This week's selection comes from Dr Eva del Rey, Curator of Drama and Literature Recordings and Digital Performance.

Live recording of THE FREQ_OUT ORCHESTRA performing freq_out 7 as part of the Happy New Ears Festival celebrated in the city of Kortrijk, Belgium, 13 September 2008.

Kortrijk. Photo by: Erf-goed.be on Visual hunt / CC BY-NC-SA

Touch Radio 035 THE FREQ_OUT ORCHESTRA (C1428)

Participants: JG Thirlwell, Finnbogi Pétursson, Benny Jonas Nilsen, Jana Winderen, Brandon LaBelle, Petteri Nisunen, Tommi Grönlund, PerMagnus Lindborg, Maia Urstad, Jacob Kirkegaard, Mike Harding, Kent Tankred, Franz Pomassl, Carl Michael von Hausswolff.

‘freq_out’ is a series of sound installations featuring various artists curated by Michael von Hausswolff. They started in 2003 and have taken place at different venues around the world. Each artist works with a specific frequency range. The work is created on site and amplified to act as a single, generative sound space.

This recording was made by Finnbogi Petursson and mastered by BJ Nilsen. The crows were recorded separately by Pascal Wyse. It is also available on the Touch Radio website.

Follow @BL_DramaSound  and @soundarchive for all the latest news.

Amanda House, Data Protection and Rights Clearance Officer for Unlocking Our Sound Heritage reflects on how the new data protection regulation will impact the sharing of audio archives online.

GDPR is a new regulation designed to strengthen and combine the existing protection provided by the Data Protection Act (1998) for all individuals within the European Union, replacing the 1995 Data Protection Directive 95/46/EC on which the UK Data Protection Act 1998 was based.

The primary aim of GDPR is to protect EU citizens from privacy and data breaches in an increasingly data-driven world. The UK Parliament is currently in the process of passing a bill that will ensure this protection will remain when the UK leaves the EU next year.

Data Protection law is designed to safeguard the privacy of identifiable living individuals and to protect them from substantial damage or distress in the processing of their personal data and sensitive personal data. The updated regulation includes harsher fines for non-compliance and breaches, and gives people more say in how their data is used.

As part of Unlocking Our Sound Heritage, the British Library and 10 partner organisations are digitally preserving some of the most at risk audio recordings and sharing them with as many people as possible. Over the next few years we will be publishing 100,000 recordings online, some of these may contain the personal and sensitive personal information of identifiable living individuals. Since many of the recordings are unpublished or broadcast we need to be especially careful to review the material before putting it online.

Article 89 of GDPR allows for ‘archiving in the public interest’ and Article 6(1)(e) allows for processing that is ‘necessary for the performance of a task carried out in the public interest’. This gives archives the permission to publish more material than a first reading of the new law might suggest.  Personal data in a recording is not, on its own, a reason to not share it online.  For the Unlocking Our Sound Heritage project all the recordings will be assessed for data protection and sensitivity.  As long as the personal data is not likely to cause substantial damage or distress to a living individual we won’t redact or exclude the recording.  Of course, as well as complying with GDPR, we need make a number of other legal considerations  such as copyright and libel before making recordings available. However that is a topic for another blog!

For more information on how the British Library deals with personal information see the updated British Library Privacy Policy.

For all the latest Unlocking Our Sound Heritage news follow @BLSoundHeritage

HMV SEOM 20 (BL Collections 1LP0144447)

Guest blog by British Library Edison Fellow Evgeniya Kondrashina

What is the first thing that comes to your mind when you hear of ‘Soviet music’? Is it the Red Army Choir with their military band songs, or the enigmatic symphonies of Dmitri Shostakovich? The British Library holds a large variety of Soviet and Russian music recordings, from different Western record labels as well as the official Soviet (now Russian) state record company, Melodiya.

My PhD research, supported by the Edison Fellowship at the British Library Sound Archive, explores Soviet and Russian classical music recordings in the West during the Cold War. I am investigating Soviet music recordings available in the UK from the 1950s to the 1980s.

From the 1950s, technological advancements in music recording led to a widespread practice of listening to and collecting records. Three key technical innovations triggered accelerated growth in the record industry after the Second World War: the development of magnetic tape recording, the invention of the vinyl long-playing disc and the introduction of stereo sound reproduction.

The LP remained the main format for classical music listening in the home between the 1950s and the early 1980s, when it was gradually overtaken in terms of sales volume by cassettes and then CDs. The establishment of the LP format also led to an important repertoire phenomenon: all major classical music repertoire in the back catalogue of the main record companies was very quickly re-recorded during the 1950s for the LP format. This meant that the record consumer now had access to a huge variety of interpretations of the same music. Hence, by the late 1950s the Western classical music market was saturated with recorded interpretations of works from the traditional Western canon and listeners were hungry for new performers and repertoire.

Finally, the introduction of stereo sound in 1958 dramatically improved the quality of the listening at home experience, which for classical music was a much more significant factor compared to other music genres. The market for high-quality LPs of classical music took off, with music lovers investing in high-quality listening equipment and paying a premium for stereo vinyl releases.

By the mid-1950s, the largest Western markets for records were the USA, UK, France and West Germany. In Europe, the two record companies that were in the best position after the war were EMI and Decca in Britain. At this time, after the death of Stalin in 1953, the Soviet Union changed its attitude towards the West. An active programme of cultural exchange was established with a crucial role given to Soviet musicians of showcasing the excellence of Soviet and Russian performing arts to the West during their tours. Musicians’ tours could only cover several major cities, while recordings sold in shops and played on the radio reached far and wide across geographical territories. The 1950s saw a medley of Western labels issuing miscellaneously licensed Soviet recordings. A selection has been digitised for British Library Sounds, on a variety of Western labels, all taking advantage of the thaw in Western-Soviet cultural relations and the interest in Soviet classical performers.

A recording of the pianists Emil Gilels and Yakov Zak playing the Mozart Concerto for Two Pianos with the Moscow Radio Orchestra conducted by Kirill Kondrashin was issued by Period Records, a respectable US classical label, before going bust in 1957.  Here is an extract.

Mozart K365

Another US label, Concert Hall Records, released some recordings of the violinist David Oistrakh and conductor Alexander Gauk with the State Radio Orchestra of the USSR.  Here is an extract from the slow movement of Beethoven's Violin Concerto.

Beethoven Concerto Oistrakh

Monarch Records also released Oistrakh and the State Radio Orchestra of the USSR with Kondrashin in 1954.  Here is the opening of the last movement of Brahms' Violin Concerto.

Brahms Concerto Oistrakh

In the mid-1960s the Soviet Union decided to concentrate on one exclusive partner in each of the capitalist countries.  These were handled by Mezhdunarodnaya Kniga (MK), the book foreign trade organization of the USSR.  The chosen Western partners were Angel (a Capitol Records label, being a subsidiary of EMI Group) in the USA in 1966, HMV (an EMI Group label) in the UK and Australia in 1967, Ariola-Eurodisc in West Germany in 1965, Chant du Monde in France and Victor in Japan. The Soviets did not want to have one partner for the whole of the capitalist world as this would have been too restrictive.

My research on the Edison Fellowship focuses on the UK partnership agreement between EMI and the USSR from the late 1960s to early 1980s. This exclusive licensing agreement allowed EMI to release over 200 LPs in the UK.  These recordings comprised a vast and varied repertoire of Soviet and Russian music performed by the great Soviet artists of the day as well as some less well known musicians. Melodiya made the recordings in its studios in the USSR and then provided EMI with lists of the recorded master tapes, from which EMI chose the ones it wanted to release in the UK. The recordings from the Melodiya master tapes were then pressed on high-quality vinyl at EMI’s main production facility in Hayes, Middlesex. They were released on the Melodiya/HMV label especially created for this Russian series of music.

Below are photos from the dinner EMI held at ‘The Compleat Angler’ hotel at Marlow on the River Thames in August 1975 for Igor Preferansky of MK who was responsible for licensing Soviet gramophone recordings abroad.  The top picture is of Tony Locantro (EMI business manager responsible for Soviet licensing agreement within EMI) and Lev Ershov (representative of the Soviet Trade Delegation).  The picture below is (from left to right) of David Finch and Ken Butcher (both from the International Sales Division of EMI Records UK) and Igor Preferansky.

(Courtesy of Tony Locantro)

EMI chose the front cover image and back sleeve notes for the UK-distributed discs, which were different from those chosen by Melodiya, to accompany the same recordings for distribution in the USSR. For instance, many of the Shostakovich recordings were released by Melodiya for its domestic Soviet market with a simple photograph of the composer on the cover. EMI took a much more imaginative approach to its classical covers and interpreted the music of Shostakovich, especially his symphonies, with a variety of illustrations, providing visual cues about the music to the listener.One particular symphony is worthy of further discussion, his Symphony No. 13 or Babi Yar, which is based on the poems by the Soviet poet Yevgeny Yevtushenko about anti-Semitism and the massacre of Jews during the Second World War in Russia. Shostakovich composed the work in the spring and summer of 1962, just six months after the poems were published. These works were read as condemnation of anti-Semitism that existed in the USSR at the time, thus receiving a divided reaction within the critical circles. Consequently, finding a soloist and conductor for the premier of the symphony was not a straightforward matter: both Shostakovich’s first choices, the bass singer Boris Gmirya and the famous conductor Yevgeny Mravinsky, who premiered many of the composer’s symphonies until then, refused to take on the roles possibly due to pressure from the authorities. The Ministry of Culture was displeased with the strong Jewish content of the texts but the first performance went ahead on 18 December 1962 by the Moscow Philharmonic Orchestra with conductor Kirill Kondrashin. After the premiere, the composer and poet were persuaded to change the text to reflect that not only Jews, but Russians and Ukranians died at Babi Yar. The new version was conducted by Kondrashin on 10th and 11th February 1963. Further performances of the work took place in cities across the USSR but it was actively discouraged from public performance until the early 1970s.

Melodiya recorded Symphony No. 13 in 1971 and issued it with a neutral photography of Shostakovich on the cover. There was no reference to any Jewish content in the music whatsoever. EMI, however, releasing the licensed recording in the UK in 1973, chose to make a very vivid and explicit reference to the Jewish content of the Symphony: the cover shows a forlorn field where someone has dug a huge hole with scattered stones and a large Star of David in the background. This produces a much stronger visual impression than the straightforward portrait of the composer, as in the Melodiya case.  Such a difference in approach to cover design is not surprising, if we remember that Melodiya was a state-supported company, while EMI was a private profit-oriented business with a strong marketing acumen.

Melodiya CM 02905/6

HMV ASD 2893 (BL Collections 1LP0140861)

The Edison Fellowship has been instrumental in giving me access to materials and people who have helped conduct my research. In addition to studying a wide variety of books and periodicals, I have looked at the LPs in the Melodiya/HMV series that were released by EMI in the UK over the 15-year period of the agreement.  I have also studied the images and sleeve notes on those records in order to investigate the perception and presentation of Soviet music in the West. This crucial information helps us understand what kind of vision of Soviet and Russian music EMI, as the key distributor, was creating in the minds of British listeners during the Cold War. I was also able to listen to and compare the HMV/Melodiya recordings with Western recordings of the same repertoire, all held at the Sound Archive. The advice and explanations of the Classical Music Curator, Jonathan Summers, were instrumental in shaping my understanding of the broader classical music industry developments in the West at the time, of which Soviet and Russian recordings were a part. Jonathan also introduced me to important past employees of EMI, who provided information on the relationship with the USSR from the British point of view.

In parallel, I worked on materials of the Soviet Ministry of Culture held in Moscow, Russia, at the Russian State Archive of Literature and Art (RGALI) and Russian State Archive (GARF). Bringing the British and Russian sides of the story together allowed me to construct a multifaceted view of events and helped understand the motivation and decision-making process on both sides of the agreement.

The licensing agreement with the USSR was crucial in making EMI a key decision-maker on which Soviet and Russian classical music recordings to bring to the British listener, how to present them through the choice of sleeve image and cover notes, and where to sell them across the country. It presented new repertoire and performers to the British public and, to a large extent, influenced the perception of Russian and Soviet music in this country for at least a generation of listeners.

 For all the latest Classical news follow @BL_Classical

This week's selection comes from David Govier, Oral History Archivist.

An Oral History of the Post Office includes memories of telegram delivery boys who delivered telegrams by hand with news of war casualties during the Second World War, and their reflections on what it was like delivering the bad news. Delivery boys were always told what the news was. They were instructed to ask if there was a man in the house first. They also had to wait at the door in case a reply was requested.

Roger Osborn (C1007/16) discusses the wording of war telegrams which would always start with the words “We regret to inform you…” A friend of Roger’s in Tring, Hertfordshire, ignored his instructions when delivering news of the killing of a woman’s husband. He noticed the woman out shopping and gave her the telegram. Her first reaction was to hit him over the head with her loaf of bread.

Des Callaghan (C1007/38) remembers delivering three telegrams in Nottingham to one home: one with the news that the son was missing, the second the incorrect news that he was dead, and the third that he was actually in a prisoner of war camp - and Des got a £1 note in return!

These extracts come from An Oral History of the Post Office, a collection of life story interviews with a sample of Royal Mail and Post Office staff in the UK conducted between 2001 and 2005. Interviewees include, of course, postmasters and postmistresses, postmen and postwomen but also those involved with postal sorting and transportation (by road, air and train); stamp design, printing and marketing (the story of the stamp); legal, purchasing and property departments. The collection also includes interviews with staff who worked in lesser-known departments such as the Post Office Rifles, the Post Office Film Unit and the Lost Letter Centre.

There is an emphasis within the collection on change within living memory from the 1930s to the 1990s: the separation of post from telecommunications, computerisation and automation, new management practices and the diversification of new services offered by Royal Mail and the Post Office.

A CD of extracts from the collection entitled “Speeding the Mail: an oral history of the post from the 1930s to the 1990s” was published by the British Library and the British Postal Museum and Archive in 2005, and over forty extracts are available online at British Library Sounds.

Follow @BL_OralHistory and @soundarchive for all the latest news.

50 years ago today at approximately 5.45am Ivy Hodge entered her kitchen on the 18th floor of the Ronan Point building in Canning Town and lit a match. The match triggered a gas explosion which blew out her panel built walls and led to the partial collapse of the 21-storey tower. Four people were killed and seventeen injured. The casualties were lower than might have been expected but the impact of the Ronan Point disaster on architecture, urban planning and building regulation would be enormous. 

R0nan Point after collapse, 1968 (Image credit: Derek Voller)

An inquiry found severe weaknesses with the Large Panel System method used to build Ronan Point and suggested many other tower blocks were at risk. In response legislation was passed to change building codes, to regulate the use of pre-fabricated parts and to safeguard buildings in the case of explosion. Notably the Ronan Point disaster shook public faith in high rise building itself, construction of new buildings halted and many were eventually demolished. Ronan Point was torn down in 1986.

The National Life Stories oral history collection Architects’ Lives contains over 140 interviews with British architects and their associates and unsurprisingly Ronan Point features heavily. The interviews are able to help us understand how the disaster affected those working in the industry. 

Kate Macintosh knows the architecture of London well having designed buildings in Southwark and Lambeth. She is able to give us the context of how Ronan Point was built through precasting, the lack of supervision of this method and some shocking discoveries from her friend Sam Webb’s report into the disaster: 

Kate Macintosh on precasting (C467/132/07)

Ronan Point was built by the private firm Taylor Woodrow and it's easy to look back and say the issue was with private construction. Yet our interview with Norman Engleback challenges this and he talks of how the Greater London Council used the same construction method and that reconstruction only took place afterwards.. According to Norman it was only the “luck of the draw” that GLC buildings didn’t also collapse “like packs of cards”:

Norman Engleback on GLC construction (C467/62/09)

For Maurice Ash, who would in 1969 become Chairman of the Town and Country Planning Association, the disaster justified his long campaign against high rise construction and his view that the people who lived in the towers “hated” it:

Maurice Ash on high rise construction (C467/40/04)

Regulation change is a legalistic process but it has deeply human consequences. The interviews in Architects’ Lives are a fantastic resource for understanding these consequences but they are at the same time limited. Notably in this case they do not include the voices of those who lived in Ronan Point or other tower blocks. With this mind it is useful to contextualise the collection among other local oral histories and oral histories of housing; for example the interviews in the East London People’s Archive as well as the work of the Woodberry Down Memories Group and Tony Parker’s ground breaking book The People of Providence. Taken as a whole these oral histories shed some light on how disasters like Ronan Point as well as broader changes in housing were experienced by the people involved and affected. 

Architects’ Lives is an ongoing National Life Stories project which began in 1995. Many interviews from Architects’ Lives, included those mentioned in this blog, can be accessed via the British Library Sounds website in the Architecture collection. To explore the collection in detail, please search the Sound and Moving Image catalogue. The catalogue reference used for all the recordings in the project is C467. A list of interviewees is also available.

This week's selection comes from Dr Janet Topp Fargion, Lead Curator of World and Traditional Music.

Ko Surin is a group of five small islands in the Andaman Sea, sixty kilometres off the Thai coast. They are entirely covered in primary rain forests, with two small villages inhabited by Moken communities of roughly 160 people. The Moken used to live almost entirely on their boats as they travelled in the seas between Thailand and Myanmar. These days they have been forced to settle on the islands where they have built small huts standing in rows on stilts in the surf.

Moken village (photo: Aroon Thaewchatturat) 

Tom Vater (sound recordist and writer) and Aroon Thaewchatturat (photographer), during their research stay on Ko Surin Nua in 1999, became part of a campfire singsong. The songs, lead by Tawan and Ko Yang (two women singers) accompanying themselves on a single plastic barrel, told of their daily experiences and of their relationships with one another. This song, lu iu ma iu (brother and brother) is a good example.

The Moken - Lu iu ma iu (brother and brother)

This recording is part of the Tom Vater Collection (C799) at the British Library. A longer extract has been published on The Moken: sea gypsies of the Andaman Sea (Topic Records TSCD919, 2001). The full collection also includes recordings from India, Laos and Cambodia. It will be digitally preserved as part of the Unlocking our Sound Heritage project.

Follow @BL_WorldTrad, @BLSoundHeritage and @soundarchive for all the latest news.

This blog is by Rib Davis, the 2018-2019 National Life Stories Goodison Fellow.

I am very excited to be embarking on my work as the National Life Stories Goodison Fellow 2018-2019. The project brings together my two loves, oral history and theatre, but in a way that is new for me. I am going to be exploring memory – and in particular the traumatic memories of Holocaust survivors – and how those memories are accessed differently at different points in life. So I will be particularly focusing on those Holocaust survivors in the oral history collection who have been interviewed on more than one occasion.

How do we form our memories of experiences – experiences which may be utterly chaotic – into something which we can present to ourselves and others as a coherent narrative, something that makes sense, something that might even have a meaning? How do we give it shape? How do we even choose the words? And as we create that narrative, each time we create it and re-create it, what is the process of choosing what to include, what to leave out, what to emphasise, what is an aside? How much are were affected by our own previous tellings? And how are our versions of events informed by what we have since learned from others, and also by what has happened to us personally since the time of those events?

Then there is the interview itself. How is the interviewee feeling on that day? Who is the interviewer? What might their expectations be? What might the interviewee feel is expected of him or her? How much does the interviewer contribute, or question, or even lead? What can the interviewee cope with telling, or not?

The original cassette tape from the 1988 interview with Barbara Stimler

Let us take one example. Barbara Stimler, born in Poland in 1927, endured appalling events, particularly in the Lodz/Litzmannstadt ghetto and then in Auschwitz. Barbara was interviewed a number of times; two of the interviews, from 1988 (for the Living Memory of the Jewish Community project) and 1998 (for the Holocaust Survivors Centre Interviews) are archived in the British Library and accessible in the Jewish Survivors of the Holocaust collections on British Library Sounds. Here are two version of what was perhaps the most traumatic moment of Barbara’s life: when she saw her mother for the last time. I find both versions quite difficult to listen to.

Barbara Stimler interviewed in 1988 (C410/004/05)

Barbara Stimler interviewed in 1998 (C830/038/02)

Where does all this leave us as we try to put together History? Of course we all access our memories differently every time we recall an event. This does not mean that we have to decide which version is true and which is false. There may be many different versions of an event – from different people or even from one individual – all of which may be true (and this applies to written accounts as well as oral ones). The subtle differences between one version and another, and the reasons for those differences, are fascinating and perhaps informative. (However, present day politics also reminds us that there are also some statements that are simply false – not all statements are equal).

These are the issues – of memory, of trauma and of history - with which I will be dealing, not in the form of a paper or a lecture but as theatre. The challenge is not only to come to grips with the material and its context, in a respectful yet questioning way, but then to create a script which explores it in a form that is truly theatrical. It’s a challenge I’m looking forward to.

The Living Memory of the Jewish Community was a National Life Stories project which ran between 1987 and 2000 and recorded 186 life stories with Jewish survivors of the Holocaust and their children. The Holocaust Survivors' Centre Interviews was a National Life Stories collaborative project with the Jewish Care Holocaust Survivors' Centre which ran between 1993 and 1998 and gathered 154 audio life story testimonies. You can listen to full interviews from both collections on British Library Sounds.

Lady Speyer by John Singer Sargent

By Jonathan Summers, Curator of Classical Music

Leonora von Stosch was born in Washington D.C. on the 7^th November 1872. Her father had been born in Germany but immigrated to the United States as a young man where he married an English woman.  Leonora first studied music in Washington with Joseph Kaspar, and at the age of sixteen, she and her mother went to Brussels where Leonora studied under Cornelis at the Conservatory of Music.  Upon graduation two years later, she played for the great Joseph Joachim in Berlin and at nineteen continued her studies in Paris with Martin Pierre Marsick (1847-1924) whose pupils included Carl Flesch, Jacques Thibaud and George Enescu.  Leonora also studied under Arno Hilf in Leipzig.  At this time she performed the Rondo Capriccioso by Saint-Saëns with the Boston Symphony Orchestra and Arthur Nikisch.  She was already twenty-seven years of age when she first played in London in 1899. The Morning Post wrote of her performance, ‘Saint-Saëns’ Andante and Rondo Capriccioso for violin was played with much lightness and vivacity by Madame Leonora von Stosch, a remarkably clever performer, who ought to make her mark.’ 

Leonora had one daughter by her first marriage to American Louis Meredith Howland but the marriage failed and in 1902 she married wealthy banker Edgar Speyer.  She was thirty, he was forty.  After her second marriage, Leonora did not perform much in public and took up poetry, winning a Pulitzer Prize in 1924 for her book of poetry Fiddler’s Farewell.  However, the list of famous musicians who visited the Speyer’s new home in Grosvenor Street, where Edgar had converted two houses into one, was impressive.  The music room was graced by a portrait of Lady Speyer by the greatest portrait painter of the day, the American John Singer Sargent, and the visitors included Percy Grainger, Richard Strauss and Edward Elgar.  In 1906 Grieg visited England to receive an honorary degree from Oxford University and stayed for a few days with the Speyers at Grosvenor Street where the elderly Norwegian composer was greatly impressed by their home and hospitality. 

In January 1910 when Elgar dined at Grosvenor Street, Leonora and Elgar read through the slow movement of the new violin concerto he was writing.  She was the first to play it (albeit in private) and during May she and the composer rehearsed the first movement.  Robert Newman had founded the Queen’s Hall Orchestra and the Proms but by 1902 was getting into financial difficulties resulting in bankruptcy.  Edgar Speyer offered to underwrite the losses and by 1914 had invested £26,000 in the Queen’s Hall Orchestra Company Ltd.  Speyer also financed the premiere of Elgar’s Second Symphony and enticed Debussy to visit London in 1908 and 1909.  He invited Richard Strauss to London to conduct the first performance of his great tone poem Ein Heldenleben in 1902 and three years later Strauss dedicated his opera Salome to Speyer.

It was in 1909 that Leonora made some discs for HMV.  As far as I know, these have not turned up on LP or CD anthologies of violin playing, particularly The Recorded Violin (Pearl 1990) or The Great Violinists 1900-1913 (Testament). It is probable that her husband paid for the recordings as Leonora was by this time not performing much in public and the discs would not have sold well. Indeed, they are rare today and of the three published sides, the British Library holds only one.  Leonora had two sessions for HMV, at their pre-Hayes location, not far from the British Library in City Road probably playing one of the two famous violins owned at the time by the Speyers - either the 1699 Stradivarius, known as the ‘St. Vallier Sikorsky’ which the Speyers owned from 1903-1911, or the 1742 Guarneri, the ‘Lord Wilton’, which they owned from 1902-1921.  At the first session on 26^th March 1909, of the five sides recorded, only one was issued – the Hungarian Dance No. 1 in G minor by Brahms arranged by Joseph Joachim. 

Brahms-Joachim Hungarian Dance in G minor

The second session was on 18^th May 1909 when she recorded four sides (three being repetitions from the previous session) and two of these were published.  The Brahms title was issued from this second session replacing the previously released one from the first.  The Library holds the recording of this work from the first session.  The other published side has been loaned to the Library for digitisation by Jolyon Hudson.  The repertoire here is curious:  the label has Capriccio all‘antica and Capriccio by Bohm. 

Carl Bohm (1844-1920) was a prolific German composer of unabashed restraint whose vast output runs to nearly 400 works with opus number and many more besides, some of which contain a large body of works – his Op. 326 contains 143 songs while Op. 327 comprises 78 pieces.

The first work on the recording is actually not by Bohm but the Capriccio all‘antica Op. 25 No. 2 by Italian composer and mountain climber Leone Sinigaglia (1868-1944).  The second piece is indeed by Bohm but has been hard to track down.  The only Capriccio by Bohm I could find in the Music Library is from Op. 314, subtitled Papillon and it is not this work.  It sounds very much like the popular violin showpiece L’Abeille (The Bee) by Francois Schubert (1808-1878, no relation to the famous Franz Schubert) - No. 9 of his 12 Morceaux detachés for violin and piano, Op. 13 - but the key is wrong (G minor instead of E minor) and although the beginning is very similar, it is evidently not the same work.  It turns out to be the fourth movement from Bohm’s Suite in G minor which is titled Capriccio, but is also subtitled The Bee, The Gnat or La Mouche and therefore looks like pure plagiarism of the Schubert piece.

Sinigaglia and Bohm

In 1914 Leonora gave three evenings of violin sonatas (presumably at her home) by Fauré and Richard Strauss.  In each case she was accompanied by the composer.  The Speyers were then caught up in the catastrophe of the First World War and moved to the United States with their four daughters.  Edgar, born in New York to German parents, had become a British citizen in 1892.  He was responsible for the expansion of the London Underground system in the early years of the twentieth century and donated large sums of money to many charitable causes.  Although he was created a baronet and member of the Privy Council, anti-German sentiment and political intrigue in Britain during the First World War meant that in 1921 an investigation decided he was to be struck off the Privy Council list and have his British Nationality revoked. 

The Grosvenor Street house was sold in 1923 and the family lived in Washington Square in New York.  Edgar died in Germany in 1932, where he was on a visit, at the age of 69.  Leonora died in 1956 at the age of 83 but their daughters returned to England to live.

A forgotten name in the history of violin playing, Lady Speyer was not a celebrated public virtuoso but preferred the role of hostess in London's musical circles and wife to her illustrious husband.  Nonetheless, it is fascinating to be able to hear someone whose life touched so many important musicians at the turn of the twentieth century, notwithstanding that of her unfortunate, more famous husband.

For all the latest news follow @BL_Classical