1935 GERHARD HUESCH Schubert COMPL SCHOENE MUELLERIN Hanns Udo Mueller Piano 78

$

90

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WEEK 2 of 3 weeks of great auctions – this is the SECOND week of three weeks of great records. As a default, I will not send you an invoice until the end of my sales cycle on September 27 – that way you can see my next listings and you can combine your wins into one parcel for a low postage.

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A series of great early Opera performances: From 1902 G&Ts to 40s wartime German records:

Gehard Huesch, Hanns Udo Mueller Piano from the famous COMPLETE Recording of Schuberts DIE SCHOENE MULLERIN

Schubert: Die schoene Muellerin (Cycle of 20 Songs), Op. 25

Gerbard Husch (baritone, in German) with piano accompaniments by Hanns Udo Miiller. 16 sides, 8-12? discs

 8x12" HMV records, in original HMV  album w booklet

78 rpm record

Better than Excellent pristien possible unplayed, album excellent, small split at spine, tape label

Here an appreciation of Huesches Art:

H?sch is remembered now most widely as a singer of Schubert and Wolf. Certainly he was one of the best song-recitalists of his time. When the idea of subscribed æSocietyÆ editions caught on in the 1930s, H?sch and his regular accompanist Hans Udo M?ller were the artists chosen to record Winterreise, Die schoene M?llerin, and SchumannÆs Dichterliebe; and as the Hugo Wolf Society brought out its pioneering volumes of the Lieder, H?sch remained among its most regular and valued contributors. His was also the earliest complete recording of BeethovenÆs An die ferne Geliebte, and his advocacy of the songs of Yrj÷ Kilpinen led to his being the singer who introduced them to a wider audience at a time when the composerÆs name was little-known beyond his native Finland.

But then there is the matter of dates. H?sch was born in 1901, so that his age corresponds pretty well with the years of the dreadfully unfolding century. Too young to fight in the First World War, he was borderline for the Second, but by then, as a leading artist and teacher in Germany, he was allowed to continue in his profession. After 1945 he concentrated almost exclusively on concert work, and when he went abroad (as in 1955 when he again sang in London) it was as a recitalist that he appeared. He seemed then older than he was: not that there was any lack of vitality, either in his voice or his presence, but the War was a great divide and anyone whose reputation dated back to the 1920s and 30s added more than years to his age.

The War also affected his operatic career. Though he took part in some odd, bilingual performances of Tannh?user and Don Giovanni after 1945 in Japan, essentially it was the closure of the theatres in the last desperate year of the War in Germany that marked the end for him. He sang at the Berlin State Opera first as a guest artist in 1929 and was a busy member of the company from 1930 to Æ34. Then, by his own account (The Times, Feb.2, 1981), there was "a battle with the Nazis who said I was not to appear at the Opera". He returned in 1937 but only for special performances, his last ascertained appearance there (P.Rodden, Record Collector Vol.36 No.4, 1991) being in 1942 as the Count in Le nozze di Figaro. In the Times article H?sch says he sang there till September 1944; if so, his time on the operatic stage was still, to all intents and purposes, over by the age of 43. It had also been largely (though not entirely) confined to Germany and Austria.

It may not be surprising, then, to find that H?sch the opera singer comes to mind less readily than the concert artist who made such durable contributions to the record-library and whose name continues to be honoured whenever the masterpieces of German song (and Kilpinen) come under survey. The obvious exception to this is in Mozart and especially Die Zauberfl÷te. Among the most famous of all operatic recordings is the very first which was made of that opera, in 1937, with the Berlin Philharmonic Orchestra under Sir Thomas Beecham. H?schÆs Papageno stands out among a distinguished cast: genial, stylish and supremely well-sung. This is the operatic role with which, thanks to that recording, he will always be most immediately associated. As this present collection shows, his repertoire was in fact much wider than this might suggest.


One feels that at about this time, in the early 1930s, H?schÆs career was all set to leap ahead, and that for some reason it did not. He returned to Covent Garden in 1931 but then not again until six years later. Abroad he sang at Geneva, Helsinki and in the Netherlands, but this isnÆt quite the international career that might have been expected. In 1935 it seems he fell out with the regime, but that might have encouraged (on both sides) an interest beyond Germany. He had much going for him too, including from 1932 onwards the enhanced status which normally came with an HMV recording contract. He was a personable man, not with the more flamboyant good looks of a Hermann Prey but six feet tall and with a natural stage-presence. He was also a useful kind of artist, a reliable musician and adaptable in undertaking anything so long as he felt it lay properly within the scope of his voice.

Perhaps it is time to listen again to the records. .


He was in fact a consummate artist. In some ways a very modern singer, he practised the disciplined style of an age which believed in total fidelity to the composerÆs score, and which expelled from its usage the habits of earlier generations, such as the employment of much portamento and rubato. In other ways, he is a model for modern singers who too often follow different priorities. "Today [he told William Mann in his interview for The Times] singers pay so much attention to the text ... that the voice as a musical instrument is placed second: that isnÆt singing." He sang.

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