Sound and vision blog

Animals: Art, Science and Sound is the first major exhibition to explore the many different ways in which animals have been written about, visualised and recorded over time. Focusing on the British Library’s extensive natural history collections, the exhibition brings together chronologically and geographically diverse material produced over the past 2000 years, from some of the earliest encyclopaedic works on zoology to stunning high-resolution photographs of insects produced using the latest technologies.

The exhibition features over 100 objects selected from the Library's diverse collections and is divided into four main zones that cover darkness, water, land and air. As the name suggests, sound features heavily in the exhibition, both in terms of physical objects and sound recordings themselves. There are soundscapes playing in the gallery space that help create atmosphere and listening points where visitors can explore some of the more weird and wonderful recordings held by the Library. Published discs, field tapes, recording equipment and personal notebooks sit alongside historical manuscripts, paintings and printed works, and many of these items are on display for the very first time. There are objects of celebration, such as the first commercial record of an animal, but also objects of sadness, the most poignant of which is a reel of tape containing the song of a now extinct songbird.

Below are just a few highlights from this textually, visually and sonically rich exhibition.

The Holgate Mark VI bat detector which was one of the earliest portable models produced (British Library, WA 2009/018)

Greater Horseshoe Bat echolocation recorded using the Holgate MK VI by John Hooper in Devon, England, 1968 (WS7360 C10)

Illustration of the defects of a horse from Kitab al-baytarah (Book on Veterinary Medicine) by Abu Muhammad Ahmad ibn Atiq al-Azdi, 13th century (British Library, Or 1523, ff. 62v-63r)

Musical notation used to represent the songs and calls of birds, from Athanasius Kircher's Musurgia Universalis (Universal Music), Rome, 1650 (British Library, 59.e.19.) 

Second edition of Julian Huxley and Ludwig Koch's Animal Language sound book, USA, 1964 (British Library, 1SS0001840)

Bactrian Camel calls taken from disc 1 of Animal Language (1CS0070755)

An image of a 'monkfish' from Pierre Belon's De aquatilibus (Of aquatic species), Paris, 1553 (British Library, 446.a.6.)

An illustration of a fruit bat, painted at Barrackpore, India. 1804-7 (British Library, NHD3/517)

The Hip-po-pot-a-mus children's educational record published by the Talking Book Corporation, USA, 1919 (British Library, 9CS0029512)

A section in the Land zone displaying textual and visual accounts of animals appearing in countries beyond their usual geographic range.

A section in the Air zone exploring the history of recording bird voices including the first commercially released record of an animal from 1910.

Actual Bird Record Made by a Captive Nightingale (No.1), Gramophone Company, 1910

Animals: Art, Science and Sound runs until 28 August 2023. Please visit https://www.bl.uk/events/animals to book tickets and to find out more about the exhibition's accompanying events programme. Thanks go to the Getty Foundation, Ponant, the American Trust for the British Library and the B.H. Breslauer Fund of the American Trust for the British Library. Audio soundscapes were created by Greg Green with support from the Unlocking our Sound Heritage project, made possible by the National Lottery Heritage Fund, and scientific advice provided by ZSL (the Zoological Society of London). 

Photograph of an actor on stage. Photograph by Antonio Molinari on Unsplash.

In this 2004 interview from British Library collection ‘Theatre Archive Project’ (C1142/350), sound designer Ross Brown describes the process of sound creation in theatre.

Listen to Ross Brown

Download Ross Brown transcript

Sound design is, among many things, an art of illusion. It serves a purpose to recreate familiar sounds and convey emotions. The role of the theatre sound designer is to create a sound that can fit a certain venue. The designer imagines how the sound will fill the ambient space and how the audience will receive it within that space. Sounds create another dimension to what happens on the stage.

Brown states that the role of the sound designer was not perceived as a separate entity until the modern day, when new equipment was introduced to create sounds in theatre. With the arrival of new technologies, playback became an integral part of the performance, almost similar to a cinematic experience. Naturalistic sounds could then be stretched and manipulated before being incorporated into the final products.

This new way of sampling sound needed to be marketed. In fact, this became a niche technical aspect of the staged performances. However, budget in theatre downplayed the sound designer as a professional role until very recently. Brown’s consideration made me think of the historic way of adding sound to a film as a separate track, with the final product merging two different mediums of communication (images and sounds).

Ross describes sound creation as a parallel narrative: an experimental discipline, which combines the ability to use these new technological tools with the final making of the performance or play. Some writers, Ross continues, raised objections to this new professional role of interpreting and shaping the musicality and rhythm of speech and interaction. Altogether, it was the whole experience of the audience that would be different with the sound actually abstracting from the script. Ideas could spark from attending rehearsals. An understanding of how the characters would interact with each other was an integral part of this new process of making sounds and creating the new pace of storytelling.

This week’s post comes from Giulia Baldorilli, Sound and Vision Reference Specialist.

The mechanics behind bird flight have fascinated and inspired humans for centuries. From Leonardo da Vinci to the Wright Brothers, this seemingly effortless process has captivated and influenced some of the finest scientific and engineering minds in history.

Wings aren’t just for flying though. For some species, wings are also an integral part of courtship displays. The White-collared Manakin (Manacus candei) is just one example of a bird that uses its wings for more than just getting around. The mating dance of this colourful neotropical songbird includes a series of crisp wing snaps and buzzes produced by males as they flit between branches around the edge of their designated display arena. These birds are particularly finicky when it comes to selecting and preparing their personal dance floors. First, their chosen patch of forest has to be free from foliage; nobody wants to be smacked in the face by bushes when trying to impress a potential mate. Any leaf litter, twigs or other unwanted objects are then collected and moved out of the way, leaving a bare square of forest floor. When the dance-off finally gets underway, females in the area carefully watch the performances. If a female is impressed by a particular male, she will join his dance, following him as he moves between branches. Though appearing quite romantic on the surface, pair bonds are not formed after the mating display and males play no part in nest building, egg incubation or the rearing of young.  

This recording of a White-collared Manakin was made in Costa Rica’s La Selva Biological Reserve on 13 March 1986 by Richard Ranft (see full catalogue record).

White-collared Manakin wing snaps and buzzes

White-collared Manakin (photo credit: Mick Thompson on Flickr / CC BY-NC 2.0)

The wing snaps and buzzes produced by the male are clearly audible, though the bird itself was hidden from the recordist's view by the dense forest foliage. Several other species of manakin also incorporate wing snaps into their courtship rituals, a trait inherited from a distant common ancestor that, luckily for sound recordists, has stuck around.

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

The British Library recently launched a new online learning resource, Voices of the Holocaust, as part of Unlocking Our Sound Heritage. The new website features a curated selection of audio clips, pulled mainly from four collections of oral history interviews with Holocaust survivors held at the British Library’s sound archive. Alongside the interview extracts, the resource features biographies of the interviewees as well as historical context provided through themes and articles.

Many audio clips featured in the new Voices of the Holocaust learning resource speak to how difficult it was to escape Nazi-occupied countries and find a new home. In an interview with Herbert Levy, Peter Rickenback speaks about leaving Nazi Germany and spending several years travelling Europe and beyond, bouncing from job to job to evade immigration authorities returning him to Nazi Germany as an illegal immigrant.

Until 1941, official Nazi policy was to encourage Jewish people to emigrate, but they made it incredibly difficult and dangerous to do so. Throughout the 1930s, the Nazis enacted over 400 antisemitic laws that systematically impoverished and restricted the lives of Jewish people. The ‘Decree on the Registration of Jewish Property’ forced them to surrender their property to the state, and the ‘Reich Flight Tax’ taxed them heavily for attempting to emigrate. Numerous laws also prevented Jewish people from earning a living: in 1933 they were excluded from government roles, in 1936 Jewish teachers were banned from schools, and in 1938 the ‘Decree on the Exclusion of Jews from German Economic Life’ closed all Jewish-owned businesses. On top of this, other countries’ immigration policies were unforgiving. For a visa, some required immigrants to secure a sponsor, pay hefty fees, and queue up on a daily basis to retrieve multiple documents, all under threat of public harassment and abuse.

In the mid-1930s, Peter Rickenback’s family struggled financially under the conditions in Nazi Germany, and were not able to emigrate together. He was able to leave on his own after being offered a hotel catering job in Sweden on a training permit. After his permit expired, Peter and his family exhausted all of their resources keeping him out of Germany for several years. His father helped him to get a work permit for France where he had a series of hotel jobs. Whilst there, he met two English men who offered him a job and permanent residence in Britain. In this clip, he talks about his attempt to get to Britain and take up this opportunity.

Listen to Peter Rickenback discuss being a fugitive in Europe

Download Peter Rickenback transcript

Above: Peter Rickenback. Photo copyright © USC Shoah Foundation.

As he describes, the laws changed before he arrived in Folkestone, making his paperwork insufficient and requiring him to return and apply for a visa. This sent him back to Boulogne, where he was warned he would be in danger, and from there he fled to Paris and then to the Netherlands with a forged work permit. After police caught up with him, Peter got a job on a boat to West Africa, which eventually returned to Hamburg. Once there, it was too dangerous for Peter to get off the boat, but the Gestapo gave permission for Peter’s family to board for an hour, where he was able to meet with his parents one last time. He was forcibly returned to the Netherlands, and during his time there, his father helped him to get an affidavit for entry into the United States. Peter appealed to the Jewish Aid Committee to get a transit visa to Britain, and received some help from his employer to pay for it. He arrived in Britain two weeks before the start of the war, and settled there. His sister was able to get to Britain on a domestic work permit, but his parents stayed in Germany and did not survive.

Peter’s story is one of many that reveal just how difficult it was for Jewish people to escape the Nazi regime for good. This collection item is featured in the new Voices of the Holocaust online resource, which includes 87 clips from oral history interviews with Holocaust survivors and Jewish refugees, contextual articles, and biographies of the interviewees.

This week's post comes from Georgia Dack, Web Content Developer for Unlocking our Sound Heritage.

Sergei Rachmaninoff (Bain News Service, publisher - Library of Congress)

By Jonathan Summers, Curator of Classical Music

I recently acquired for the British Library Sound Archive an important collection of discs professionally recorded from radio broadcasts during the 1930s.  The donor, Mike Sell, had known Harold Vincent Marrot in the 1950s.  Marrot had a passion for Russian music and the means to have a number of broadcasts professionally recorded onto disc for his own personal listening pleasure.  Among these are broadcasts of two important works by the great Russian composer Sergei Rachmaninoff who was born 150 years ago this year.

Rachmaninoff left Russia in 1917 and lived in Europe and the United States for the remainder of his life.  In the mid-1930s he built a house, Villa Senar, on the shores of Lake Lucerne in Switzerland, and it was here in 1935 and 1936 that he wrote his Third Symphony.  The work was first performed by Leopold Stokowski (1882-1977) and the Philadelphia Orchestra on 6^th November 1936 but Europe had to wait a year before it was heard for the first time there, in London, on 18^th November 1937 at the Queen’s Hall.  This premiere was given by Sir Thomas Beecham (1879-1961) and the London Philharmonic Orchestra and fortunately, this was one of the broadcasts recorded by Mr Marrot.  How wonderful to be able to hear this important premiere, recorded more than 85 years ago! 

Disc label of Symphony No. 3

Beecham repeated the symphony in Manchester with the Hallé Orchestra the following month, but apparently after that, he never performed the work again due to its lukewarm reception by both critics and audience.  Indeed, some critics were unnecessarily harsh in their reviews of the work – ‘S. F.’ in the Daily Herald heading his review ‘Music for Tea-Shops’ claimed that ‘its melancholy minor key….its faint aroma of incense, its tea-shop sentiment, and its mildly alarming melodrama all mark the composer as living in the past.’  The Times correspondent made a far more intelligent criticism:

The surprise at this procedure is due to the fact that Rachmaninoff’s invention has always lain in the direction of lyrical melody and picturesque orchestral colour, and not in the creation of the kind of pregnant themes that develop into the kind of symphonic texture he has here essayed.

With Rachmaninoff writing in a melodic and emotional style at odds with the then current trends in music, he was a sitting target for biased critics who saw him as out dated and old fashioned.  The notorious entry in the 1954 edition of Grove’s Dictionary of Music and Musicians states, ‘The enormous popular success some few of Rachmaninoff’s works had in his lifetime is not likely to last, and musicians never regarded it with much favour.’  How wrong critics can be, but how unfortunate that they also try to denigrate the work of an artist in this way, because as we know, 150 years after his birth, Rachmaninoff’s music is more popular than ever.  If the Third Symphony is not as familiar to many as his Second or Third Piano Concertos, or the Rhapsody on a theme of Paganini, it is because it is played less often.  The composer himself believed strongly in the worth of this composition and conducted the Philadelphia Orchestra in a commercial recording of it for Victor in 1939.  In a letter to Vladimir Wilshaw the composer wrote:

It was played in New York, Philadelphia, Chicago, etc.  At the first two performances I was present.  It was played wonderfully.  Its reception by both the public and critics was sour.  One review sticks painfully in my mind: that I didn't have a Third Symphony in me anymore.  Personally, I am firmly convinced that this is a good work.  But—sometimes composers are mistaken too! Be that as it may, I am holding to my opinion so far.

Here is the opening of the Symphony.

Rachmaninoff Symphony No. 3 1st mov extract

Although Beecham did not perform the work again,  it was taken up by Sir Henry Wood (1869-1944) who heard the London premiere and wrote to the composer:

Just a few lines to tell you we dashed from Southport to London last Thursday and arrived at Queen's Hall at 9:30 pm just in time to hear your splendid 3rd Symphony - it scored a real success - what a lovely work it is - I thought the orchestra gave a fine performance of it.  I am playing it twice after Christmas, at a Liverpool Philharmonic Concert on March 22nd and a studio concert on April 3rd.  If there is any advice you can offer me as regards your feeling or readings, of the Symphony, please do so and I shall be most grateful.....

Rachmaninoff attended the March rehearsal and performance of the Symphony by his friend.  Later Wood wrote to the composer:

It was so kind of you to come and you were so helpful and sympathetic.  I predict that if I keep on playing this symphony for a year or two (which I fully intend to do), it will find a place in the repertoire of every conductor.

Henry Wood and Rachmaninoff at the Royal Albert Hall 1938 (Associated Press)

Wood may have been optimistic about the Symphony and its promotion by other conductors, but he seems not to have broadcast it again.  However, Sir Henry was also connected with another important work by Rachmaninoff, The Bells.

Rachmaninoff wrote his choral symphony The Bells in 1913.  Konstantin Balmont published a Russian version of Edgar Allan Poe’s poem which Rachmaninoff set to music.  The four movements are Silver Sleigh bells, Mellow Wedding bells, Loud Alarm bells and Mournful Iron bells.  The work is dedicated to the great Dutch conductor Willelm Mengelberg and his Concertgebouw Orchestra and again, the US premiere was given by Leopold Stokowski and the Philadelphia Orchestra on 6^th February 1920. 

The British premiere was due take place at the 1914 Sheffield Festival but the First World War prevented this and it was not until 1921 that Sir Henry Wood and the Liverpool Philharmonic Orchestra and Chorus gave the premiere on 15^th March.  Fifteen years later, at the committee’s invitation, Rachmaninoff participated in the Sheffield Festival of October 1936 where Wood had suggested the composer conduct a performance of The Bells.  Rachmaninoff declined as he was due to play his Second Piano Concerto in the same concert; therefore Wood conducted The Bells himself on 21^st October where a new, rewritten version of the third movement was heard for the first time.  Sir Henry commented on this in the programme notes:

The voice parts of this movement were entirely rewritten for the Sheffield Festival last October, 1936, and published separately, as the composer told me he found the choral writing too complicated, that it did not make the effect he intended.  Certainly at Liverpool in 1921, I had the utmost difficulty in getting the chorus to keep up the speed and maintain any clarity, amongst the great mass of chromatic passages, and certainly vocal power was out of the question, and I feel the composer did very wisely in re-writing this section of the work.  As it now stands, the chorus writing is splendidly distinctive, full of colour, and easily ‘gets over’ the brilliant orchestral texture.

The composer expressed dissatisfaction with the acoustics of Sheffield City Hall, ‘It is the deadest hall I have ever been in,’ was his view to which Wood added that he was glad to have his opinion substantiated by such an eminent authority.

The following February Sir Henry performed the work at the Queen’s Hall and Mr Marrot had the broadcast recorded. 

Rachmaninoff The Bells 1st mov extract

Listen, hear the silver bells!

Silver bells!

Hear the sledges with the bells,

How they charm our weary senses with a sweetness that compels,

In the ringing and the singing that of deep oblivion tells.

Hear them calling, calling, calling,

Rippling sounds of laughter, falling

On the icy midnight air;

And a promise they declare,

That beyond illusions cumber,

Generations past all number,

Waits an universal slumber – deep and sweet past all compare.

Disc label of The Bells

This is a tremendous performance from the BBC Symphony Orchestra and particularly the 400 strong Philharmonic Choir coached by Charles Kennedy Scott (father of aviator and RAF heavy-weight boxing champion C. W. A. Scott).  Here is an extract from the third movement, Loud Alarm bells which gives an idea of the power and drama one must have felt at the performance, particularly when the choir sings ‘I shall soon’.  This work is in better recorded sound than the Symphony; the BBC had one microphone suspended above and to the left of the head of the conductor in the Queen’s Hall and it is amazing to hear not only what it picked up, but also the high quality and wide frequency range of the disc cutting equipment.

Rachmaninoff The Bells 3rd mov extract

Hear them, hear the brazen bells,

Hear the loud alarum bells!

In their sobbing, in their throbbing what a tale of horror dwells!

How beseeching sounds their cry

‘Neath the naked midnight sky,

Through the darkness wildly pleading

In affright,

Now approaching, now receding

Rings their message through the night.

And so fierce is their dismay

And the terror they portray,

That the brazen domes are riven, and their tongues can only speak

In a tuneless jangling, wrangling as they shriek, and shriek, and shriek,

Till their frantic supplication

To the ruthless conflagration

Grows discordant, faint and weak.

But the fire sweeps on unheeding,

And in vein is all their pleading

With the flames!

From each window, roof and spire,

Leaping higher, higher, higher

Every lambent tongue proclaims:

I shall soon.

Leaping higher, still aspire, till I reach the crescent moon;

Else I die

Radio Times 10th February 1937

In this performance Isobel Baillie (1895-1983) is the soprano soloist, Parry Jones (1891-1963) the tenor and, as a last minute substitute, Roy Henderson (1899-2000) sang the baritone role replacing Harold Williams (who was listed in the Radio Times).  The performance is sung in an English translation by Fanny S. Copeland of Balmont’s Russian version.

The work ends with Mournful Iron bells and the chance for us to hear baritone Roy Henderson followed by the wonderful orchestral coda in the major key.

Rachmaninoff The Bells conclusion

While those iron bells, unfeeling,

Through the void repeat the doom:

There is neither rest nor respite, save the quiet of the tomb!

The programme had commenced with the Italian Symphony of Mendelssohn followed by pianist Arthur Rubinstein as soloist in the Piano Concerto by John Ireland and the Variations Symphoniques by Franck, another change from the advertised programme of Liszt’s Piano Concerto No. 2.  The Bells ended the programme and apparently was not heard again in the UK until the late 1960s.

These two performances of Rachmaninoff’s music are by people associated with the birth of these works and as such are of great historical importance, particularly from a performance perspective.  Both recordings will be issued complete on CD by Biddulph Recordings in May.

For all the latest news follow @BL_Classical

On 11 March 1946 Hanns Alexander arrested Rudolf Höss, a German SS officer who was the longest-serving commandant of Auschwitz. Hanns, who was born in Berlin in 1917, fled Nazi persecution in the late 1930s because he was Jewish. He fled to England with his parents and siblings, and joined the British Army as soon as he could.

Image copyright: Courtesy of Alexander Family Archive.

In May 1945 Hanns was an interpreter at the Bergen-Belsen concentration camp, where he helped British army officials interrogate Nazis and their collaborators on their involvement in the Holocaust. Hanns then decided to become a Nazi hunter, using his skills to track down and arrest Nazis who had so far evaded capture.

Listen to Hanns Alexander

Download Hanns Alexander transcript

Audio copyright: British Library. Recorded and donated by Herbert Levy.

In this clip from an interview with Herbert Levy in 1996 (British Library reference: C958/03), Hanns describes how he and his colleagues searched for Rudolf for several months. They eventually found him by tracking letters that he and his wife were sending one another. Hanns recalls how Rudolf initially denied being the commandant of Auschwitz and instead claimed he was a gardener called Franz Lang. However, Rudolf’s wedding ring gave him away, because it had his and his wife’s initials, along with their wedding date.

Hanns tells Herbert that capturing Rudolf was one of his greatest victories. Learn more about Hanns and his life through the Voices of the Holocaust leaning resource.

This week’s post comes from Charlotte James, Web Content Developer for Unlocking Our Sound Heritage.

Artist Sophie Herxheimer, creator of the artwork for the British Library’s new Voices of the Holocaust website, reflects on her approach to contextualising and representing the voices of Holocaust survivors.

This collection of interviews with Holocaust survivors encompasses themes of war, suffering, imprisonment, exile and loss. But there are also things that made me laugh, many surprises, sharply conjured memories and images - and a lot of detailed insight about Britain, and its relationships with refugees and European politics, much of which still resonates today.

The British Library’s learning team approached me about the idea of creating a different way in to this dark chapter of history: something to replace the grainy photographs of hollow-eyed victims of atrocity that so often accompany this type of material.

We discussed how we could better reflect the dignity, courage and long term contributions of the people in these interviews, their often long and settled lives in the UK – their legacy as parents, workers, friends and neighbours, whose identities were not ossified in victim mode.

We thought of the liveliness of these extraordinary testimonies which help to shed light on who we all are, and what really happened, as well as the contribution these immigrants made to post war British culture.

My father, aunt and grandparents arrived in London in November 1938 from Berlin, saved by an inventive job offer for my doctor grandfather, from the hastily set up Council for Academic Refugees (it’s still going!). The family spoke German at home in North London, but never spoke of Germany or the war years. Nor was our Jewishness referred to, we were head-down, assimilated, secular Londoners; on my mum’s side too, though her forebears were from a much earlier wave of immigrants from Russia.

My first step towards realising the commission was to listen. The next steadying thought I had was to devise a palette that would immediately suggest an atmosphere, and use colour to loosen any oppressive sense of worthiness, horror or ‘explanation’. I mixed gouaches based on the furnishings that I remembered from my paternal grandparents’ house. It had a strong middle European flavour, with its whiskery upholstery, heavy wooden furniture and fern green window frames. 

Coffee was a colour too. So was herring, paprika and beer. I painted paper in these shades and went through my collage scrap bags for period ephemera. (I hoard scraps, like any self-respecting child of a refugee.) I found pages from 1930s journals, family letters and postcards that I have in a beribboned bundle, some books written in German Gothic script that I’ve picked up on scourings of charity shops and cupboards.

I began to compile and cut out images for each themed banner, paying careful attention to the voices and their stories...

1. 'My dad was still shaving...'

Henry Kuttner remembers the November Pogrom of 1938

Download Henry Kuttner transcript

2. 'Quite a big troop ship...'

Willy Field on being sent to Australia

Download Willy Field transcript

3. ‘You could smell - rotten cabbages - and beetroot...'

Edith Birkin on conditions in the Łódź Ghetto

Download Edith Birkin transcript

I was searching not only for particular images from the recordings but also for vocal tone and texture, e.g. hesitation, indignation, mirth, age, accent. These were all keys to the sensations I wanted to convey (texture is an essential tool when making work to be seen online). 

I like to fight the flatness of the screen with chunky textural heft. It’s another enlivening way to disrupt the surface and get beneath it. I composed the banners with reference to a mid-century graphic aesthetic - a lot of which was pioneered in the Bauhaus, during Germany’s short-lived, but eternally influential, Weimar period.

Using photocopied strips cut from family correspondence, with its fluent handwriting in varied scripts and gestures, as well as the soft ephemerality of its faded paper, added immediate authenticity, as well as offering structure to my collages. I used the writing to make the shapes of stripes, rays, squares and buildings.

I could cut figures from different pieces of found material, e.g. a ‘situations wanted’ page of The Times, 1939: “Educated Viennese Jewess seeks domestic work…” or a page from a child’s comic my father had grown up reading, which was seamless Nazi propaganda written into sentimental stories about ‘sacrifice’ and ‘the fatherland’. I also used scraps of printed wrapping papers if they seemed evocative, or had adjacent colours, or suggested period through pattern.

I hope by making these collages from largely discarded materials, to also echo in a small way the resourcefulness and practicality of the people in the recordings, who had to use whatever they could find, including imagination, to emerge from the horrors of war and persecution.

Sophie Herxheimer
March 2023

This week’s post comes from Tom Miles, Metadata Coordinator for Europeana Sounds.

August Wilhelmj (1845-1908) was a violinist and teacher. He was born in Usingen, Germany. Referred to by Liszt as ‘the future Paganini’, he gained a reputation as a child prodigy and was at the height of his career in the second half of the 19th century. He was a friend of Wagner and led the violins at the première of Wagner's Der Ring des Nibelungen in Bayreuth, 1876. Later, in 1894, he became Professor of Violin at the Guildhall School of Music and Drama. He died in London in 1908.

Image credit: Wien Museum, via Europeana / CC0.

This week’s recording is of Wilhelmj performing Paganini’s Violin Concerto No. 1, Op. 6 (arranged for violin and piano) (British Library reference: C1210/1-4). The recording is from a series of brown wax cylinders privately made in the 1890s or early 1900s. The first cylinder is missing, but the remaining four contain most of the first movement of the work, beginning part-way through. The concerto is in D major, but there are some substantial pitch fluctuations in playback:

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 1

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 2

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 3

Listen to Paganini's Concerto No. 1 Op. 6 mov. 1 part 4

Although there is no mention of Wilhelmj on the cylinders themselves, all the evidence points to the violinist being him. The cylinders were in the possession of Charles Volkert, director of the London branch of Schott, which was Wilhelmj’s publisher, and Wilhelmj would have been working in London at the time. Volkert died in 1934. During an office clear-out in the 1960s, the cylinders – labelled ‘thought to be by Wilhelmj’ – were rescued and later donated to the British Library.

Europeana has more material about August Wilhelmj from other cultural heritage institutions, including this letter from Wilhelmj in 1889, stating that the addressee's wish is his command and Miss Wiborg will sing in his concert:

Image credit: Stadtgeschichtliches Museum Leipzig, via Europeana / CC BY-NC-SA.

Wilhelmj played a 1725 Stradivarius violin throughout his working life. This violin, the ‘Wilhelmj’, is now owned by the Nippon Music Foundation, on loan to the violinist Baiba Skride. You can see it and read more about it here: https://www.nmf.or.jp/english/instruments/post_287.html.