio, Carlton Hill, St. John's Wood, London
 *Columbia, 1928-31 (electrical): Columbia studios, Petty France, and Central Hall, Westminster (discs 156 to 158)
+===Playback speeds===
 ==Matrix numbers==
@@ Line 121: / Line 123: @@
 *'''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