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sung in German; with Wilhelm Grosz (piano). Ultraphon master 10833, rec. Berlin, spring 1930. Bassist Rudolf Bandler (1878-1944) was a member of several minorities, as he was a German-speaking Jew born in Bohemia. After several years at smaller houses he arrived in Vienna in 1912, where he was a member of the People's Opera house for 15 years. It seems that his tastes for concert work as well as for travelling has something to do with his rather chaotic vita - although technically still under contract in Vienna, he sang Alberich at the Teatro Colón in Buenos Aires in 1922, and six years later appeared at Rio de Janeiro at a time when he was under contract with the German Theatre in Prague. Nevertheless, the public loved him and his larger-than life interpretations of stage characters and songs. Even song books with compositions he selected for his recitals were published. All the more surprising is it to see that he obviously just made one record, of which this is one side (if anybody out there has another, please let me know). Bandler did not want to emigrate (or did not have the necessary connections), so he still lived in Prague in 1941. He then was deported to the Lodz ghetto, where he perished in 1944. Witnesses tell us that even there he still arranged recitals of Schubert songs ... Rudolf Bandler -...
sung in Russian; with Arimondo Zaniboni (violin) and piano accompaniment. G&T master 2829 L, rec. St. Petersburg, 1905. Oscar Isaewich Kamionsky (1869-1917) is sometimes called the Russian Battistini, and indeed he spent a few years of his youth studying and singing in Italy. He returned to Russia in 1893, however. During the next years he sang at the opera houses of Charkov, Kiev, Tblissi, and Rostov, before he joined the Zimin private opera in Moscow in 1905. More details of his career are not easily to be found, especially for the Western ignorami like myself who only read a little Russian and hardly understand any of it. So if anyone of you was willing to share a little more data, this would be much appreciated. Oscar Kamionsky -...
with Otto Urack (piano). Vox master 1333 B, rec. Berlin, February 1923. Mary Grasenick is something of an enigma. Although a much-admired concert singers at her time, she obviously never cared for publicity and sought to avoid the limelight whenever possible - which, of course, causes several problems for a singer. Biographically almost nothing is known about her; she just appears during the late teens and delights her listeners for a few years, then she just drops out of view again. It seems that she disliked being photographed quite a bit, and this picture card that turned up in a Dresden antiquities store is about the only proof that there is an actual person behind the name. Even in adverts placed by her agency no information is given - her signature seems to have been enough to do the job ... Mary Grasenick lived in Dresden and seldom left the city if it could be avoided, so it is a small marvel that she recorded at all. Nevertheless, Vox did succeed in coaxing her into a recording studio, where she left a few souvenirs of her art. I think the Strauss song is especially interesting, as Strauss and Grasenick appeared together on a few occasions, and she even created his Mary Grasenick -...
with piano accompaniment. G&T master 1758½ x, rec. Berlin, 1903. Coloratura Marie Dietrich (1865-1939) made her debut while still in her teens, having studied with Ferdinand Jäger in Stuttgart and Pauline Viardot-Garcia in Paris. Her first concerts were so successful, however, that she was persuaded to join the Stuttgart Court Opera, where she made her debut in 1885. In 1888 she made her Bayreuth debut, and three years later was called to join the Berlin Court Opera, where she sang for the next two decades. She left the opera stage in 1912 to spend more time on her concert career. She was married to the lyrical tenor Robert Philipp, who was a member of the Court Opera for a staggering 40 years. Together with her husband she starred in the first ever complete recording of Strauß' Marie Dietrich -...
with Julius Dahlke (piano). Polydor master 648 br, rec. Berlin, 1928. Mezzo Lula Gmeiner (1876-1848) was born into a highly musical family: Both her sister Ella and her brother Rudolf were successful concert singers, and her younger sister Luise was a respected pianist. After first lessons in her native Kronstadt (today Braşov) she studied with Gustav Walter in Vienna, moving on to Berlin in 1896 for further studies with Emilie Herzog, Etelka Gerster and (thanks to an introduction by Johannes Brahms) Lilli Lehmann. She made her debut as an oratorio singer in Berlin in November 1896, and finally gave her first solo recital in 1899, which created a sensation. The following year she married Austrian naval officer Ernst Mysz, who must have been quite an unusual character: scandalous as this might have seemed at the time, he made no attempts to put an end to the fledgeling career of his wife, but encouraged her to expand her work, which she did with remarkable success. Although she was much in demand all over Europe and North America during the next decades, she still took a sabbatical year in 1911/2 for further studies with Raimund von zur Mühlen in London. In 1920 she was made a professor at the State Univerity of Music in Berlin, where she taught for almost three decades. Two of her most famous pupils were Elisabeth Schwarzkopf and Peter Anders (who also married her daughter). Lula Mysz-Gmeiner...
Gesang Weylas & Gesegnet sei, durch den die Welt entstund - with Charlotte Kaufmann (piano). Lindström master Prv 354, rec. Berlin, November 1936. The records of contralto Johanna Egli (1896-1973), as Fischer-Dieskau a pupil of Georg A. Walter, are something of an acquired taste; similar to Blanche Marchesi, she had almost everything a successful singer needs - except a beautiful voice. I'd almost go as far as saying her voice is positively ugly, but still she has lots to offer artistically. She came with her teacher Walter to the Stuttgart conservatory in 1923 and later followed him to Berlin in 1934. She was especially especially successful in the songs of the late romantics such as Wolf, Pfitzner, and Reger, and although the record company executives did not exactly form a queue at her door, she still had admirers that bought her recordings (or, as in this case, even paid for the session!). Around 1950 she seems to have retired from the concert stage to devote her time to teaching entirely. Johanna Egli -...

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