The Shellac Project: Beethoven

Conductor Otto Klemperer's career went back to the beginning of the 20th century, when he worked with Gustav Mahler. When the Egmont Overture with the Staatskapelle Berlin was recorded he was in the position of a director of Berlin's Kroll Opera. After the National Socialists came to power he emigrated to the USA, but continued his career in Europe after 1947.

Richard Strauss was not only a famous composer but also one of the best known conductors of his time. His recording of Beethoven's 5th Symphony with the Staatskapelle Berlin (1928) is an impressive example of his art.

1. Allegro con brio: 00:00
2. Andante con moto: 05:47
3. Allegro: 14:46
4. Allegro: 19:19

German coloratura soprano Adele Kern was one of the big
stars of the 1920s and 1930s. Marzelline in Beethoven's Fidelio was one of her signature roles. She recorded Marzelline's aria in 1929 with the Staatskapelle Berlin.

Elisabeth Ohms was a Dutch soprano who studied in Germany and sang in the ensemble of Munich's State Opera for many years. Leonore's big aria from Beethoven's Fidelio is one of the few recordings of this artist, who was also renowned as a Wagner singer.

Florestan in Beethoven's Fidelio was the role with which Franz Völker started his career. His voice showed lyrical as well as dramatic qualities and made him one of the most famous German tenors of his time, whose repertoire is also well documented in many recordings.

German baritone Heinrich Schlusnus was one of the first superstars in the history of recording. Many of his recordings not only give proof of the beauty of his voice but also of the diversity of this artist's repertoire which included everything from Verdi Opera to Light Music and beyond. His recordings of Beethoven Songs are also worth listening to.

German baritone Heinrich Schlusnus was one of the first superstars in the history of recording. Many of his recordings not only give proof of the beauty of his voice but also of the diversity of this artist's repertoire which included everything from Verdi Opera to Light Music and beyond. His recordings of Beethoven Songs are also worth listening to.

Similar to Richard Strauss, his far more popular
contemporary and compatriot, Hans Pfitzner was both a gifted composer and conductor. His recordings with the Staatskapelle Berlin from 1929/30 give rise to conflicting views: Whilst they are still artistically impressive, they are overshadowed by the questionable personality of Pfitzner who was a lifelong anti-Semite and Nazi sympathizer.

Here you will find the third movement of this recording:
Beethoven: Symphony No. 3 "Eroica": 3. Scherzo

Similar to Richard Strauss, his far more popular
contemporary and compatriot, Hans Pfitzner was both a gifted composer and conductor. His recordings with the Staatskapelle Berlin from 1929/30 give rise to conflicting views: Whilst they are still artistically impressive, they are overshadowed by the questionable personality of Pfitzner who was a lifelong anti-Semite and Nazi sympathizer.

1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande (Allegro ma non troppo): 00:00
2. Scene am Bach (Andante molto mosso): 11:12
3. Lustiges Zusammensein der Landleute (Allegro): 25:21
4. Gewitter. Sturm (Allegro): 28:19
5. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm (Allegretto): 31:54

With his own string quartet, the Freund Quartet, violinist Karl Freund had made his mark. His major recording is this interpretation of Beethoven's Violin Concerto with the Berlin Philharmonic from 1938.

Here you will find the second movement of this recording:
Beethoven: Violin Concerto: 2. Larghetto

Since their foundation the Berliner Philharmoniker have set the benchmark for interpretations of Beethoven's works. Their recording of the 7th Symphony (1937) under the baton of Carl Schuricht, one the best Beethoven conductors of his time, are considered unique today. However the years 1933-1945 are overshadowed also with regard to these musicians, as the Nazi regime left obvious traces also in the musical life. Jewish musicians were persecuted or forced to escape, other musicians let themselves be exploited by the system or even supported it actively. Carl Schuricht, who had arranged with the system until 1944, fell out of favour with the regime shortly before the war ended because he supported his Jewish ex-wife, yet he managed to flee abroad before he could be arrested.