Alan Walker

Dohnányi's 1956 HMV Recordings

Some Unpublished Correspondence in the EMI Archives, Hayes, Middlesex

 

...
On August 27, 1956, Dohnányi was brought from his hotel to the EMI recording studios on Abbey Road, North-West London, in order to try out the piano. We learn that he preferred a light action and wanted to check out the sound. The recording sessions began the following day, August 28. They unfolded across the next two weeks according to a rigorous schedule, and were devoted in their entirety to Dohnányi's own music. Aside from two major works for piano and orchestra with the RPO under Boult-the Variations on a Nursery Theme, and the Piano Concerto no. 2 in E minor-Dohnányi was also contracted to make two LPs of his solo piano music.
All the recording sessions were done at EMI's Abbey Road Studios, the solo piano sessions in Studio 3 and the piano and orchestra sessions in Studio 1. In those days stereo recordings were still at an experimental stage, but EMI had just started to record selective sessions in both Monaural and Stereo simultaneously, and this is how Dohnányi's own sessions were arranged. The kudos of having such an important composer-pianist in London was not something to be overlooked. A stereophonic back-up machine was used, but because the operator was placed in a separate room from the main sound engineers, and out of sight from them, his machine was not always synchronized with theirs. The result was that about twenty-per-cent of the recordings were not captured in stereo. The stereo versions were in any case not intended for immediate release, and for an obvious commercial reason: in 1956 the general public lacked the means to play them. That of course was to change dramatically within two or three years.
As for the mono versions, they were edited, heard and approved by Dohnányi, but were then subjected to a long delay before their release, a delay which resulted in an increasingly animated correspondence between the officials at EMI and Dohnányi's aggressive New York manager, Andrew Schulhof. The two works for piano and orchestra were eventually published in the summer of 1958 (on HMV ALP 1514), almost two years after they were recorded. The solo piano LPs, however, were delayed still further, and although they were at last released in Great Britain (on HMV ALP 1552 and 1553), a decision was taken not to release them at all in America, much to Dohnányi's dismay. This unusual determination had nothing to do with the quality of the performances but was rather the result of major restructuring that occurred at EMI. Briefly, the always uneasy relationship between HMV and its American partner RCA Victor had entered into a precipitous decline. The New York based Angel Records now became the chief partner in America of HMV recordings. Angel retained autonomy over its own catalogue, however, and since it was now in a race to establish itself exclusively in the field of stereo recordings, it declined to accept the Dohnányi monaural LPs, fearing a financial loss. It was a complicated arrangement for EMI. Dohnányi's recordings had been caught in the middle of both a management and a technological shake-up, and suffered accordingly.
Dohnányi worked extremely hard to produce the very best performances of his music. He was in his 79th year, and although his legendary technique was now showing signs of decline, and there were a fair number of retakes, the pure musicality of his playing remained undimmed. The archival documents reveal a work-load of such intensity as to put many a younger pianist to shame. On the morning of August 28 he met his producer Peter Andry in Studio 3, and recorded the Six Piano Pieces, op. 41 in their entirety. He returned next day to record his Intermezzo in F minor, op. 2 no. 3; his Ruralia Hungarica (no 6,); his "Pastorale" on a Hungarian Christmas song; and his "Winterreigen" Suite. The pace then quickened, and on August 31 he recorded the first takes of his Suite in the Olden Style, op. 24. Because September 1 and 2 coincided with a weekend, there were no recording sessions on those days. But on Monday, September 3, Dohnányi was back in the studio to record his "Variations on a Pavane from the Sixteenth century", op. 17, and his concert arrangement of Schubert's "Valse nobles"; and he continued to do retakes of his earlier performances throughout the rest of that week.
In the middle of all this solo work, the Royal Philharmonic Orchestra and Sir Adrian Boult arrived in Studio 1, and on September 5, and for the next two days, Dohnányi recorded his Piano Concerto in E minor. That was followed by the "Nursery" Variations on September 10 and 11. His orchestral producer was the venerable Lawrence Collingwood. These gruelling sessions were concluded on September 12 with some final retakes of the Gavotte and Musette, and of selected movements from the Suite in the Olden Style. It was an astounding work-load and it took its toll. Mrs. Dohnányi (who was with him in the studios every day) was later to observe that it had made Dohnányi so ill that he had returned home in a state of collapse.
The Dohnányis had no time to linger in London. They had to return to Tallahassee in time for Dohnányi to commence his teaching duties at the Florida State University, whose Fall semester, which began in early October, was almost upon them. The return journey on the Queen Mary at least gave Dohnányi some time to rest and regain his energy. Despite the physical strain under which he had laboured, Dohnányi appears to have been pleased with his work for HMV, and he awaited the release of these records with impatience. He was both perplexed and disappointed at the long delays to which they were now subjected. Neither he nor Ilona could accept that these recordings, into which he had put so much of himself, had become casualties of the upheavals going on within the EMI organization. And neither could Andrew Schulhof, whose correspondence with HMV was to become increasingly strident.
The following run of letters, drawn from the EMI archives and published here for the first time, tells the story of a long drawn-out tussle that continued up to Dohnányi's death, and vexed his widow for several years after that. These letters answer a number of questions that Dohnányi aficionados have been asking for years: notably, why the solo piano LPs were never released in America and were quickly withdrawn in Britain, turning them almost overnight into collectors' items. The conspiracy theorists also have had a field-day, suspecting the anti-Dohnányi lobby in the States, which had earlier tried to block his concert career in New York and Boston, of wanting to keep his recordings off the market. The truth was simpler. It was a business decision, pure and simple.

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Document no. 1
Inter-departmental memorandum from
David Bicknell to Mr. Fowler, EMI.

TO: Mr. Fowler3
Abbey Road

16 August, 1956

RE: Ernst von Dohnányi

Dr. Ernst von Dohnányi, who is a distinguished musician who recorded for us before the war, is to make some solo records and then some concerto records for us start-ing on August 28th. To make certain that he likes the piano I am having him brought to the Studio at approximately 4 pm. on the 27th so that he can try the pianos prior to his recording on the following day.
I have asked him to enquire for Mrs. Stewart and I shall be obliged if you will see that he is suitably received and given facilities. He likes a piano with a light action.
J. D. Bicknell4 [signed]

Document no. 2.
Letter from Andrew Schulhof to David
Bicknell

Andrew Schulhof
113 West 57th Street
New York
October 10, 1956

Ernst von Dohnányi
We are now working for next season's bookings, and in this connection it would be very useful for us to know:
when do you intend to release the orchestra recording
- in England?
- in the USA?
- is RCA or Angel who will release it in
the USA?
The same questions are for the two solo recordings.
I would be much obliged, if you could inform me, and [at] the same time let me know, when do you intend to send Dohnányi the 600 Guiness?[sic] (He can very well use it!)
With best wishes, to Miss Matthias, too, who will be the kind and always efficient person, to answer my letter, I am, as always,
Sincerely,
Andrew Schulhof [signed]

Schulhof's charming typographical error, which confuses Dohnányi's fee of 600 Guineas with the famous beer called "Guinness" ("Guinness is Good for You") would surely have appealed to Dohnányi's sense of humour, in the unlikely event that he ever saw this letter. A few months later Schulhof returned to the attack, and reminded Bicknell that Dohnányi would celebrate his eightieth birthday during the coming summer, a theme on which he harped in several letters. What better moment to release these LPs? It was the worst moment for Bicknell, however, who pointed out that record sales traditionally slump during the summer months.

Document no. 3
Andrew Schulhof to David Bicknell

Andrew Schulhof
113 West 57th Street
New York
January 2, 1957

Dear David:
Paul Kletzki
I have not received any reply to my inquiry about Paul Kletzki's royalty statements in the USA, about which I wrote you in my letter of November 29th.
Ernst von Dohnányi Release
May I ask you to be kind enough to
answer this many times repeated inquiry when and where will you release the Doh-nányi records. You know that Maestro Dohnányi will be eighty [during] the coming year and he will appear with many orchestras in the U.S. I feel that an early release with proper publicity would have an excellent affect [sic] on sales.
With best wishes to both of you from both of us, I am
Very Sincerely
Andrew Schulhof [signed]
Happy New Year

Document no. 4
Letter from David Bicknell to Andrew Schulhof

11th January, 1957

Dear Andrew:
Dohnányi
I have your letter of 2nd January but unfortunately I cannot tell you when the Dohnányi records will be released in this country nor which Company will be distributing them in America. With all the reorganisation that is going on, I am afraid that some delays are inevitable but you can be quite sure that we are going ahead with all our plans, as quickly as possible, but many difficult problems still have to be solved.
With every good wish for the New Year,
Yours sincerely
J.D. Bicknell [signed]

Document no. 5
Letter from Andrew Schulhof
to David Bicknell
February 8, 1957

Dear David:
Ernst von Dohnányi

I would like to call your attention [to the fact] that on his next birthday, on July 27 1957, Maestro Dohnányi will be 80 years young.
I feel that maybe it would be a good opportunity to release his records-especially the one of the concerti which he himself has recorded for your company, and which is so widely known.
Looking forward to having some good news, I am, with best wishes from both of us,
Yours,
Andrew Schulhof [signed]

cc. Mrs. Dorle J. Soria5, New York

Document no. 6
Letter from Andrew Schulhof to David Bicknell
March 21, 1957

Dear David:
For a long time we have had no correspondence and I tried not to "pester" you with royalty accountings-for Sir Thomas. (When I see you we will speak about all this in person.)
Today I want to send you for your information, a copy of the personal letter
I have written to Victor Olof, also a copy of my letter to Mr. Chandler re the accounting [for] Kletzki,
Besides this, I want to again call your attention-I hope this time very successfully-to the fact that

ERNST VON DOHNÁNYI

will be 80 years young on July 27, 1957.

Dohnányi has many appearances all over the country and the latest, just a week ago, was again in recital in Minneapolis where he was received with the same enthusiasm, praising his youthful spirit, unique musicianship, faultless technique, etc. etc.-as was noted everywhere-such as in Edinburgh and elsewhere.
You will be interested to know that Dohnányi will be the only participant in a great dinner affair at the Waldorf Astoria6 in New York on April 3rd.
You will also be interested to know that Dohnányi's new composition, the Second Symphony for Orchestra, received rave reviews in its world premiere in Minneapolis, Dorati conducting.7
If I add to this brief resume that Dohnányi will appear with orchestras next season all over the country, then I give you a picture that I hope will induce you to release the records-at least the concerti-on his birthday. I just want to say one more thing -that I am very well aware that the answer will be that you have all three records already prepared and that my request or suggestion comes-as usual-late. If this is the answer, believe me I will be the happiest.
Hoping that you and Gioconda8 are very well and that we will see both of you at the end of May in London, I am, with kindest re-gards to you both from both of us, as always,
Sincerely,
Andrew Schulhof [signed]
c.c. to Mrs. Dorle J. Soria

Schulhof displays some puckish humour in his reference to "all three records already prepared". It was meant to mask a deeper concern: that the records were not ready at all. And such turned out to be the case, as the following letter from Bicknell makes clear.

Document no. 7
From David Bicknell to Andrew Schulhof
March 28, 1957

Dear Andrew:
I acknowledge receipt of your letter of March 21st. At the moment we have Dohnányi's 2nd Piano Concerto scheduled for issue in October. We do not issue classical records during the holiday months of July and August but keep them for the better selling Autumn months.
I am glad to know that Dohnányi remains so active but don't let him overdo it!
Your Sincerely,
J. D. Bicknell [signed]

Schulhof was not satisfied with this reply, even though it contained the good news that the Second Piano Concerto would be released later that year. What of the "Nursery" Variations, and above all the solo piano works? he asked.

Document no. 8
Letter from Andrew Schulhof to David Bicknell
April 9, 1957

Dear David:
RE: Ernst von Dohnányi

Thank you very much for your letter of March 28th, informing me about the intended Dohnányi release in October. However, I would appreciate more specific information whether you want to release only the Second Piano Concerto at the time or whether the record will also contain his other concerto, the "Nursery Tunes" which latter is so rightly famous, as it has three releases on LP, but none by Dohnányi. (Capitol just released this concerto here.)
I would also appreciate it if you would let me know where and when you intend to release the solo piano works by Dohnányi.
I have sent today to Mr. Soria pictures and drawings of Dohnányi. Maybe you can use them for the cover. The drawing is especially fine, and was done by Ernő Koch, a Hungarian artist, who is at present in Chicago and, if your art department likes it, we can obtain his permission to use it.
Looking forward to hearing from you- and to see you at the end of May, I am, with best wishes and kindest regards from both of us to both of you,
Sincerely,
Andrew Schulhof [signed]

J.D. Bicknell, Esq.
Electrical and Musical Industries Ltd.
Blyth Road
Hayes
Middlesex
England

Within a week Schulhof had received the answer for which both he and Dohnányi had been waiting: the Concerto and the "Nursery" Variations would be released within six months. For the solo recordings, however, the news was not so positive.

Document no. 9
To Andrew Schulhof from David Bicknell
April 16, 1957

Dear Andrew:
Dohnányi

The Dohnányi record which is to be released in October will contain both the Piano Concerto and the Variations on a Nursery Theme. So far we have not scheduled the solo record.
I note that you have sent Mr. Soria pictures and drawings of Dohnányi which might be used for a record cover and if we are in need of any material we will contact him.
I expect to be in New York during the second week in May.
Yours sincerely
J.D. Bicknell [signed]

Evidently Bicknell and Schulhof did meet in New York during the summer of 1957, because the ever persistent Schulhof took the opportunity of raising the possibility of Dohnányi being invited to record some of the standard classical repertory for solo piano, despite the fact that the composer's 1956 solo recordings were still not released, and were becoming the object of some tension between the two men.

Document no. 10
Andrew Schulhof to David Bicknell
September 18, 1957

Dear David:
Dohnányi

Since your good letter of April 16th
I haven't heard from you; we missed you both in Italy too. Please let me know when you have scheduled the solo record.
I am happy that according to the plans the two concerti are coming out now- unfortunately the very popular Variations has been released in the meantime by many other companies, but I am confident that Dohnányi's superb recordings will receive special attention by public and press.
You remember when you were in New York we discussed briefly the idea of Dohnányi recording solo piano works where he is still one of the greatest masters and widely acknowledged, respected and admired-and which he could do either at the University of Tallahassee-where they have excellent facilities-or he could do it in New York. What do you think about the idea? Please let me know.
With best wishes from both of us to you both.
Sincerely
Andrew Schulhof [signed]

A considerable time now elapsed. Nothing came of Schulhof's idea of Dohnányi recording some classical repertory. He must in any case have realised that the suggestion would have fallen on deaf ears. It is nonetheless intriguing to think of what Dohnányi might have been able to do if he had been allowed to record some of the Beethoven sonatas in Tallahassee's Opperman Auditorium, where he had given so many recitals and felt completely at home. In the event, this project was taken up within 18 months by the Everest label, with fateful consequences.

Document no. 11
Leo Kepler to Peter Andry

Mr. Peter Andry
E.M.I. International
3, Abbey Road
St. John's Wood
London, NW8
England
July 22, 1958

Dear Peter:

I have just returned from my trip to the West Coast and Canada to find your letter about Dohnányi, which was received here the 6th.
Schulhof has been insisting for over a year that we release a Dohnányi record, and I have consistently refused because of the very poor sales of Dohnányi's splendid record of the Variations/Concerto, as well as the fact that there is an almost non-existent market now for lesser-known piano solos, even if the music happens to be-as in the present case-exceedingly lovely.
I really don't see how we could justify, financially, the release of this record. I am quite sure we wouldn't sell more than 1,000 copies, which, of course, wouldn't even pay for covers and liners.
So, Peter, I'm afraid that at the present time there's nothing that we can do to accommodate Mr. Schulhof, who is certainly the most persistent man in the business, or Mr. Dohnányi, in connection with the solo record.
Best regards,
Leo Kepler11 [signed]

cc. Messrs. Bicknell
Scott-Dunn

Kepler's letter was final, and represented the official position taken by Angel Records. They would not release Dohnányi's solo recordings for fear of a poor commercial return. It appears that among the arguments mustered by Kepler in defence of his decision was the fact that only the mono, and not the stereo recordings, were completed, a reversal of the original position taken at EMI. It was now the monaural recordings which were likely to lose money-such was the speed at which stereo sound had overwhelmed the American market. Dohnányi was now in his eighty-third year; he had made his recordings in good faith nearly three-and-a-half years earlier. That Kepler's decision represented a huge blow for him cannot be doubted, as the subsequent correspondence proves. One bright spot in this otherwise difficult situation occurred later that summer of 1958 when EMI took the unilateral step of releasing the solo records in Britain, with no hope of sales in America, and the prospect of a financial loss at home. It was at this point that Dohnányi himself stepped in, and wrote an appeal directly to Bick-nell himself. His ire and indignation are everywhere to be seen. Dohnányi spoke excellent English, with some charming infractions. His letter is reproduced as he himself wrote it.
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Alan Walker
is the author of the three-volume, prize-winning biography of Franz Liszt, published by Alfred A Knopf, and editor, most recently, of The Death of Franz Liszt based on the Unpublished Diary of His Pupil Lina Schmalhausen, Cornell University Press, 2003.