{"product_id":"wagner-the-potted-ring-1926-32-pabx011","title":"WAGNER The Potted Ring (1926-32) - PABX011","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Potted Ring - Volume One: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDas Rheingold, \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Walküre\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Potted Ring - Volume Two: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiegfried\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Potted Ring - Volume Three: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGötterdämmerung\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, Motives and Extras\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere are some singers here whose natural abilities still match or even transcend anything we can hear today578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF VOLUME 3\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIt may be perverse, but it makes some sense to deal in the first\ninstance with the supplementary disc provided here containing the\nAppendices. Just over half of this disc consists of six excerpts from \u003cem\u003eSiegfried\u003c\/em\u003e\nfeaturing Rudolf Laubenthal, which were jettisoned from the original\n78rpm boxes in favour of the tracks featuring Lauritz Melchior which\nwere issued by Pristine as Volume 2 of their ‘potted Ring’. One can see\nthe reasons for the substitution; Melchior was, as I have observed in my review of Volume 2, the most recommendable feature of the \u003cem\u003eSiegfried\u003c\/em\u003e\nrecordings, and moreover the excerpts given there were much less\ntruncated than those here. Nor is Laubenthal anything like as impressive\nas Melchior, sounding unpleasantly strained in the more strenuous\npassages of the role; and although Frida Leider is excellent as\nBrünnhilde in the extracts from the final love duet, the massive\nomissions from the score do much to vitiate the viability of what we are\ngiven here.\u003cbr\u003e \u003cbr\u003e Nor does the singing on the first CD of \u003cem\u003eGötterdämmerung\u003c\/em\u003e\ndo much to substantiate the often-trumpeted notion of the 1920s and\n1930s as a ‘golden age’ of Wagnerian singing. The Prologue, briskly\ndespatched by Coates, features a trio of Norns none of whom would pass\nmuster today and in particular the pipingly small-voiced Noel Eadie who\ncompletely fails to engender any sense of drama as the scene moves\ntowards its climax. When the lovers finally appear, Florence Austral and\nWalter Widdop seem to be flailing frantically to keep up with the\nheadlong pace that is set for them by Albert Coates; and once the\ncurtain has descended, he despatches the Rhine Journey at a speed that\nwould give the Flying Dutchman pause for thought. Even Alan Blyth,\nnormally an admirer of this conductor, describes his pace here as\n“ridiculously fast.” Nor, when we reach the Gibichung court, do things\nimprove much, since neither Arthur Fear and Frederic Collier begin to\ncome to terms with the dramatic element of their characters and it is\nleft to Göta Ljungberg in her few phrases to supply an element of vocal\ndistinction.\u003cbr\u003e \u003cbr\u003e The record containing the oath of blood\nbrotherhood did not form part of the original boxed set of 78s but was\nclearly intended to fill in a gap in the plot which would otherwise have\nexisted, and here everything suddenly comes to life. Lauritz Melchior\nand Friedrich Schorr make an ideal coupling, and the excerpt here leads\nnicely into Hagen’s Watch which is given a performance by Ivan Andrésen\nwhich is quite simply superlative, encompassing the lowest notes with\nease and producing tone and diction which are black as night. He is\nequally good in the high notes of his summoning of the vassals (slightly\ncut) where the chorus respond superbly to his call, although no attempt\nis made to comply with Wagner’s request for a smaller number of voices\nin the opening section. Before that, at the end of the first CD, we have\nheard a solidly contralto performance of Waltraute’s scene from Maartie\nOffers, although she displays distinct signs of uneasiness on her\nhighest notes, some of which she truncates very abruptly. This excerpt\ngoes on through the exchanges with Brünnhilde, only concluding on the\nentry of this disguised Siegfried. Albert Coates takes surprisingly slow\ntempos throughout this scene, except in the passage describing Wotan’s\nfelling of the World Ash Tree which takes on a sudden spurt of energy\nwhich verges on the jaunty. One suspects that this, and perhaps other\nunexpectedly fast tempi, may have been conditioned by the need to fit\nthe music onto one side of a 78rpm record.\u003cbr\u003e \u003cbr\u003e Widdop and Austral\nare efficient rather than exciting in their taking of their conflicting\noaths, and the trio which concludes the Second Act relies largely on\nAustral to generate much sense of drama although Collier and Fear are in\nbetter voice than before. The opening scene of Act One (complete with a\nniggling cut of some ten bars) suffers from a totally unengaged trio of\nRhinemaidens. Their warning to Siegfried of the curse on the Ring is so\ndismally unthreatening that one can hardly blame the hero for ignoring\nthem. Laubenthal is in better voice here than in Siegfried, with less\npurely heldentenor tones required for the delivery of his narration.\nHere we are given the interjections of the vassals with the solo voice\nthat Wagner designates, but it sounds as though the lines are given to\nDesider Zador as Gunther – which can be the only explanation that the\none tenor vassal’s lines are simply omitted. Alan Blyth describes this\nrecording of the narration as “one of the most clearly balanced 78s I\nhave ever heard” – and although Mark Obert-Thorn has done wonders with\nthe sound throughout, it is true nonetheless that this section has a\npresence that one might well expect from a mono recording made more than\ntwenty years later. Leo Blech is an excellent conductor in these\nsections, with a greater sense of moderation in speed than Coates. But\nthen Coates also springs a surprise with a very measured account of the\nFuneral March, although an editing quirk introduces a couple of\nadditional timpani beats just after the march begins (presumably the\nresult of combining two different takes).\u003cbr\u003e \u003cbr\u003e Florence Austral’s\nImmolation Scene suffers from a similar combination of material from two\nsessions, her voice sounding very much more distant at the beginning\nthan at the end. There is also an inexcusable cut of some fifteen bars\nbefore the line “Ruhe, ruhe, du Gott!” which is all the more galling\nwhen one realises that this omission comes at the expense of the\nexchange between Brünnhilde and Gutrune which precedes the scene itself,\nand which is not helped by a very underpowered delivery by Ljungberg\n(or maybe she was just too far away from the microphones). We hear the\nvoice of Hagen (uncredited) at the end, and I am pleased to note that he\nreally sings his line “Give back the Ring” rather than shouting as so\nmany modern exponents of the role do.\u003cbr\u003e \u003cbr\u003e Coates thankfully avoids\nany sense of rush in the closing pages, but he does adopt the bad habit\nof making an unmarked ‘air pause’ before the last ten bars and the final\nchord is truncated rather abruptly. In the earlier part of the scene,\ndespite the inferior recording, Lawrence Collingwood takes a properly\nmeasured and dignified approach.\u003cbr\u003e \u003cbr\u003e Collingwood is also\nresponsible for the delivery of the brief snippets of leitmotifs on the\nAppendix CD (which was originally issued on 78s separately). Each of\nthese is preceded by an announcer giving a number, which refers the\nlistener to the booklet where an explanation of each motif is given.\nThis may have been valuable to audiences at the time, but it hardly\ncomes up to the standards of Deryck Cooke’s marvellous exposition of\nWagner’s compositional methods on his 2-CD lecture which originally\naccompanied Solti’s Ring (it remains available separately, as well as in\nthe Decca luxury limited edition). The identification of the numbered\nmotifs here also leaves much to be desired, with the principal love\ntheme described as ‘Flight’ in accordance with Walzogen’s original error\nin his analysis published during Wagner’s lifetime and criticised by\nthe composer for its inaccuracies. The two other tracks on the Appendix\nCD contain performances of the two orchestral sections of\nGötterdämmerung which were superseded in the 78rpm boxed sets; but they\nhave a particular interest in that they are conducted by the veteran\nWagnerian Karl Muck, whose association with Bayreuth extended back to\nthe nineteenth century. Both extracts are truncated rather curiously,\njust coming to a halt before the music actually stops. In the main set\nthe Funeral march is provided with a concert conclusion, but otherwise\nthe excerpts stick to Wagner’s operatic score. There are some other\npoints of historical interest, such as a bass trumpet which is clearly\nnot the valved trombone that one finds used on other recordings of the\nperiod; and the cowhorns in the summoning of the vassals are simply\ntrombones and not the specially constructed instruments that were at\nthat stage still employed at Bayreuth.\u003cbr\u003e \u003cbr\u003e I have had much pleasure\nin reviewing the seven CDs that Pristine have produced over the last\nyear enshrining what has been described as the “Old Testament” of\nWagnerian interpretation in the period immediately following the First\nWorld War. There are some singers here whose natural abilities still\nmatch or even transcend anything we can hear today; but it has to be\nsaid that the much-admired conducting of Albert Coates hardly bears\nscrutiny on the basis of these recordings, and the same could be said\nfor a good deal of the singing in minor roles. Even as late as the 1950s\nlive performances of The Ring show a propensity for performers to make\nmistakes which would hardly be tolerated today (see the Clemens Kraus\nBayreuth Ring for an example, riddled with horrific errors of various\nsorts) but on these discs, without presumably much opportunity for\nretakes, the performers display a sense of security which is admirable. I\nnote with some surprise the manner in which the singers slow down for\ncadences at the end of phrases to an extent which might occasion comment\ntoday, although Wagner does not always seem to expect them to do so;\none wonders to what degree he accepted this in his own performances?\nThose who have an interest in such matters, as well as those who would\nlike to encounter a sense of vocal history in the making, are earnestly\nrecommended to hear these discs, with transfers which are unlikely ever\nto be bettered.\u003cbr\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e \u003cb\u003e\u003cem\u003ePaul Corfield Godfrey\u003c\/em\u003e\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003eMusicWeb International, July 2015\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO107.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES, BLECH Wagner: The Potted Ring, Vol. 1 (1926-32) - PACO107\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 1: Das Rheingold and Die Walküre\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a set no enquiring Wagnerian, whatever complete version of The Ring he or she owns, should be without\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"western\"\u003eThe present release is the first of three which will\nbring together the 122 78 rpm sides of extended excerpts from Wagner’s\ntetralogy which His Master’s Voice recorded in London, Berlin and Vienna\nbetween 1926 and 1932. The scope of this project centers around the\nRing albums – not every disc of music from the Ring which HMV issued\nduring this period. It is, however, “more than complete” in that two HMV\nrecordings which were not part of the Ring albums, but which feature\nsome of the same performers, have been added: Coates’ \u003cem\u003eRhinegold\u003c\/em\u003e Prelude, and Schorr’s Wotan\/Fricka duet with Leisner from Act 2 of \u003cem\u003eDie Walküre\u003c\/em\u003e. The present volume gathers together excerpts from \u003cem\u003eDas Rheingold\u003c\/em\u003e and \u003cem\u003eDie Walküre\u003c\/em\u003e; the second will focus on Melchior’s \u003cem\u003eSiegfried\u003c\/em\u003e recordings; and the final one will feature scenes from \u003cem\u003eGötterdämmerung\u003c\/em\u003e, as well as an appendix featuring alternate recordings from the series and an outline of motives from the Ring cycle.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile \u003cem\u003eRheingold\u003c\/em\u003e got rather short shrift in HMVs plans (only two discs in an album otherwise devoted to \u003cem\u003eSiegfried\u003c\/em\u003e excerpts), more attention was paid to \u003cem\u003eDie Walküre\u003c\/em\u003e.\nThe sessions were split between a Berlin cast centering around the\nBrunnhilde of Frida Leider and the Wotan of Friedrich Schorr, conducted\nby Leo Blech, and a London cast with Walter Widdop as Siegmund and\nFlorence Austral singing Brunnhilde, primarily led by Albert Coates.\nGöta Ljungberg appeared as Sieglinde in both, save for a single London\nside. The Act 1 excerpts were all made in London, while Act 3 was done\nin Berlin and the second act split between the two.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe recordings capture Leider and Schorr, both\nconsidered the finest exponents of their roles at the time (and\ncertainly among the finest of all time), at the height of their powers. A\ndecade later, when Kirsten Flagstad came on the international scene,\nshe was invariably compared to Leider, and not always to the latter’s\ndetriment. And while later singers could bring more psychological\ncomplexity to Wotan (Hans Hotter, for example), few could match the\ncombination of legato and authoritative declamation that Schorr brings\nto the role.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe original recording quality is variable, coming as\nit does within a couple years of the introduction of electrical\nrecording. The London sessions were distantly miked in large halls, and\nthe singers are often overwhelmed by Coates’ surging orchestra. Some of\nthe Berlin sides can also sound rather dim, depending on the engineering\nof a particular session. Multiple copies of the finest pressings on\nwhich these discs were available (prewar American Victor “Z” and “Gold”\nlabel editions) were drawn upon for the present transfers, except for\none \u003cem\u003eRheingold\u003c\/em\u003e disc which only came out on HMV.   \u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES, HEGER, ALWIN Wagner: The Potted Ring, Vol. 2 (1928-32) - PACO114\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 2: Siegfried\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a set no enquiring Wagnerian, whatever complete version of The Ring he or she owns, should be without\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe present release is the second of three which will bring together\nthe 122 78 rpm sides of extended excerpts from Wagner’s tetralogy which\nHis Master’s Voice recorded in London, Berlin and Vienna between 1926\nand 1932.  The scope of this project centers around the Ring albums –\nnot every disc of music from the Ring which HMV issued during this\nperiod.  The first volume (PACO107) gathered together excerpts from \u003cem\u003eDas Rheingold\u003c\/em\u003e and \u003cem\u003eDie Walküre\u003c\/em\u003e; the present set focuses on Melchior’s \u003cem\u003eSiegfried\u003c\/em\u003e recordings; and the final one will feature scenes from \u003cem\u003eGötterdämmerung\u003c\/em\u003e, as well as an appendix featuring alternate recordings from the series and an outline of motives from the Ring cycle.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eSiegfried\u003c\/em\u003e recordings have a particularly convoluted\nhistory in the “Potted Ring” saga.  Initially, HMV released an album of\neight discs, combining two from \u003cem\u003eDas Rheingold\u003c\/em\u003e (featured in Volume 1 of our series) with six from \u003cem\u003eSiegfried\u003c\/em\u003e,\nin recordings made between June, 1927 and April, 1928.  This set\nincluded the Wotan\/Erda duet featured here (the only “Potted Ring”\nrecordings to come from Vienna), as well as six sides with Rudolf\nLaubenthal as Siegfried.  In three of these, he was joined by Frida\nLeider in excerpts from the final duet.  (Oddly, a disc with an\norchestral version of the “Forest Murmurs” led by Leo Blech was included\nalong with Laubenthal’s vocal excerpts from the same scene.)\u003c\/p\u003e\n\u003cp\u003eMelchior’s absence from these sides can be explained by the fact that\nhe did not make his first recordings for the HMV labels until June,\n1928.  In May of the following year, sessions were scheduled in London\nfor him to record \u003cem\u003eSiegfried\u003c\/em\u003e selections under Albert Coates,\nincluding re-recordings of material already covered in Laubenthal’s solo\nsides.  These were collected into a second, five disc volume on HMV. \nFurther recordings in May, 1930 (“Selige Öde” and “Das ist kein Mann”)\nunder Robert Heger were issued on two single discs.  In America, Victor\ncollected these, the 1929 recordings and the unduplicated 1927-28 \u003cem\u003eSiegfried\u003c\/em\u003e sides from the first volume in a ten-disc set. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFurther recordings of excerpts from Acts 1 and 2 in May, 1931 and the\nAct 3 duet in May, 1932, all under Heger, were issued as separate\nvolumes both in Europe and America.  Ultimately, HMV released a 19-disc\nset of the 37 sides presented here, although it was never offered this\nway on Victor.  Fortunately for posterity, Melchior’s unsurpassed\nassumption of the rôle was captured nearly complete at the height of his\nconsiderable powers in these recordings.\u003c\/p\u003e\n\u003cp\u003eThe sources for the transfers were multiple copies of American Victor\neditions:  prewar “Z” and “Gold” label pressings, as well as a\nparticularly quiet postwar album, for the 1928-30 recordings; “Z” and\n“Gold” editions for the 1931 recordings; and two sets of “Z” pressings\nfor the 1932 final scene.  The progress of electrical recording during\nthis period can be traced through the variable sound of the originals,\nfrom the dim Vienna sides of 1928 and the occasionally strident and\noverloaded London sessions of 1929, to the warm, detailed sound obtained\nin Abbey Road in 1932.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES, BLECH Wagner: The Potted Ring, Vol. 3 (1926-31) - PACO118\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 3: Götterdämmerung, Motives and Extras\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"We\nencounter truly great Wagner singing ... Laubenthal’s Siegfried is not\nfar short of ideal ... Andresen sings with the kind of firm, black tone\nsimply not encountered today\"\u003cbr\u003e- Alan Blyth, Opera on Record (1979)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis third and final volume of our “Potted Ring” series centers on \u003cem\u003eGötterdämmerung\u003c\/em\u003e, whose recording, like the earlier \u003cem\u003eWalküre\u003c\/em\u003e\nset, was divided between London and Berlin, with different casts,\nconductors and orchestras.  I have interpolated two recordings not\ncontained in the original sets in order to make the performance more\ncomplete.  First, by including the first side of Coates’ “Rhine Journey”\n(missing in the albums) and editing it around “Zu neuen Taten”, I have\nbeen able to present the Prologue uncut.  Secondly, I have included the\nMelchior\/Schorr recording of “Hast du, Gunther, ein Weib?” in order to\nfill in a scene which went unrecorded in the original albums, one which\nleads directly into Hagen’s Watch (and one which I did not originally\ninclude in my 1994 “Potted Ring” set for Pearl).\u003c\/p\u003e\n\u003cp\u003eThe Appendix contains several recordings from the HMV and Electrola editions of \u003cem\u003eSiegfried\u003c\/em\u003e and \u003cem\u003eGötterdämmerung\u003c\/em\u003e\nwhich were replaced in the versions issued by Victor in America.  The\nsix sides with Laubenthal (three of them with Leider), as well as\nBlech’s orchestral version of the “Forest Murmurs”, were contained in\nthe first album of \u003cem\u003eSiegfried\u003c\/em\u003e excerpts issued in Europe.  By the time Victor issued their first \u003cem\u003eSiegfried\u003c\/em\u003e\nset, several sides had been re-recorded with Melchior, and these were\nchosen for the American release, although the abridged final scene with\nLaubenthal and Leider was retained.  Eventually, Melchior recorded the\ncomplete scene; and since that appears in Volume 2 of our series, these\nduplicated earlier sides are presented here.\u003c\/p\u003e\n\u003cp\u003eMuck’s “Rhine Journey” and “Funeral Music” appeared in the European editions of the \u003cem\u003eGötterdämmerung\u003c\/em\u003e\nalbums, but Victor replaced them with the Coates recordings.  As Coates\nconducts the rest of the Prologue and most of the Immolation Scene, I\nthought it would be more consistent to go with the Victor choices here\nand put the Muck versions in the Appendix.  Finally, the two discs of\nillustrated motives from the Ring cycle were not originally part of any\nset, but were issued separately.  Two different, uncredited announcers\nare heard.  The first sounds like a seasoned BBC presenter; but I have\noften wondered whether the second might be producer\/conductor\nCollingwood himself.\u003c\/p\u003e\n\u003cp\u003eThe sources for the transfers were American Victor editions\n(primarily “Z” pressings) for everything except the Melchior\/Schorr\nduet, the three Laubenthal \u003cem\u003eSiegfried\u003c\/em\u003e solos, Blech’s “Rhine Journey”, a portion of the end of Act 2 of \u003cem\u003eGötterdämmerung\u003c\/em\u003e, and the side with “Schweigt eures Jammers” (dubbed on Victor), which all came from British HMV pressings.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES, BLECH Wagner: The Potted Ring, Vol. 1 (1926-32) - PACO107\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cbr\u003e\u003cul\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eCD 1 (76:13)\u003c\/b\u003e\u003cb\u003e \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: large;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: large;\"\u003e\u003cb\u003eDas Rheingold\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: large;\"\u003eWWV 86A\u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e1. Prelude (4:01)\u003cbr\u003e\u003cb\u003eSymphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 February 1926, Queen’s Hall, London ∙ Matrix: CR 142-1 ∙ HMV D 1088\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e2. \u003cem\u003eSpottet nur zu!\u003c\/em\u003e (4:44)\u003cbr\u003eLouise Trenton, sop.; Elsie Suddaby, sop.; Nellie Walker, con.; Arthur Fear, bs. \u003cbr\u003e\u003cbr\u003e3. \u003cem\u003eWotan, Gemahl\u003c\/em\u003e (4:46)\u003cbr\u003eNellie Walker, con.; Walter Widdop, ten.; Kennedy MacKenna, ten.; Howard Fry, bar.; Arthur Fear, bs.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 January 1928, Kingsway Hall, London ∙ Matrices: CR 1540-3\/1541-2B ∙ HMV D 1546\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e4. \u003cem\u003eZur Burg führt die Brücke … Abendlich strahlt \u003c\/em\u003e(8:32)\u003cbr\u003eFriedrich Schorr, bar.; Waldemar Henke, ten.; Genia Guszalewicz, con.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 17 June 1927, Singakademie, Berlin ∙ Matrices: CDR 4700-2\/4701-3 ∙ HMV D 1319\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e \u003c\/ul\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: large;\"\u003e\u003cb\u003eWAGNER \u003cspan class=\"bodybigblue\"\u003eDie Walküre \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: large;\"\u003eWWV 86B\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e5. Prelude . . . \u003cem\u003eWes Herd dies auch sei\u003c\/em\u003e (4:03)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 August 1927, Queen’s Hall, London ∙ Matrix: CR 1485-1A ∙ HMV D 1320\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e6. \u003cem\u003eEin Schwert verhieß mir der Vater\u003c\/em\u003e (4:26)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1467-1A ∙ HMV D 1320\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e7. \u003cem\u003eSchläfst du, Gast?\u003c\/em\u003e (0:45)\u003cbr\u003e8. \u003cem\u003eDer Männer Sippe\u003c\/em\u003e (3:51)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 May 1927, Kingsway Hall, London ∙ Matrix: CR 1367-1A ∙ HMV D 1321\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e 9. \u003cem\u003eDich, selige Frau\u003c\/em\u003e (1:05)\u003cbr\u003e10. \u003cem\u003eWinterstürme wichen dem Wonnemond\u003c\/em\u003e (2:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1465-2 ∙ HMV D 1321\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e11. \u003cem\u003eDu bist der Lenz\u003c\/em\u003e (7:51)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 16 August 1926, London ∙ Matrices: CR 611-2A\/613-1 ∙ HMV D 1322\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eOrchestra ∙ Lawrance Collingwood\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e12. \u003cem\u003eSiegmund heiß ich\u003c\/em\u003e (3:12)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1466-2A ∙ HMV D 1323\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003eWalter Widdop, ten.; Göta Ljungberg, sop.\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e13. Prelude . . . \u003cem\u003eNun zäume dein Roß . . . Hojotoho!\u003c\/em\u003e (4:14)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1116-2 ∙ HMV D 1323\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e14. \u003cem\u003eDer alte Sturm, die alte Müh!\u003c\/em\u003e (4:38)\u003cbr\u003e15. \u003cem\u003eSo ist es den aus mit den ewigen Göttern\u003c\/em\u003e (8:06)\u003cbr\u003e16. \u003cem\u003eWas verlangst du?\u003c\/em\u003e (4:51)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded April, 1932, Abbey Road Studio 1, London ∙ Matrices: 2B2840-2\/2841-1\/2842-2\/2843-1 ∙ HMV DB 1720\/21\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ John Barbirolli\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e17. \u003cem\u003eO heilige Schmach!\u003c\/em\u003e (4:20)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1117-2 ∙ HMV D 1324\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eFrida Leider, sop.; Emmi Leisner, m-s.; Friedrich Schorr, bar.\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cb\u003eCD 2 (76:58)\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eDie Walküre\u003c\/b\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 2 (continued)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e1. \u003cem\u003eSo nimm meinen Segen\u003c\/em\u003e (4:13)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1118-1 ∙ HMV D 1324\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eFrida Leider, sop.; Friedrich Schorr, bar.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e2. \u003cem\u003eRaste nun hier\u003c\/em\u003e (3:01)\u003cbr\u003e3. \u003cem\u003eHinweg! Hinweg!\u003c\/em\u003e (5:53)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 May 1927, Kingsway Hall, London ∙ Matrices: CR 1368-2\/1369-1 ∙ HMV D 1325\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e4. \u003cem\u003eSiegmund! Sieh auf mich!\u003c\/em\u003e (4:53)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1462-1 ∙ HMV D 1326\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e5. \u003cem\u003eFänd’ich in Walhall\u003c\/em\u003e (4:21)\u003cbr\u003e6. \u003cem\u003eSo jung und schön\u003c\/em\u003e (3:29)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 August 1927, Queen’s Hall, London ∙ Matrices: CR 1483-1A\/1484-1A ∙ HMV D 1326\/27\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e7. \u003cem\u003eZauberfest bezähmt ein Schlaf\u003c\/em\u003e (4:38)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 25 October 1927, Queen’s Hall, London ∙ Matrix: CR 1463-3 ∙ HMV D 1328\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e8. \u003cem\u003eWehwalt! Wehwalt!\u003c\/em\u003e (2:31)\u003cbr\u003e9. \u003cem\u003eGeh hin, Knecht!\u003c\/em\u003e (1:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1464-1A ∙ HMV D 1328\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003eWalter Widdop, ten.; Göta Ljungberg, sop.; Florence Austral, sop.; Louise Trenton, sop.; Howard Fry, bar.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: x-small;\"\u003e(\u003cem\u003eNote\u003c\/em\u003e: Trenton sings Sieglinde on CR 1463 only, while Fry sings both Hunding and Wotan on CR 1464)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e10. Prelude . . . \u003cem\u003eHojotoho!\u003c\/em\u003e (6:55)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded October, 1927, Singakademie, Berlin ∙ Matrices: CwR 1163-6\/1164-2 ∙ HMV 1329 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e11. \u003cem\u003eRette mich, Kühne!\u003c\/em\u003e (3:45)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 November 1927, Singakademie, Berlin ∙ Matrix: CwR 1188-2 ∙ HMV 1327\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e12. \u003cem\u003eWo ist Brünnhild’\u003c\/em\u003e (8:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded October, 1927, Singakademie, Berlin ∙ Matrices: CwR 1161-2\/1162-1 ∙ HMV 1330\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e13. \u003cem\u003eWar es so schmählich\u003c\/em\u003e (3:31)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 November 1927, Singakademie, Berlin ∙ Matrix: CwR 1190-5 ∙ HMV 1331\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e14. \u003cem\u003eDu zeugtest ein edles Geschlecht\u003c\/em\u003e (3:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1189-3 ∙ HMV 1331\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e15. \u003cem\u003eLeb wohl, du kühnes, herrliches Kind!\u003c\/em\u003e (3:59)\u003cbr\u003e16. \u003cem\u003eDer Augen leuchtendes Paar\u003c\/em\u003e (6:35)\u003cbr\u003e17. \u003cem\u003eLoge, hör!\u003c\/em\u003e (4:54)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 17 June 1927, Singakademie, Berlin ∙ Matrices: CDR 4695-1\/4696-2\/4697-1\/4698-1 ∙ HMV D 1332\/33\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eFrida Leider, sop.; Friedrich Schorr, bar.; Göta\nLjungberg, sop.; (Valkyries: Ljungberg; Elfriede Marherr; Genia\nGuszalewicz; Alberti; Lydia Kindermann)\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES, HEGER, ALWIN Wagner: The Potted Ring, Vol. 2 (1928-32) - PACO114\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eSiegfried\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Act 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e1          Prelude \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e2          \u003cem\u003eZwangwolle Plage!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e3          \u003cem\u003eHoiho! Hoiho! Hau ein! Hau ein!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e4          \u003cem\u003eAls zullendes Kind zog ich dich auf\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e5          \u003cem\u003eSoll ich der Kunde glauben \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e6          \u003cem\u003eAus dem Wald fort\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e7          \u003cem\u003eHeil dir, weiser Schmied!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e8          \u003cem\u003eDein Haupt pfänd’ ich\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e          \u003cb\u003e  Heinrich Tessmer\u003c\/b\u003e, ten.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eFriedrich Schorr\u003c\/b\u003e, bar.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 9 May 1931 in Kingsway\nHall, London ∙ Matrices: 2B\n529-1A\/528-2\/531-2\/532-2A\/533-2A\/534-1A\/525-1A\/526-2  ∙ HMV DB 1713 and\nDB 1578\/81\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e9          \u003cem\u003eFühltest du nie im finstren Wald\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e10        \u003cem\u003eNothung! Nothung! Neidliches Schwert!  \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e11        \u003cem\u003eHoho! Hoho! Hahei! Schmiede, mein Hammer\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAlbert Reiss\u003c\/b\u003e, ten.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 16\/17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2197-3\/2198-2B\/2199-3A\/2200-2 ∙ HMV D 1690\/1\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eAct 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e12        \u003cem\u003eIn Wald und Nacht\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e13        \u003cem\u003eZur Neidhöhle fuhr ich bei Nacht\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e14        \u003cem\u003eDeine Hand hieltest du vom Hort?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eEduard Habich\u003c\/b\u003e, bar.; \u003cb\u003eFriedrich Schorr\u003c\/b\u003e, bar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e          \u003cb\u003e  London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 May 1931 in Kingsway Hall, London ∙ Matrices: 2B 554-2\/555-2 ∙ HMV DB 1582\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e15        \u003cem\u003eDaß der mein Vater nicht ist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e16        \u003cem\u003eDu holdes Voglein!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eLauritz Mechior\u003c\/b\u003e, ten.\u003c\/p\u003e\n\u003cp\u003e          \u003cb\u003e  London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2401-2\/2402-2A ∙ HMV D 1692\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e17        \u003cem\u003eHaha! Da hätte mein Lied\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e18        \u003cem\u003eWohin schleichst du eilig und schlau\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e Lauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eHeinrich Tessmer\u003c\/b\u003e, ten.; \u003cb\u003eEduard Habich\u003c\/b\u003e, bar.*\u003c\/p\u003e\n\u003cp\u003e         \u003cb\u003e   London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 May 1931 in Kingsway Hall, London ∙ Matrices: 2B 557-1A\/556-2 ∙ HMV DB 1583\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e*(Note: Habich sings both Fafner and Alberich)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e        \u003cspan style=\"font-size: small;\"\u003e    \u003cb\u003eCD 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e            Act 2 (continued)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e1          \u003cem\u003eDa lieg auch du, dunkler Wurm!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e2          \u003cem\u003eGönntest du mir wohl ein gut Gesell?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e3          \u003cem\u003eHei! Siegfried erschlug nun den schlimmen Zwerg!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e           \u003cb\u003e Lauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eNora Gruhn\u003c\/b\u003e, sop.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 29 \u0026amp; 17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2404-2B\/2403-1 ∙ HMV D 1693\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e        \u003cspan style=\"font-size: small;\"\u003e    \u003cb\u003eAct 3\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e4          Prelude  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e5          \u003cem\u003eWache, Wala!\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e6          \u003cem\u003eStark ruft das Lied\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e7          \u003cem\u003eDir Unweisen ruf’ ich ins Ohr\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e Emil Schipper\u003c\/b\u003e, bar.; \u003cb\u003eMaria Olszewska\u003c\/b\u003e, con.\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e Vienna State Opera Orchestra ∙ Karl Alwin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 20 \u0026amp; 26 April 1928 in Vienna ∙ Matrices: CK 2939-2\/2899-1\/2900-2\/2938-1 ∙ HMV D 1533\/4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e8          \u003cem\u003eKenntest du mich, kühner Sproß\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e9          \u003cem\u003eZieh hin!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e10        Siegfried mounts the rocky height \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eRudolf Bockelmann\u003c\/b\u003e, bar.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 22 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2405-3\/2406-2 ∙ HMV D 1694\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e11        \u003cem\u003eSelige Öde auf sonniger Höh’!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e12        \u003cem\u003eDas ist kein Mann!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003eLondon Symphony Orchestra ∙ Robert Heger\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 12 May 1930 in Queen’s Hall, London ∙ Matrices: CR 2498-3\/2499-1\/2500-1 ∙ HMV D 1836\/7\u003c\/em\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e13        \u003cspan style=\"font-size: small;\"\u003e \u003cem\u003eHeil dir, Sonne!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e14       \u003cem\u003eO Siegfried! Siegfried!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e15        \u003cem\u003eEwig war ich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e16        \u003cem\u003eDich lieb’ ich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e17        \u003cem\u003eOb jetzt ich dein?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eFlorence Easton\u003c\/b\u003e, sop.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e          \u003cb\u003e  Orchestra of the Royal Opera House, Covent Garden ∙ Robert Heger\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 29 May 1932 in EMI\nAbbey Road Studio No. 1, London ∙ Matrices: 2B\n2896-2\/2897-1B\/2898-2\/2899-2B\/2900-2\/2901-1B\/2902-1B ∙ HMV DB 1710\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCOATES, BLECH Wagner: The Potted Ring, Vol. 3 (1926-31) - PACO118\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eGötterdämmerung\u003cb\u003e \u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Prologue\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1          \u003cem\u003eWelch Licht leuchtet dort?\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Noel Eadie, sop.; Evelyn Arden, sop.; Gladys Palmer, con.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 October 1928 and 3\nJanuary 1929 in Kingsway Hall, London ∙ Matrices: Cc\n13724-2\/13725-1A\/13726-5\/13727-5A ∙ HMV D 1572\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e2          Dawn\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 January 1926 in Queen’s Hall, London ∙ Matrix: CR 136-3 [part] ∙ HMV D 1080\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e3          \u003cem\u003eZu neuen Taten\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eFlorence Austral, sop.; Walter Widdop, ten.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 18 October 1928 in Kingsway Hall, London ∙ Matrices: Cc 13730-2\/13731-3 ∙ HMV D 1574\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e4          Siegfried’s Rhine Journey\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eSymphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 January 1926 in Queen’s Hall, London ∙ Matrices: CR 136-3 [part]\/137-1 ∙ HMV D 1080\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAct 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e5          \u003cem\u003eBegrüße froh, o Held\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eArthur Fear, bar.; Walter Widdop, ten.; Frederic Collier, bs.; Göta Ljungberg, sop.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 October 1928 in Kingsway Hall, London ∙ Matrix: Cc 13699-1 ∙ HMV D 1575\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6          \u003cem\u003eHast du, Gunther, ein Weib?\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Lauritz Melchior, ten.; Friedrich Schorr, bar.; Rudolf Watzke, bs.; Lieselotte Krumrey-Topas, sop.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Berlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 15 June 1929 in the Philharmonie, Berlin ∙ Matrices: CLR 5458-2A\/5459-1A ∙ HMV D 1700\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e7          \u003cem\u003eHier sitz’ ich zur Wacht\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eIvar Andrésen, bs.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Berlin State Opera Orchestra ∙ Fritz Zweig \u003cem\u003e(credited to Leo Blech on label)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 February 1928 in the Singakademie, Berlin ∙ Matrix: CLR 3883-1 ∙ HMV D 1576\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e8          \u003cem\u003eSeit er von dir geschieden\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e          \u003cb\u003e  Maartje Offers, con.; Florence Austral, sop.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 23 August and 25\nOctober 1927 in Queen’s Hall, London and 16 February 1928 in Kingsway\nHall, London ∙ Matrices: CR 1460-3A\/1461-2\/1473-3\/1474-3 ∙ HMV D 1576\/8\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eCD 2\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAct 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1          \u003cem\u003eHoiho! Hoihohoho!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e           \u003cb\u003e Ivar Andrésen, bs.\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e            \u003cb\u003eBerlin State Opera Orchestra and Chorus ∙ Leo Blech\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 June 1927 in the Singakademie, Berlin ∙ Matrices: CDR 4708-2\/4709-1 ∙ HMV D 1578\/9\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e2          \u003cem\u003eHelle Wehr!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e Walter Widdop, ten.; Florence Austral, sop.; Chorus\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 October 1928 in Kingsway Hall, London ∙ Matrix: Cc 13728-3A ∙ HMV D 1579\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e3          \u003cem\u003eWelches Unholds List\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eFlorence Austral, sop.; Frederic Collier, bs.; Arthur Fear, bar.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 18 October 1928 in Kingsway Hall, London ∙ Matrices: Cc 13732-2A\/13733-2\/13734-1 ∙ HMV D 1580\/1\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAct 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e4          \u003cem\u003eFrau Sonne sendet lichte Strahlen\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Tilly De Garmo, sop.; Lydia Kindermann, sop.; Elfriede Marherr, con.; Rudolf Laubenthal, ten.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 September 1928 in the Singakademie, Berlin ∙ Matrices: CLR 4488-1\/4489-1\/4490-2\/4491-2 ∙ HMV D 1581\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e5          \u003cem\u003eMime heiß ein mürrischer Zwerg\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e6          \u003cem\u003eBrünnhilde, heilige Braut!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            Rudolf Laubenthal, ten.; Desider Zador, bar.; Emmanuel List, bs.; Berlin State Opera Chorus\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 7 September 1928 in the Singakademie, Berlin ∙ Matrices: CLR 4482-2\/4483-1\/4484-1 ∙ HMV D 1583\/4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e7          Siegfried’s Funeral Music\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eSymphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 January and 26 March 1926 in Queen’s Hall, London ∙ Matrices:  CR 217-2\/141-3 ∙ HMV D 1092\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e8          \u003cem\u003eSchweigt eures Jammers\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e9          \u003cem\u003eStarke Scheite schichtet mir dort\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eFlorence Austral, sop.; Göta Ljungberg, sop.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Lawrance Collingwood\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 1 December 1927 in Queen’s Hall, London ∙ Matrix:  CR 1472-3A ∙ HMV D 1586\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e10        \u003cem\u003eSein Roß führet daher\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e11        \u003cem\u003eRuhe, ruhe, du Gott!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e12        Finale \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e           \u003cb\u003e Florence Austral, sop.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 25\/26 August and 25 October 1927 in Queen’s Hall, London ∙ Matrices:  CR 1486-3\/1487-1\/1475-2 ∙ HMV D 1586\/7\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eCD 3: APPENDIX \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1 – 90  90 Motives from The Ring (\u003cem\u003esee booklet for details\u003c\/em\u003e) \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Lawrance Collingwood\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 April and 23 May 1931 in Kingsway Hall, London, Matrix nos.:  2B 504-2A\/505-2A\/562-1A\/563-1A ∙ HMV C 2237\/8\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cb\u003eDOWNLOAD MOTIVES SCORE\u003c\/b\u003e by clicking \u003cspan style=\"text-decoration: underline;\"\u003e\u003cspan style=\"color: #0000ff;\"\u003e\u003cb\u003eHERE\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eSIEGFRIED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAct I\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e91        \u003cem\u003eNothung!  Nothung!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 25 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1058-1 ∙ HMV D 1530\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAct II\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e92        \u003cem\u003eDaß der mein Vater nicht ist\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e \u003cem\u003eRecorded 25 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1059-2 ∙ HMV D 1530\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e93        Forest Murmurs \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 June 1928 in the Singakademie, Berlin. Matrix nos.: CLR 4305-2\/4306-2 ∙ HMV D 1531\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e94        \u003cem\u003eHeiß ward mir\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 25 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1060-2 ∙ HMV D 1532\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAct III\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e95        \u003cem\u003eHeil dir, Sonne!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 27 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1064-2 ∙ HMV D 1532\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e96        \u003cem\u003eEwig war ich\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 27 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1065-2 ∙ HMV D 1535\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e97        \u003cem\u003eO Siegfried!  Dein war ich von je!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 27 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1066-1 ∙ HMV D 1535\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eFrida Leider (soprano) \u003c\/b\u003e(Tracks 95 – 97)\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eRudolf Laubenthal (tenor) \u003c\/b\u003e(Tracks 91, 92, 94 – 97)\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eGÖTTERDÄMMERUNG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003ePrologue\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e98        Siegfried’s Rhine\nJourney                                                                                          \n(4:24)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 December 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1418-2 ∙ HMV D 1575\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eAct III\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e99        Siegfried’s Funeral\nMusic                                                                                          \n(8:04)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 December 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1419-3A\/1420-2A ∙ HMV D 1585\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e                \u003cb\u003eBerlin State Opera Orchestra ∙ Karl Muck\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":55010069610862,"sku":"gty1789306075805","price":57.18,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010069643630,"sku":"knn1789306075806","price":47.52,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/wagner-the-potted-ring-1926-32---pabx011_1.jpg?v=1789306083","url":"https:\/\/www.harborviewgoods.shop\/products\/wagner-the-potted-ring-1926-32-pabx011","provider":"My Store","version":"1.0","type":"link"}