CPR 323 is one of the 3 LPs of violinist Agi Jambor, altist Victor
Aitay, and cellist Janos Starker, performing Mozart Trios. These were
originally released on Period (USA) and on Chamber Music Society,
a label of Samuel and David Josefowitz. See
Hall & Musical Masterpiece Society
Wolf conducting Mozart Haffner Symphony on Concerteum 257
Valenzi's Symphonic Variations released in France on Concerteum TCR
273 with two different covers.
French record label Concerteum released recordings of various foreign
labels. Among these were Vox, Period and Remington recordings.
Vox recordings had CPL as prefix. Period CPR, and Remington records
had CR as a prefix for 12 inch records, and TCR for 10 inch discs.
A release containing more than one record was indicated as Alb.
Jazz records were indicated with the prefix JCR. Some of the recordings
of Sarah Vaughan from 1944 and 1945 released on Remington RLP-1024
were issued in France on Concerteum JCR 258.
All recordings were numbered in the 200 Series and a few in the
300 Series. A curiosity is CR 326 on which Zoltan Fekete conducts
"Orchestral Suite" (Suite d'orchestre) by Béla
Bartók. Although the reference number has the prefix CR,
this recording was not released in the US by Remington, but appeared
on the Colosseum label (CLPS 1010).
the basis was a collaboration between Concerteum and Remington which
may have resulted in the production of a few French recordings,
for example Georges Enesco conducting his Romanian Rhapsody No.
2. But his Romanian Rhapsody No. 1 is not found on Concerteum! Also
there are no Concerteum discs with Enesco performing J.S.Bach's
Sonatas & Partitas for Violin Solo, not even on another label
in 1955. It is possible that the low quality of the original Continental
discs prevented a release in France.
Société Anonyme, 5 Boulevard Magenta, Paris
10ème, Téléphone NORD 76-81?
are 2 recordings made with Jean Allain. He conducts 'Solistes de
la Société des Concerts du Conservatoire de Paris'
in Symphony in C by Georges Bizet (Concerteum CR 231). This recording
was released in the US on Remington R-199-31 in September 1951.
There was another recording with conductor Allain of Excerpts from
the opera Carmen, released in May 1951 on R-199-15. But this recording
was not issued in France on Concerteum. There was a 7 Inch 45 rpm
disc on the Pleiade label (P-45143) of some of the excerpts. A 12
inch disc is not listed in the French catalog. It is also possible
that the release would have been deleted from the catalog.
the recordings of Céliny Chailley-Richez, especially the
performances of Schumann's Piano Concerto (recorded in Vienna) and
the recording of Enesco's Violin Sonata No. 2, may have found their
origin in this contract. However, a release on the Concerteum label
of Enesco's Sonata No. 2 could not be found. And as said earlier
his Romanian Rhapsody No.1 was not available on Concerteum.
contract for licensing to Concerteum was effective after many a
Remington recording had already been made available in the US and
the label had established itself there. This explains why the list
does not show the releases of the recordings in the original sequence
of production/release by Remington in the US.
the pressings original Remington-matrices were used.
The vinyl had a somewhat better quality than the kind used by Don
Gabor, hence there was less hiss and also the signal was generally
of a better quality, although the quality of the matrix from the
US remained the restricting factor.
In a few cases the label mentioned 'Une production DON GABOR' and
instead of the crown (which is featured on the original Remington
labels) there was a small logo picturing instruments or the silhouette
of a conductor. Most labels mentioned Pressé sous license
"REMINGTON RECORDS INC." New- York.
reference-numbers and titles in the list below are taken from 'Disques
de longue durée - Catalogue complet permanent - automne 1955'
(Long Playing Records - Complete current catalog - Fall 1955).
The names of orchestras like L'Orchestre de la société
symphonique de Vienne (Symphony Orchestra of the Viennese Symphonic
Society), L'Orchestre symphonique autrichienne (Austrian Symphony
Orchestra), L'Orchestre des Tonkuenstler (Lower Austrian Tonkunstler
Orchestra), RIAS Symphony Orchestra, and Cincinnati Symphony Orchestra,
are mentioned as: "orch. autrichien", "orch. symph.",
"orch. RIAS", "orch. Cincinnati".
catalogue from 1955 did already list several Musirama recordings
like the ones of the Renardy Caprices and the recording of the Liszt
Concerto and Todtentanz by Edward Kilenyi and Jonel Perlea with
the RIAS Symphony.
with Beethoven's First Symphony performed by the Austrian Symphony
Orchestra led by conductor X, the Concerteum issue gives
the name of Voiteh Srbrny-Holstein. The question is who is
Voiteh Srbrny-Holstein. Whatever. The people from Concerteum were
well aware of the fact that a record with
(as the original American release mentioned) would not be regarded
as a serious item. Gabor named the conductor as X as a little revenge.
real conductor - according to Billboard Magazine, and according
to the data given by the Tonkuenstler Orchester - was Artur Rodzinski
who was hired by Marcel Prawy to make some 5 recordings for the
Remington label. But James C. Petrillo, head of the American Federation
of Musicians, stated that any performance by Artur Rodzinski would
be boycotted in the United States. Although Rodzinski initially
replied that he was living in Italy and that the recordings would
be taped in Vienna, he finally gave in to Petrillo's threat and
choose not to get into conflict with the AFM. The Beethoven appeared
on Remington. But the other 4 recordings were never made, or were
are several recordings not listed in the Fall of 1955: Jorge Bolet
playing Chopin's Four Scherzi and Prokofiev's Second Concerto Op.
16; Etelka Freund's rendering of Sonata No. 3 of Brahms; the recordings
of Alec Templeton; recordings of pianist Alfred Kitchin are missing
as well. There is no Symphonie Fantastique conducted by Georges
Sebastian listed, nor the Scheherazade recording with Karl Rucht,
or the Glazunov Concerto performed by André Gabriel (=Roman
Totenberg) with the
RIAS Symphony Orchestra. There
isn't a Concerteum release with Zoltan Kodaly's Cello Sonata Op.
4 performed by Richard Matuschka and pianist Otto Schulhof. They
all could have been listed in a later edition of 'Disques de
longue durée - Catalogue complet permanent' or would
never have been available in France.
the early recordings of the Jilka Trio playing Beethoven's Archduke
Trio (RLP-199-27) and of the Jilka Sextet playing Septet Op. 20
by Beethoven (RLP-33-22) are not available on Concerteum.
editions of Ludwig van Beethoven's Septet Op. 20 performed by
the Jilka Septet on Nord-Musique, Europe-Musique and Boite a
Disques respectively. Beethoven's Trio was available on Concerteum
but the Septet was not pressed on the Concerteum label.
Septuor en Mi Bémol, Op. 20 pour Clarinette, Cor, Basson
recording of the Septet appeared in France on the Boite à
Disques, Europe-Musique, and Nord-Musique labels. Most certainly
labels of the same company. The label mentions 'Une Production Don
plates are cut by Remington, RE-33-105-2 and RE-33-106-2, and used
in all 3 issues. The liner notes give an analysis of the Septet,
but no information about the company, the address, or a selection
from the catalogue. These labels are not listed in the 1955 edition
of "Catalogue Permanent". Don Gabor travelled to France
several times. This deal could be a try-out before an agreement
with Concerteum was made.
there is no Scheherezade by Rucht on Concerteum, there are two releases
with him while conducting Scheherazade with the Berlin Radio Orchestra
on Le Chant du Monde LDX A 8016, and there is the known Urania URLP
7133 disc. The Artist & Repertoire Department of Concerteum
probably did not want to release a third Rucht record which would
be a duplicate of the disc issued by Le Chant du Monde.
Reference Numbers are not listed in the composer section: CR 233,
243, 244, 246, 251, and many more. It is also possible that a few
recordings which are missing or were not found because they had
been deleted earlier from the Concerteum catalog or were assigned
to other releases. As the 1955 French Record Catalog is the sole
source available to me, some suggestions and suspicions can not
be substantiated and verified, unless other catalogs or LP records
will become available.
few recordings are listed in the sections recital
and folklore. Sylvia Marlowe's recital of works by
Scarlatti, Bach and Couperin listed as CR 207 is also listed as
CE 199. The Voudou recording of Emy de Pradines is released on CR
300. On CR 209 one finds the Carlos Montoya Flamenco recording.
10 inch Concerteums other folkore recordings can be found:
TCR 250 Calypso carnaval
TCR 253 Chants Indien de la prairie
TCR 265 Selah Jubilee quartet
TCR 294 Western songs
originating from Austria and appearing on Remington and a few on
Masterseal were produced by Marcel Prawy. All titles were
labeled as Remington recordings.
Prawy produced many recordings on his own account like 'Rêve
de valse' (Ein Walzertraum, Dreamwaltz) by Oscar Srauss, released
in France on Counterpoint CMC 120.001, the composer conducting
the 'Tonkünstlerorchester', listed in 1955. The actual
conductor in this recording is not Oscar Strauss who was already
very old, yet very satisfied with the way
Schönherr conducted the music.
were Prawy productions which were
not selected and not acquired by Donald Gabor for release in the
US. And of course there were records produced by Prawy after his
contract with Remington had ended at the beginning of 1953.
few early Prawy-productions were released in the US on Gabor's Masterseal
label. These recordings were not issued in France on Concerteum,
but on Counterpoint. An example is the release in the series Viennese
Operettas (Opérettes viennoises) of Oscar Strauss's 'Rêve
de valse' (Ein Walzertraum, Dreamwaltz) on Counterpoint CMC 120.001,
not conducted by the composer but by Max Schönherr. This recording
was released in the USA in 1951 as Masterseal MW-47.
several occasions Don Gabor traveled to Europe and also visited
Paris where he met with Marcel Prawy who had travelled to Paris
from Vienna. Marcel Prawy was his European representative. In Paris
Gabor naturally discussed business with the people of the Concerteum
label. Concerteum started issuing Remington recordings in France
around 1953 or just somewhat earlier.
labels were gold with a black background and silver with a
purple background. The later labels were printed in blue on
white paper which was more cost effective of course.
the front of the box with the recording of 'Le Messie' (The
Messiah) conducted by Josef Messner.
Remington recordings were not issued by Concerteum. For example
R-149-37 with violinist Eva Hitzker playing Wolfgang Amadeus
Mozart's 5th Violin Concerto (KV 219) with Fritz Weidlich conducting,
is missing from the catalog. Also the recording of Christmas Oratorio
(Oratorio de noël) performed by Martha Schilling, Ruth Machaelis,
Werner Hohmann, Bruno Lüller, the Stuttgart Choral Society
and the Suebian Symphony Orchestra under Hans Grischkat is not in
the Concerteum catalog. The release on Remington of this oratorio
was an arrangement between Remington and the
Period label in the US. But
on the Remington label in the US fails the Grischkat Concerteum
recording CR 321 of Pergolesi's Stabat Mater. That recording was
issued in the US by the Period label, Reference 530. Many US firms
were fishing in the same European pond.
as said earlier, a release on the Concerteum label of George Enesco
playing his own Sonata No. 2 and Schumann's Sonata (both with pianist
Celiné Chailley-Richez) were not released in France or were
deleted already before the "Fall 1955 catalog" was printed.
Ditmarsch, a collector and a professional seller from Amsterdam,
came up with a Paris Microsill disc from France. On
it was a recital by violinist Arnold Eidus accompanied by
pianist Eileen Flissler playing compositions by Henryk
On the program:
Souvenir de Moscou from Airs russes, Caprice in A minor, Caprice
in E Flat, Polonaise brillante in D Major, Op. 4, Polonaise brillante
in A Major, Op. 21, Scherzo tarentelle. The recording was first
listed in Schwann Long Playing Record Catalog in November, 1950.
The peculiarity was that the label states 'Une production Don Gabor'.
These artists however did not appear on the Remington label in the
explanation was quickly found in the 1955 edition of 'Disques
de longue durée - Catalogue complet permanent - automne 1955'.
In it the recording was listed as Concerteum CS 275.
Apparently it was issued later on the Paris Microsill label with
reference GEM 34, probably when the Concerteum label had ceased
to exist. In the USA this recording was issued on the Stradivari
label, reference SLP 1003. That explains the S in the listing in
the French catalog. Now other Stradivari recordings were located:
Schumann Cello Concerto by George Ricci and the Orchestra
Society of Rome and Schubert's Arpeggione on the reverse
side also with George Ricci now accompanied by Leopold Mittman.
The US reference is STR 612 released in October 1952. The recording
became available in France as Concerteum S 193. Another Stradivari
recording on Concerteum was Mozart's Quintet for clarinet K 581
and Quintet for horn K 407 played by Vincent de Rosa, Augustin
Duques, the Stradivari Quartet, Concerteum CS 268 released in the
US in the Spring of 1951. Another Stradivari recording (released
in the US in December, 1951) whbich appeared on Concerteum is Poulenc's
Trio for trombone, horn and trumpet and Septet by Saint-Saëns
performed by Brooks Smith, Harry Glantz and the Stradivari Quartet.
Reference Concerteum CS 191. There is no Concerteum CR 191 based
on a Remington recording. The same goes for the recording of the
Wieniawski gems. There are no CR (R meaning Remington) recordings
numbered 191, 268, and there is no 275. Obviously the people at
Concerteum regarded the CS releases being recordings of Don Gabor.
Eidus and George Ricci were the founders of Stradivari Records.
Wikipedia mentions that Billboard reported in its November 4, 1950,
issue, that Eidus and Ricci "are producing chamber music in
which they perform. Eidus and Ricci also handle all technical work
themselves, including recording on tape and mastering." Wikipedia:
"Besides Eidus and Ricci, the label's artist roster included
pianist Leopold Mittman, conductor Alfred Vittori, violinist Emanuel
Green, conductor Henri Rosco, flutist Guido Novello, and violinist
Nelson who is researching the history of Stradivari recordings,
wrote to me after reading the Concerteum page:
October, 1950, Stradivari recordings were distributed by Phoenix
Disc Distribution, owned by William Avar, who also established
Although new Stradivari issues may have stopped after 1955,
the records remained in print and were made available through
Phoenix until about 1966. Some Stradivari recordings were
issued on the Period label, and some even appeared on Period
as rechannelled stereo. An example of this is Stradivari
STR 617, the Handel concertos for viola (arranged) with Emanuel
Vardi. This also appeared on Period as SPL 749, and
possibly in "stereo" as PRST 2749; it appeared on
Concerteum as CS 279.
I do wonder if Stradivari recordings came to Concerteum through
the Period Records connection, but I haven't found any written
evidence of this. Stradivari also appeared on Contrepoint
appearance of Stradivari recordings in France on Concerteum as being
"Une Production Don Gabor" soon gave way to a contract
of Stradivari with the French label Contrepoint. The recording of
works by Turina and Hindemith performed by Louis Persinger and son
Rolf on STR 608, reviewed in High Fidelity Magazine, Summer of 1952
edition, already appeared on Contrepoint (MC 20076). The Stradivari
recording of Arnold Eidus in Violin Concerto of Jean Sibelius on
Stradivari STR 611, reviewed in High Fidelity in 1953, was also
released in France on Contrepoint (MC 20056).
Gabor not only had an ear for music but a sharp eye and a bright
mind for business and the early 1950's were exciting years for any
entrepeneur when the new market for LP records opened up and expanded.
Gabor may have been asked by the Stradivari owners to explore possibilities
for their recordings to be released in Europe. Or Gabor just may
have suggested that he could consult the people from the Concerteum
label if they would be interested in a few recordings. It is clear
that the release of Stradivari recordings on Concerteum was more
or less a trial as later Stradivari recordings were issued in France
on the Contrepoint label.
following Remington titles were issued on Concerteum:
204 Beethoven: 3e Symphonie - Fritz Busch, chef d'orchestre
Alb.205 Haendel: Messiah - Josef Messner, chef d'orchestre
CR 206 Beethoven: Concerto n° 5 - Felicitas Karrer, piano
- Kurt Wöss, chef d'orchestre
CR 207 Bach: Toccata, Scarlatti Sonatas, Couperin: Les folies françaises
- Sylvia Marlowe, clavecin
CR 208 Beethoven: 8e Symphonie, Haydn 101e Symphonie - Fritz
TCR 211 Beethoven:
5e Symphonie - Hans Wolf
CR 212 Rachmaninoff: 2e Concerto - Felicitas Karrer, piano
Wöss, chef d'orchestre
TCR 213 J. Strauss: Valses - Kurt Wöss
CR 214 Brahms: Danses hongroises - Albert Spalding, violon
CR 215 Tchaikowsky: Symphonie n° 4 - H. Arthur Brown
CR 216 Brahms: Concerto - Albert Spalding, violoniste - Wilhelm
Loibner, chef d'orchestre
CR 217 Paganini: Caprices 1-12 - Ossy Renardy, violoniste
CR 218 Beethoven: Concerto - Albert Spalding, violoniste
Loibner, chef d'orchestre
CR 219 Bruch: Concerto, Kol nidrei - Michèle Auclair,
violon - Wilhelm
Loibner, chef d'orchestre
CR 220 Haydn: 93e Symphonie, Schubert: 3e Symphonie - George
CR 221 Mozart: Requiem - Hilde Gueden, Rosette Anday, Julius Patzak,
Josef Greindl - Josef Messner
222 Beethoven: Sonates nos 4 et 5 - Paul Kling, violoniste
CR 223 Bruckner: 3e Symphonie
CR 224 Dvorak: Danses slaves Op. 46 - George Singer
CR 225 Beethoven: Sonate n° 2 - Walter Schneiderhan,
violon, Erich Berg, piano; Sonate no 8 - Helen Airoff, violon
et Céliny Chailley-Richez, piano
CR 226 Chopin: Sonates nos 2 et 3 - Edouard (Edward) Kilenyi,
CR 227 Chopin: Valses - Edouard (Edward) Kilenyi, piano
CR 228 Haydn: 88e, 100e Symphonies - Paul Walter
CR 229 Beethoven: Waldstein et Les adieux - Edouard (Edward)
CR 230 Mussorgski (Moussorgski): Tableaux d'une exposition - Sari
CR 231 Tchaikowsky: Concerto piano-orchestre - Hermann Schwertmann,
CR 232 Beethoven: 6e Symphonie - Kurt Wöss
CR 234 Schumann: Concerto piano-orchestre - Céliny (Céline)
CR 235 Mozart: Symphonie concertante - Kurt Wöss, 20e Concerto
- Fritz Weidlich
CR 236 Debussy: Préludes - Edouard (Edward) Kilenyi, piano
CR 237 Franck:
Symphonie - Hans Wolf
CR 238: Bizet: Symphonie en Do (Symphony in C) Soloists of l'Orchestre
du Conservatoire - Jean Allain (matrix numbers RE-33-222-2
CR 239 Beethoven: Sonates nos 30 et 31 - Jörg Demus,
CR 240 Beethoven: 7e Trio - Jilka Trio
CR 241 Bach: Partita no 1, Suite française - Jörg Demus,
CR 242 Chopin: Etudes op. 10 - Edouard (Edward) Kilenyi,
CR 244 Schumann: Concerto Op. 54 - Celiny Chailley-Richez,
piano, Robert Heger.
245 Dvorak: 5e Symphonie - George Singer
CR 247 Tchaikowsky:
Concerto violon-orchestre - Michèle Auclair, violoniste,
CR 248 Tchaikowsky: Symphonie n°. 6 - H. Arthur Brown
Tchaikowsky: Symphonie n° 5 - Kurt Wöss
250 Beethoven, Chopin - Alexander Jenner, piano
CR 254 Grieg: Peer Gynt Suites No. 1 et 2, Orchestre Symphonique
Autrichien, H. Arthur Brown, Max Schönherr
TCR 255 Tchaikowsky: Casse-noisette - Kurt Wöss
TCR 256 Schubert: Inachevée - H. Arthur Brown
TCR 257 Mozart Symphonie Haffner (N. 35) - Hans Wolf
259 Mendelssohn: Concerto violon-orchestre - Walter Schneiderhan,
TCR 262 Mozart: 41e Symphonie (Jupiter) - Kurt Wöss
TCR 266 Rimsky-Korsakov: Suite Le coq d'or - George Singer
CR 267 Haendel:
Triomphe de la Vérité
269 Enesco: Rapsodie Roumaine n° 2 , Enesco Orchestre Colonne
- Smetena: Moldau - George Singer
TCR 270 Beethoven: 7e Sonate - Walter Schneiderhan, violon
TCR 271 Brahms: Sonate pour violoncelle - Gaspar Cassadó,
violoncelle, Otto Schulhof, piano
TCR 272 Franck:
Variations symphoniques, Debussy: Prélude - Frieda Valenzi,
piano - Jean Moreau
TCR 273 Mozart: 13e Serenade - Fritz Weidlich and Mozart:
Thamos, Koenig in Aegypten (musique de scene) - Felix Guenther
CR 280 Liszt, Schumann, Chopin - Simon Barere, piano
CR 281 Corelli, Tartini: Sonates - Albert Spalding, violon
CR 282 Dvorak: Concerto - Gaspar Cassadó, cello, Kurt
Wöss, chef d'orchestre
Alb.284 Haydn: Les sept dernières paroles de Jésu Christ - Josef
CR 285 Franck: Sonate, Ravel Sonate - Ossy Renardy, violon
- Eugene List, piano
286 Haendel: Watermusic, Mozart Overtures - Hans Koslik
CR 287 Bach: La passion selon St. Jean - Gottfried Preinfalk
CR 289 Bartók: Pièces pour le piano - Béla et Ditta
Bartok au piano
CR 290 Verdi: Requiem - Hans Koslik
CR 291 Rossini: Stabat mater - Josef Messner
CR 292 Mozart: Concertos K216 et 218 - Gérard Poulet,
violon, Gaston Poulet, chef d'orchestre
CR 293 Mussorgski: Une nuit sur le mont chauve - Hans Koslik;
Rimsky-Korsakov: Capricio Espagnol - Mehlich; Borodine: Danses
Polovetsiennes - Hans Koslik.
CR 309 Bach: Well Tempered Clavier Nos 15 & 16 Partita No. 6
- Jörg Demus, piano
CR 310 Schubert: Sonate No. 21 Op. Posthume - Jörg Demus,
328 Liszt, Rachmaninoff, Balakirev recital - Simon Barere,
Amadeus Mozart's Fantasia in F Minor KV 608 arranged by Zoltan Fekete,
issued on Remington R-199-2, was initially issued on CR 295, coupled
with Symphony No. 33, but existed also on Concerteum CF 261, not
the Remington Series. Here not performed by the Vienna Symphony
Orchestra conducted by Zoltán Fekete, but the Viennese Opera
Orchestra which most likely was another name for the Tonkünstler
Orchester or Austrian Symphony Orchestra. The Remington release
was coupled with Symphony No. 1 of Franz Schubert conducted by Kurt
296 Chants d'Espagne: Lydia Ibarrondo, singer, Miguel Sandoval,
piano, Juan Oñatibia, txistu and tuntun
CR 297 Liszt: 1re Concerto, Danse macabre - Edouard (Edward)
Kilenyi, piano - Jonel Perlea
CR 298 Beethoven: 1re Symphonie - Holstein
- Beethoven 8e Symphony - Fritz Busch
CR 299 Debussy: La boîte a joujoux - Jonel Perlea
CR 301 Dvorak: 4e Symphonie (8) - Thor Johnson
CR 302 Lehar et Strauss - Gerhard Becker
CR 304 Offenbach: Gaité parisienne - Manuel Rosenthal
TCR 304 Ravel: Tombeau de Couperin - Frieda Valenzi, piano
(Frieda Valenzi playing selections from Goyescas were not listed)
CR 309 Bach: Partita n° 6, Préludes nos 15 et 16 - Jörg
CR 310 Schubert: Sonata n° 21 - Jörg Demus, piano
CR 312 Chopin: 1re Concerto piano-orchestre - Edouard (Edward)
CR 313 Mendelssohn: Songe d'une nuit d'été - H. Arthur Brown
CR 314 Grieg: Concerto pour piano et orchestre - Felicitas Karrer
Also listed under CR 314 are 7th Symphony (Haydn) conducted by Karl
Randolph and Mozart's K 448 performed by Pierre Luboshutz &
Genia Nemenoff is also listed as CR 314 which can have been a mistake
by the editors of the catalog
CR 315 Mozart: Cosi fan tutte (3x 30 cm) - Josef Dunwald
CR 321 Pergolèse: Stabat Mater - Hans Grischkat is
not a Remington recording but was released in the USA on Period
CR 325 Liszt: Etudes de concert - Simon Barere, piano (there
is no listing in the French catalog of the Sonata performed by Simon
Barere, originally recorded on acetates in 1947 and transferred
CR 326 Bartok: Suite d'orchestre - Zoltan Fekete; released
in the US on Colosseum CLPS 1010
CR 328 Liszt, Balakirev, Rachmaninoff - Simon Barere, pianiste
CR 329 Haydn: Cello Concerto - Gaspar Cassadó,
also released several 7" records. One was ECR 71 with excerpts
from Schumann's Kinderszenen (Scênes d'Enfant) coupled with
one of Dohnanyi's Rhapsodies performed by Ernst von Dohnanyi.
there were popular Remingtons too. One of these was the recording
of the Selah Jubilee Quartet on TCR 265. But there was no mention
of "The Dixiaires" who sang four of the eight selections.
text by Rudolf A. Bruil. Page first published May, 2003