The provenance of a CD purporting to be a radio recording of a live performance of Mahler’s Das Lied von der Erde by the Vienna Philharmonic Orchestra conducted by Bruno Walter with Kathleen Ferrier and Patzak as soloists has been questioned by Rob Cowan in a recent edition of The Gramophone magazine (May 2003). The performance issued by the Andante label claims to be a radio recording from the 17 May 1952 concert at the Vienna Musikverein, an “official” release of tape in the VPO archive. Another CD issued by Tahra claims to be the same performance. However, comparison of the two reveals alarming discrepancies as to both timing and extraneous noises. They cannot be the same performance. The explanation given by Andante’s producer Gottfried Kraus on the company’s website (www.andante.com) claims that Tahra’s performance is taken from the following day’s concert (18 May 1952), a tape of which is in the ORF archive. This seems plausible enough until Andante’s version is compared to the commercial recording laid down by Decca at about the same time (15-16 May). Cowan points out that the timings of these two performances are identical and the only audience noise in the “live” performance is heard between movements, whereas some extraneous noises in the course of the music appear on both versions. He is suggesting that the Andante performance is the Decca performance with the sound degraded to sound like a radio recording of the period. Kraus’s explanation does not convince David Patmore in his review published in the Autumn 2003 edition of Classic Record Collector. He points out an oddity in Kraus’s explanation which can best be appreciated if quoted in full: “The similarity in interpretation, performance and sound between the Decca and andante releases may not stem entirely from the fact that they captured the same artists performing in the same venue during the same time period; it could be that Decca incorporated portions of the live concerts into their masters.” Hmmn! Kraus also admits that the remastering contains “brief portions” of the ORF tape “to correct small dropouts or distortions.” So the plot thickens! Are there really two tapes of two separate live performances? If so, is the Andante performance so close to the commercial performance as to be virtually indistinguishable from it or is there some other explanation?

One can at least be certain that the Tahra release (TAH482) is a recording of a live performance. That said, it is certainly a valuable document for the Patzak enthusiast as well as for admirers of Kathleen Ferrier and Bruno Walter’s Mahler. The commercial issue is a well-known and much admired recording – after all, it was Bruno Walter who gave the work its first performance after Mahler’s death. The interpretations are naturally very similar although the discrepancy in timings also demonstrates the uniqueness of each performance. The final movement, for instance, takes 40 seconds longer on the live recording. The sound quality is adequate considering the source and Patmore also comments on greater intensity in Ferrier’s performance. Patzak, too, gives that little extra in response to a live audience.

The Decca recording has been remastered by Mark Obert-Thorn and recently issued on the Naxos label (8.110871). It is reputed to be an improvement in sound even over that of the “official” Decca reissue. It includes a bonus of 3 of the Rückert Lieder that were recorded at the same time and all at a bargain price.

Last Fall I went to visit Patzak's daughter, Eva Pasetti, at the family home in Rottach Egern, a resort town on the edge of the Tegernsee lake in the foothills of the Alps, about an hour's drive south of Munich. Patzak had a house built there in 1934 when he was a member of the National Theater. Much of the house remains as it was when he died there in 1974, particularly his impressive library of German and European literature (see Photo Gallery). Eva Pasetti, now a vigorous 72-year-old, very generously shared memories and memorabilia of her father. Among the items of interest was his collection of 78s, somewhat ignominiously stacked in a corner of the upstairs guestroom, (as Eva says: "I don't have means of playing them anymore."). Naturally, I was very eager to browse through the dusty pile and I soon realized that many of them were test pressings which, presumably, had been sent to Julius for his approval. Two of these items were single-sided test pressings which attracted my particular attention and which I was sure were "finds" - lost treasures! The first of these was Massenet's Elegie, which is listed in the Lotz discography as recorded in 1938 but never having been issued. The second simply had "Faust" written on the plain white label. I was not aware that Julius had ever recorded anything from what I presumed was Gounod's opera. It turned out to be the well-known Cavatine "Salut! Demeure chaste et pure" from Act III, sung in German of course. The matrix number is 12411/2; the other information imprinted into the shellac is "Mechan. Copt. 1932." Since the original recording ledgers no longer survive we may only surmise that the orchestra is, as usual, that of the Berlin Staatsoper and the conductor Alois Melichar. Unfortunately both records were damaged with a piece broken off each edge. How easy it was to damage records in this way when kept in those bound albums! Fortunately both missing pieces were also found.

In January, on a visit to my mother in England, Krista and I journeyed to North Thoresby in Lincolnshire to deliver a well-wrapped package of records and bits to Roger Beardsley, the well-respected 78s transferer. He had done a splendid job recently producing and transferring items for a Pearl CD of Julius Patzak which has been enthusiastically reviewed, (see Recent releases) I think we could not have entrusted our booty into safer hands! Thus far Roger has been able to piece together the discs and make an initial attempt at reducing the clicks from the cracks. We are hoping that, with his connections, some commercial outlet will be found to make these items widely available. It has been a great thrill for me to hear the complete recordings for the first time. The extended instrumental introduction to the Elegie contains some fine solo playing from the orchestra and the 4-measure introdution to the Cavatine sets up Patzak's first phrase beautifully.

I can only speculate as to why these recordings were never issued. It doesn't seem to be for technical or artistic reasons. Perhaps they were waiting for a suitable coupling. The Massenet is a 10" disc and the Faust a 12" disc, and there is six years between recordings. Both these items, though French, might be considered popular and expect good sales. We know Julius was not averse to "cashing in" on popularity. Consider, for example, his recording of two songs from the film "Ave Maria" which had been a vehicle for Gigli. At the time, he was something of an "idol" in Munich and, after all, he had a wife and daughter to support!

Again, because neither the recording ledger nor the original masters appear to have survived, it is quite likely, then, that these are the only surviving copies -- treasures indeed!