1936 VIENNA LIVE Gustav MAHLER Kerstin THORBORG Bruno Walter Ich bin der Welt78r

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44

WEEK 2 of two weeks of great auctions ending May 11.

I will send you a bill after close of auctions May 11. Due to the high volume of records, pls allow 2 - 3 days for packing and invoicing

IF you are a non-US buyer or if buy multiple records, pls do not use EBAY check out.
Send me an invoice request (click on MORE ACTIONS to the right of the item), I can probably get you better shipping rate.

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

From the famous LIVE recording from the golden hall of the Vienna Musikverein in 1936 Pre-Nazi Vienna, for the of Mahler's Lied ICH BIN DER WELT ABHANDEN GEKOMMEN

 by Mahler pupil and collaborator Bruno Walter and  Kerstin Thorborg

10" 78 rpm record

Condition:

VERY GOOD PLUS PLUS, unworn but  rubbed, rare finest scratch,

During 1894-6, Bruno Walter assisted Mahler in Hamburg, the latterÆs favourable impression confirmed when he obtained for his prot?g? a post in Breslau. The two were reunited in 1901, when Walter became MahlerÆs assistant at the Vienna Hofoper. Despite the latterÆs controversial departure in 1907, Walter remained there until 1912, when he conducted the Vienna premi?re of MahlerÆs Eighth Symphony and the world premi?re of the Ninth.

 After the Nazis came to power in 1933, he returned to Austria, where his opera productions at Salzburg achieved legendary status. The 1930s also saw the making of several recordings, including MahlerÆs Das Lied von der Erde and Ninth Symphony, the latter recorded live, literally hours before the Anschluss made it impossible for him to remain in Austria.

Bruno Walter gave the world premi?re of Das Lied von der Erde in 1911, and made three commercial recordings. The first, like his pre-war Vienna account of the Ninth Symphony, was recorded at a live performance in 1936, and features expressive contributions from Thorborg and Charles Kullman, singers particularly associated with the work at this time, and a response from the Vienna Philharmonic to remind one that the piece was still at the modern end of the repertoire.

The Vienna strings are sorely tested at the beginning of Das Trinklied vom Jammer der Erde, but Walter steers the players securely, and often audibly, through the harmonic and rhythmic difficulties of this opening movement. Listen especially to the wonderfully nuanced interlude, where MahlerÆs intricate orchestration is brought subtly and effortlessly to life. Kullman is a capable if perhaps a little staid exponent of lifeÆs sorrows, but meets the challenges of despair and resignation at the close head-on. Thorborg brings a chaste poignancy to Der Einsame im Herbst, and Walter integrates the ruminative woodwind-led theme seamlessly into the warmer string-based music, with the surge of emotion the more telling for being short-lived. The instrumental postlude has a liquid transparency which rivets the attention after 65 years.

Kullman is amiable, though not especially youthful-sounding in Von der Jugend, where Walter reaffirms his acute understanding of Mahlerian rhythmic motion, above all in the halting gait of the refrain. He complements ThorborgÆsÆs wide-eyed anticipation in Von der Sch÷nheit to perfection, the breezy arrival of the horsemen not over-rushed, and coaxes finely-honed playing as the final bars recede from earshot. Kullman is at his most persuasive in Der Trunkene im Fr?hling, stubborn and open-hearted in his hazy recollections. Walter ensures such details as the violin solo at æWas h÷rÆich beim Erwachen?Æ have the requisite sentiment without sentimentality.

WalterÆs perspective on Der Abschied was remarkably consistent over his three recordings. Not for him the implacable fatalism of Klemperer, or the transfigured emotion of Horenstein. Here, the knowledge of transcendence is implicit from the outset, and ThorborgÆs lyrical contribution, with its unfussy though rarely unimaginative phrasing, matches his approach in full measure. Nothing is overplayed: the rush of emotion at the climax of the first part does not overshadow the return to the depths, while the funereal tread of the central interlude acts not as a self-contained interlude, but as a pivot between the two settings, fusing them conceptually as well as musically. The starkness with which the second part opens has been transformed by the final lines, and a gentle radiance persists through to the close, harp and celesta adding magical arabesques as MahlerÆs vision of eternity fades into memory.

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The Grade (Excellent to Fair, I don't give Mint) refers to the WEAR of the record. Any other defects, like cracks, chips and scratches, are stated separately

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Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment.

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US Domestic Shipping:

Here is a guideline for US Media Mail Shipping:

Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment)

1 record: 4.50$

2 records: 5.50$

5 records: 7.50$

10 records: 9.50$

MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 30$.

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All'attenzione degli acquirenti italiani:

ATTENTION TO ITALIAN BUYERS:

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There are some great options available for shipping multiple records at excellent rates.

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