Prospectus, pitching decisions, speeds* by Richard Bebb

Historic Masters are pleased to announce the fifteenth issue of direct vinyl pressings produced in collaboration with Thorn EMI from 78 rpm metals masters in their archives. The complete HISTORIC MASTERS series now numbers 98 discs comprising 195 sides of which at least 52 have never previously been available in original form.

It is a source of particular pride that we have been able to locate and issue so many otherwise ‘unpublished’ discs. In this one sense at least Historic Masters has been able to outperform some of our distinguished predecessor labels devoted to the reissue of vocal 78s.

He have all too often drawn attention to the problems associated with continuing production of vinyl 78 rpm discs and regulars may welcome an update on the position. The advance of CDs has led to a considerable reduction in the number of companies retaining a capacity to produce top quality vinyl records and not all of those are willing and able to address the complex issues raised where the originals are both old and ‘non-standard’. It is difficult to see how Historic Masters’ series of re-pressings from original metals could survive the final ending of LP production.

Historic Masters has been trying to keep abreast of developments and make arrangements to ensure that the series continues. We now believe we are in a position to ensure that at least two further issues will be produced. This gives us an opportunity to make available yet more treasures for collectors. He are constantly becoming aware of just how many fine items still exist in the Thorn EMI archive.

Needless to say, we still need the support of the collecting world. Historic Masters has the backing of a dedicated group of collectors who have given us unswerving support. But we are not selling enough to maximize the possibilities for continued production. We recognize that some collectors would prefer us to issue records individually – this is not financially possible. We accept that the matter of choice will always be controversial. We are NOT able to issue items where there are no metals! There have occasionally been queries as to why we issue so much Russian material. Quite apart from the wonderful artistry and vocal splendour of singers such as Neshdanoya, Sairnov and Sibiriakov, there is one extremely simple reason. Virtually every post-1908 Russian metal still exists in pristine state in the Thorn-EMI archive: this is not true for the French, German and Italian catalogues.

We are once again indebted to our same anonymous donor for an additional record in the fifteenth issue. He are all extremely grateful for this continuing generosity. We reported in the last prospectus that another long standing supporter and subscriber Peter Stroud had compiled a comprehensive catalogue of all Historic Masters since number 1. This is now available and enclosed with this prospectus to all who placed an advance order! We hope you will agree that this scholarly documentation is a worthwhile addition to the activities of Historic Masters.

Hopefully, our next – the sixteenth issue – will include HM 100. Prompt orders for the fifteenth issue will ensure that we reach this landmark!

Stanley Henig (Secretary)

HM 93 EMMA CARELLI   (1877 – 1928)
MANON – Ancor son io tutt’attonita – Speed 77

One of the leading Italian dramatic sopranos of her time, she was particularly admired in verisao roles. She sang in all the great Italian theaters, and eventually became the successful manager of the Teatro Costanzi in Rome. The Committee only became aware of the fact that the other side of the original Fonotipia coupling (Vissi d’arte from TOSCA) is also available for repressing after this had been pressed, and, provided the matrix is still in a usable state, the TOSCA aria this will appear on one of our later issues.

HM 93  FELIA LITVINNE (1860 – 1936)
LOHENGRIN – Le reve d’Elsa – Speed 81

We believe this is the last of the Odeon masters of Litvinne to survive at Hayes.  Her magnificent records are notoriously hard to come by in fine state. The voice is tremendously forward and vivid in tone (obviously  the reason that the shellac originals wore so quickly), and the performance magisterial in style.

HM 94  - GERHAINE LUBIN (1890 – 1979) GERARD SOUZAY (1918 -)
PER VALLI, PER BOSCHI (Blangini) SIGNES (Leguerney) Speed – 74

These are two of a number of duets made in Paris on Hay 25th 1944, just under three months before the city was liberated by General Leclerc. Not surprisingly, since Lubin was deeply compromised by her behaviour during the Occupation, the records were quietly forgotten until, many years later, they appeared on a Pathe-Marconi LP, lifelessly dubbed and at the wrong speed. Although it ended in sharae, there can be no doubt about the distinction of her long career as one of the most impressive dramatic sopranos of her time. These songs represent an entirely different side of her art, and are sung elegantly and lightly with her young colleague, already, as you can hear, a fully mature artist.

HM 95 – FY0D0R CHALIAPIN (1873-1938]
ASKOLD’S TOHB – In olden days (Verstovsky) - Speed 75

The Committee is delighted to make available yet another unpublished title by this titanic singer. Recorded in 1910, it represents his voice in its absolute prime, and repeated hearings have failed to explain any vocal reason for the Gramophone Company’s failure to issue it. Perhaps fear that the obscurity of the opera from which the aria comes eight lead to poor sales accounts for its being shelved for over eighty years.

HM 95 – VICTORIA KAVETSKAYA (1870 -The NIGHTINGALE (arr. Alabieff) Speed – 71

As far as we can tell, this is the last of the matrices that still exist at Hayes of this ravishing soprano – the reigning star of the principal operetta theatre in St. Petersburg – four of whose twelve inch sides we have already issued in this series. Her version of Alabieff’s arrangement of an old Russian folk song can stand comparison with any of the versions made by other more famous sopranos. One mildly fluffed note in no way diminishes my admiration for the virtuosity and wonderful tonal beauty she displays throughout the disc. We must apologise for some erroneous label information. Her first name is Viktoria – not Elena – and the birth and death dates are completely wrong. The rest of the information is, however, correct.

HM 96 – ANTONINA NESHDANOVA (1073 – 1950)
RUSSIAN AND LUDMILLA – Ah! destiny MATUSHKA  - Folk Song
Speed – 77 Speed – 76

In recent years, the reputation of this great lyric soprano has soared, and it is safe to say that now her records are among the most sought after in the world. Fortunately many of her matrices are still to be found in perfect state in the Hayes archives, and the two we have chosen for this issue include an aria from an opera in which she was universally admired and a simple folk song which she sings with the most ravishing tone and art. She very rarely appeared outside Russia in her very long career, and her acceptance as one of the loveliest sopranos of her time is based, in the West at least, almost entirely on her recordings. Bernard Shaw, a noted vocal critic, was a passionate admirer.

HM 97  - DINH GILLY (1877 – 1940)
HERODIADE – Vision fugitive - Speed 78

The existence of this wonderful record was not even suspected before the publication of Allan Kelly’s V0IX DE SON MAITRE discography. Never published, it had nevertheless been assigned an issue number, which accounts for its survival in the Hayes archive. It turns out to be probably the finest of all his recordings – the refinement of the style, the many subtle colourations of tone, and the sheer musical authority of the performance make this a classic example of the way to sing late nineteenth century French opera. A real discovery.

HM 97  - DMITRI SMIRNOFF (1881 – 1944)
SADKO – Song of the Indian guest – Speed 79

As our subscribers must have realised before now, the archive at Hayes is particularly rich in matrices recorded in Russia before the first world war. Since the vast majority of these were never issued in the West, originals that survive in mint state are virtually unfindable. It is greatly to be hoped that our series will continue long enough for the best of these to be made available. This performance by Daitri Smirnoff, the subtlest of all the lyric Russian tenors, of the Song of the Indian Guest from SADKO is, in my view, incomparable. It was only ever available in Russia.

HM 98 VASSILY DAMAEV  (1878 – 1932)
SADKO – Ho, faithful friends – Speed 75
As if I had a chest of gold – Speed 77

He began his career in the private opera company organised by Ziain in Moscow which attracted many of the most distinguished singers in Russia. He was brought to Paris by Diaghilev and sang Daitri in the first performance of BORIS GODUNOV to be given in the Hest. His exciting dramatic tenor voice has been represented before in our series. Sadko was one of his greatest successes and he was greatly admired in the role by Rimsky-Korsakov. Strangely enough, the two attractive arias on this record have been almost completely ignored by other tenors. Once again, we owe this extra free issue to the generosity of our anonymous benefactor.

* For technical reasons, record labels do not include speeds. For reference, PLEASE KEEP THIS PROSPECTUS.

** The audible swish on this disc is endemic in the metal caster. It can be largely eliminated by using a .0021 stylus.

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