Editions of Sound Documents

Editions of Video Documents


The Archive's historical collections1899-1950 were included into the world register of UNESCO's "Memory of the World" Programme.



Sound Documents from the Phonogrammarchiv of the Austrian Academy of Sciences

The edition Sound Documents from the Phonogrammarchiv, begun in 1979 as LP-Edition, later carried on as CD-Edition, makes the archive's stock accessible also to the general public.

The Complete Historical Collections 1899-1950

General editor: Dietrich Schüller (until 2009)
Contact: Gerda Lechleitner, Christian Liebl
Audio Engineering: Johannes Spitzbart, Nadja Wallaszkovits
Austrian Academy of Sciences Press

On the occasion of its 100th anniversary in 1999 the Phonogrammarchiv started to release its Historical Collections in a complete and commented edition on CD. The Historical Collections consist of sound documents saved on mechanical sound carriers from 1899 to 1950.

Series 1:
The First Expeditions 1901 to Croatia, Brazil and the Isle of Lesbos.

Comments by Friedl Grünberg et al. OEAW PHA CD 7, 1999.
The first expeditions of 1901 provided an ideal opportunity for putting the newly developed "Archiv-Phonograph" to the test. order CD

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Serie 2:
Stimmporträts.

Kommentiert von Peter Michael Braunwarth et al. OEAW PHA CD 8, 1999.
[Voice portraits. Comments by Peter Michael Braunwarth et al. Available in German only.]
Sie hören Eugen von Böhm-Bawerk, Alfred Grünfeld, Siegfried Lipiner, Adolf von Sonnenthal und viele andere historische Persönlichkeiten. [Listen to Eugen von Böhm-Bawerk, Alfred Grünfeld, Siegfried Lipiner, Adolf von Sonnenthal and many other historical personages.] order CD

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Series 3:
Papua New Guinea (1904-1909).

The collections of Rudolf Pöch, Wilhelm Schmidt, and Josef Winthuis.
Comments by Don Niles. OEAW PHA CD 9, 2000.
The core of the series "Papua New Guinea (1904-1909)" is the famous recordings by Rudolf Pöch, a physician and anthropologist who moved freely between German New Guinea and British New Guinea (Papua), and then on to Dutch New Guinea.
Schmidt's recordings represent the first recording of Papua New Guinea traditional music under studio conditions.
Winthuis's 1908-09 recordings in the Tolai area mark the beginning of the important contribution of missionaries to the production of field recordings.
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Series 4:
Soldier Songs of the Austro-Hungarian Army

Comments by Oskár Elschek. OEAW PHA CD 11, 2000.
During World War I on request of the former k.u.k. Kriegsministerium the Phonogrammarchiv recorded soldier songs in almost all languages spoken in the Austro-Hungarian Army. Amongst those recordings are solo and choire songs, some accompanied by instruments and some just vocal, as well as instrumental pieces. order CD

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Series 5:
The Collections of Rudolf Trebitsch (1906-1913)
Rudolf Trebitsch was one of the last amateur ethnologists and still able to finance his travels himself. He systematically recorded samples of language and music amongst the Inuit of Greenland, the Celtic peoples, and the Basques. Being amongst the earliest recordings in their respective fields, his collections have always attracted the interest of specialists. The considerable size of his total collection and its three distinct parts suggested a subdivision of the series into three different volumes.
Series 5/1:
Recordings from Greenland (Kalaalit Nunaat) 1906. Comment by Michael Hauser. OEAW PHA CD 13, 2003.
The CD comprises spoken pieces, containing poems, legends, stories and accounts of events, as well as Europeanized and traditional songs like drum songs or wordless nonsense songs, and instrumental dance tunes. order

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Series 5/2:
Celtic Recordings - Ireland, Wales, Brittany, Isle of Man, and Scotland (1907-1909). Comment by Ulla Remmer. OEAW PHA CD 14, 2003.
During three successive summers spent in Celtic speaking areas of Europe Rudolf Trebitsch established a phonographic collection of Celtic languages and folk music unparalleled. The CD also contains voice portraits of famous personages like Joseph Loth or Peter O'Leary. order

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Series 5/3:
Basque Recordings 1913. Comment by Bernhard Hurch. OEAW PHA CD 15, 2003.
Hugo Schurchardt, Professor of Romance Philology, recommended Trebitsch to Julio de Urquijo who gave him every conceivable support. The recordings systematically cover the whole of the Basque region, they include the multitude of dialect varieties and the voices of various historic figures from Basque cultural life like R.M. de Azkue or Pierre Broussain. order

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The CD Series comprises digitized copies of the original protocols and provides transliterations and transciptions of texts and music for better orientation.

Series 6:
Swiss Recordings (German)
Swiss Recordings

In cooperation with the Phonogrammarchiv der Universität Zürich and thanks to generous financial contributions by MEMORIAV (Verein zur Erhaltung des audiovisuellen Kulturgutes der Schweiz), Robert J. Schwarzenbach-Fonds and the Zürcher Universitätsverein we have been able to publish the "Schweizer Aufnahmen".
These recordings result from the cooperation between Vienna and Zurich, begun in 1909 and ultimately leading to the foundation of the Zürcher Phonogrammarchiv. The Zurich recordings were made with Vienna’s Archiv-Phonograph, while archiving as such was shared between Zurich and Vienna. Thanks to renewed close cooperation one hundred years later, the historical recordings of Swiss dialects – largely housed in both archives, but occasionally only in Vienna or Zurich – have now been brought together; they will be published as Series 6 in three volumes: volume 1 & 2: Schweizer Aufnahmen (deutsch), volume 3: Enregistrements Suisses / Ricordi sonori Svizzeri / Registraziuns Svizras (français, italiano, rumantsch).

Serie 6/1:
Swiss Recordings (German)

Comments by Jürg Fleischer and Thomas Gadmer. OEAW PHA CD 16, 2002.
5 CDs comprise as well standardised linguistic examples as narratives from the northern cantons of Switzerland (from Basle, Zurich up to St Gallen). order CD

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Series 6/2:
Swiss Recordings (German)

Comments by Jürg Fleischer and Thomas Gadmer. OEAW PHA CD 16, 2002.
5 CDs comprise as well standardised linguistic examples as narratives from the central and southern cantons of Switzerland (e.g. Berne, Fribourg, Ticino, Graubünden). order CD

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Series 6/3:
Enregistrements Suisses / Ricordi sonori Svizzeri / Registraziuns Svizras (français, italiano, rumantsch)

Comments by Jürg Fleischer, Thomas Gadmer, Ricarda Liver, Raphaël Maître, Mario Vicari. OEAW PHA CD 18, 2002.
2 CDs comprise linguistic recordings from the French, Italian, and Rhaeto-Romanic regions of Switzerland. order CD

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Series 7:
Rudolf Pöch's Kalahari Recordings (1908)

Comments by Regine Allgayer-Kaufmann et al. OEAW PHA CD 19, 2003.

Series 7 comprises the recordings made by Rudolf Pöch in the course of his Kalahari expedition which he started at the end of 1907 on behalf of the Imperial Academy of Sciences in Vienna. His aim was anthropological and ethnographical research amongst the "Bushmen" of the Kalahari, augmented by botanical, zoological, geographical and geological studies. The film and sound recordings were made between April and August 1908.
The language recordings are of significance especially in the field of comparative linguistics, as they may give insight into aspects of linguistic change in Naro.
The music recordings may well represent the oldest sound documents of polyphony of the Khoisan-speaking peoples in the south-west of Africa.

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Series 8:
Österreichische Volksmusik (1902-1939).

Comments by Helga Thiel and Walter Deutsch. OEAW PHA CD 22, 2004.

Unlike other countries Austria does not possess any great number of folk music recordings from before the 1950s. This has made it all the more important to publish the holdings of early audio documents of Austrian folk music from 1902 to 1939. The publication comes in time for the 100th anniversary of the Austrian Folk Music Society. It features 84 recordings of songs as well as calls, yodelers and instrumental music from the Salzkammergut and the Pinzgau that were recorded at different times and occasions.
For the first time in the series the accompanying CD-ROM contains not only the digitised original protocols but also the music transcriptions.

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Series 9:
The Collection of Abraham Zvi Idelsohn (1911-1913).
General Editor: Dietrich Schüller. Editor: Gerda Lechleitner.
Comments by Philip V. Bohlman and Edwin Seroussi. OEAW PHA CD 23, 2006.

The recordings of Abraham Zvi Idelsohn belong to one of the most famous collections of the Phonogrammarchiv. This publication is essentially the result of intensive international cooperation over three continents, bringing together the Hebrew University of Jerusalem (Jewish Music Research Centre, Faculty of Humanities), the Jewish National and University Library (Music Department and National Archives), the Archives for Historical Documentation (AHD) in Brighton/Mass., and the University of Chicago (Department of Music) as well as the Phonogrammarchiv of the Austrian Academy of Sciences.
Abraham Zvi Idelsohn is famous for his manifold activities in the research of Jewish music, which he pursued much more intensely than any musicologist or collector of melodies. Adopting a similar approach as in his opus magnum, the ten-volume Hebräisch-orientalischer Melodienschatz (Thesaurus of Oriental Jewish Music, published between 1914-1932), he made phonographic recordings not only of Yemenite, Babylonian, Syrian, Persian, Moroccan Jews and Oriental Sephardim, but also of Arabs and members of the Eastern Churches residing in Jerusalem between c. 1908-1914, as well as of the Samaritans from Nablus. His main interests comprised the liturgical traditions of all these religious groups and the maqam system of urban Arabic music.

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Series 10:
The Collection of Father Franz Mayr
Zulu Recordings 1908

General Editor: Dietrich Schüller. Editor: Gerda Lechleitner.
Comments by Clemens Gütl and August Schmidhofer. OEAW PHA CD 25, 2006.

In contrast to other historical holdings of the Phonogrammarchiv whose publication has been eagerly awaited by the scientific community, the Zulu recordings made by Father Franz Mayr in the former British colony of Natal (South Africa) have not yet gained such prominence. Clemens Gütl, who a few years ago first drew attention to the Tyrolean priest and his role as a missionary, substantially contributed to the commentary in the present volume, contextualising the collection from a modern perspective and characterising Mayr as an enthusiastic collector and musically interested person. The wide range of informants recorded by Mayr included young school girls, an old “traditional” healer, non-Christian Zulu people, and Zulus who had already accepted Christianity and European customs (at least formally).
As August Schmidhofer explains in his contribution, Mayr’s collection embraces a wide range of musical styles performed in Southern Africa at the beginning of the 20th century. While the greatest part of his collection represents various autochthonous styles, there are also several examples of European hymns and new compositions employing European musical techniques. They range from prayers and extempore speech to war and hunting songs as well as the European-influenced dance songs of the Christian Zulus, which, according to Mayr, were composed “by the young Christian Zulus themselves and not taught by missionaries”. Other songs tell us about historical events like the Zulu or Boer Wars, or the Bambata “rebellion” and the relationship between the black population of Natal and the white colonialists. They also name and praise famous Zulu “kings” such as Cetshwayo or Dinizulu, offer some insights into social events like marriages and occasionally contain so-called izibongo, recited praises or eulogies. With the exception of two recordings, which feature music in Baca, a dialect of Swati, all the recordings document samples of Zulu; they will not only appeal to ethnomusicologists and linguists, but also attract the attention of a general public interested in African culture and history, especially in the regions of their origin.

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Series 11/1:
Croatian Recordings 1901-1936

General Editor: Dietrich Schüller. Editor: Gerda Lechleitner. Editorial Assistance: Christian Liebl and Jakša Primorac.
Comments by Walter Breu, Naila Ceribašić, Radoslav Katičić, Franz Lechleitner, Gerda Lechleitner, Mijo Lončarić, Grozdana Marošević, Dario Marušić, Gerhard Neweklowsky and Jakša Primorac. OEAW PHA CD 27, 2009.

Series 11/1: Croatian Recordings 1901-1936

CD 1: Track 13
Ph 103: A story (about spinning) in Istro-Romanian

The oldest known sound recording of the Istro-Romanian language, recorded in Susnevita [Šušnjevica], Istria, 1905.

sound samplesound sample 1

Series 11/1: Croatian Recordings 1901-1936

CD 1: Track 28
Ph 1430: Croatian folk song - Ča sam ja pas

Recorded in Fröllersdorf [Frielištof, Frélichov], Moravia, 1910.

sound samplesound sample 2

Series 11/1: Croatian Recordings 1901-1936

CD 2: Track 31
Ph 2336: Kolo S one strane Dunava (Round dance On the other side of the Danube river)

Played on the brač-tambura, recorded in the Phonogrammarchiv, 1913.

sound samplesound sample 3

Series 11/1: Croatian Recordings 1901-1936

CD 3: Track 3
Ph 2340: Song from Virje (Podravina): Oj, devojko, minder mala

Recorded in the Phonogrammarchiv, 1914.

sound samplesound sample 4

Series 11/1: Croatian Recordings 1901-1936

CD 4: Track 34
G 2889: Love song: Na mile dvoru je ’ruška cvala

Burgenland Croats: a male singing group from Parndorf, recorded in the Phonogrammarchiv, 1936.

sound samplesound sample 5

The basic idea underlying Series 11 – Croatian Recordings – was conceived by Gerda Lechleitner (Phonogrammarchiv of the Austrian Academy of Sciences) and Grozdana Marošević (Institute of Ethnology and Folklore Research, Zagreb) when considering its publication as a co-operation of both institutions. They decided to include all the material housed in the Vienna Phonogrammarchiv and recorded in the first half of the 20th century, either on the territory of today’s Croatia or among Croats living outside Croatia. Because of its size, Series 11 will be published in two parts: the first part (Series 11/1 – Croatian Recordings 1901–1936) is made up of all the smaller collections, while the second part will comprise the most extensive collection among these holdings, compiled by Milovan Gavazzi and Božidar Širola during the 1920s in co-operation between the Phonogrammarchiv and the Department of Folk Music, founded in 1921 as part of the Ethnographic Museum in Zagreb.
This publication features the very first recordings made by Milan Rešetar in 1901 during his investigation of the dialect boundaries in northern Croatia; in 1907, Rešetar again took a recording machine with him when conducting field research in Acquaviva Collecroce (Kruč) near Campobasso in Molise to study the life and culture of Croats living there. In Istria, only single recordings were made of Istro-Romanian and Italian dialects, while František Pospíšil’s project of recording Croats in Moravia in 1910 generated a greater output. Matija (Mathias) Murko recorded and studied epic songs in 1913; and Croatian soldier songs, recorded in Karlovac in Croatia during World War I, are included as well. Quite often, the Phonogrammarchiv took the opportunity to invite visitors to make a recording, e.g. Josip (Josef) Florschütz (1912) or four singers from Parndorf (Burgenland Croats, 1936). Mention must be made of the sizeable collection of Josip Široki, who was author, performer and technician all in one person. His collection (1913–1920) includes items of all South Slavic music styles (he did not only sing but also perform on several instruments) and various dialects (spoken by him) – it is, as far as we know, our only collection compiled in that way.

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Series 12:
Judeo-Spanish from the Balkans
The Recordings by Julius Subak (1908) and Max A. Luria (1927)

Editor: Christian Liebl. Editorial Assistance: Gerda Lechleitner.
Comments by Paloma Díaz-Mas, Christian Liebl, Aldina Quintana Rodríguez and Edwin Seroussi (in collaboration with Rivka Havassy). OEAW PHA CD 28, 2009.

Series 12: Judeo-Spanish from the Balkans
The Recordings by Julius Subak (1908) and Max A. Luria (1927)

Audio CD: Track 2
Ph 1074, recorded by Julius Subak:

A España, a poem composed and recited by Abraham A. Cappon (1853–1931), prominent representative of Sarajevo’s Sephardic community.

sound samplesound sample 1

Series 12: Judeo-Spanish from the Balkans
The Recordings by Julius Subak (1908) and Max A. Luria (1927)

Audio CD: Track 35
Ph 3195, recorded by Max A. Luria:

The beginning of a konseža (folktale), spoken by Moïse A. Calderon.

sound samplesound sample 2

During 1908/1909, Julius Subak (1872–1936), an Austrian Romance scholar, was entrusted by the Balkans Commission of the Imperial Academy of Sciences to record, both in writing and phonographically, the Judeo-Spanish of the Balkan Peninsula. He conducted his primarily linguistic investigation among the descendants of those Sephardim who – expelled from Spain in 1492 – had sought refuge in the Balkans, then part of the Ottoman Empire. The resulting 15 Phonogramme are said to be the first recordings of Judeo-Spanish (or Ladino) made for scholarly purposes. They contain chiefly poems and romances (the orally transmitted ballads from medieval Spain), but also songs and a passionate appeal to preserve the Judeo-Spanish language. Subak even succeeded in recording prominent representatives of Sarajevo’s Sephardic community – such as Abraham A. Cappon, who is reciting from his own works.
In 1927, the US-American Max A. Luria (1891–1966) undertook linguistic field research in Monastir (present-day Bitola, FYROM) as part of his doctoral dissertation. Equipped with an Archivphonograph, he made a total of 26 recordings which – featuring proverbs and dialogues, but above all numerous konsežas (folktales) – bring to life again this particularly conservative dialect of Judeo-Spanish.
The contributions by Aldina Quintana Rodríguez, Edwin Seroussi & Rivka Havassy as well as Paloma Díaz-Mas highlight the importance of these unique sound documents, especially for Judeo-Spanish dialectology, but also for the study of Sephardic music and literature. Together with the transcriptions, they constitute a valuable supplement to the recorded witnesses of a once flourishing culture on the eve of cataclysmic changes.

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Series 13:
Recordings in Egypt (Junker 1911) and the Archive (Stigler 1912–1913)

Kenzi-Dongolawi, Nobiin and Arabic – Dholuo and Luganda

Editors: Clemens Gütl, Gerda Lechleitner, Christian Liebl.
Comments by Michael Achenbach, Marianne Bechhaus-Gerst, Clemens Gütl, Daniel Ochieng Orwenjo und Birgit Pack. OEAW PHA CD 35, 2014.

Series 13: Recordings in Egypt (Junker 1911) and the Archive (Stigler 1912–1913)
Kenzi-Dongolawi, Nobiin and Arabic – Dholuo and Luganda

Audio CD: Track 6
Ph 1961:

Sung by Muhtâr Gebrîn.
Recorded by Hermann Junker on November 29, 1911 in the village of Degêš (district of Merîye).
A Kenzi Nubian song about farming, crops (wheat), harvesting, fields and islands.

Hörbeispielsound sample 1

Series 13: Recordings in Egypt (Junker 1911) and the Archive (Stigler 1912–1913)
Kenzi-Dongolawi, Nobiin and Arabic – Dholuo and Luganda

Audio CD: Track 20
Ph 1209:

Spoken by Simon Kassadja.
Recorded by Rudolf Pöch (at the instigation of Robert Stigler) on July 18, 1912 in the Phonogrammarchiv, Vienna.
Free speech in Luganda.

Hörbeispielsound sample 2

Two CD series devoted to African languages have so far been released by the Phonogrammarchiv: Rudolf Pöch’s Kalahari Recordings (1908) and The Collection of Father Franz Mayr: Zulu Recordings 1908. The present edition combines two further historical collections of spoken and sung recordings from the African continent. The first contains 14 field recordings (in Kenzi-Dongolawi, Nobiin and Arabic) made in winter 1911 during the Linguistic Expedition to Nubia, led by the famous Egyptologist Hermann Junker. The second collection includes six sound documents in Dholuo and Luganda; recorded at the Phonogrammarchiv between 1912 and 1913 at the instigation of the physiologist Robert Stigler, they feature the voices of “Kilimandjaro” Mori Duise and Simon Kasajja.

The result of both international and interdisciplinary collaboration, the present publication again follows the well-established concept of the Phonogrammarchiv’s CD edition: alongside the digitised original recordings and protocols, it comprises scholarly contributions on the context and protagonists as well as modern transcriptions of the recording contents complete with English translations.

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Series 14:
Friedrich Schürr’s Recordings from Romagna (1914)

Editors: Cristina Ghirardini, Gerda Lechleitner, Christian Liebl.
Comments by Sanzio Balducci, Cristina Ghirardini, Franz Lechleitner, Gerda Lechleitner, Christian Liebl and Nadja Wallaszkovits. OEAW PHA CD 37, 2014.

Series 14: Friedrich Schürr’s Recordings from Romagna (1914)

Audio CD: Track 10
Ph 2432:

L'arcòta
Sonnett by Aldo Spallicci, recited by Nullo Bovelacci in the dialect of Forlì.

Hörbeispielsound sample 1

Series 14: Friedrich Schürr’s Recordings from Romagna (1914)

Audio CD: Track 7
Ph 2424:

Schürr's “normal sentences” 1-5, spoken by Matteo Ghigi in the dialect of Morciano.

Hörbeispielsound sample 2

The present series contains a unique collection of 23 Phonogramme featuring various Romagnol dialects. They were recorded between July and August 1914 in Ravenna and Forlì, Italy, by Friedrich Schürr, the Vienna-born Romance scholar. His pioneering research into Romagnol, cut short by the outbreak of World War I, was preceded by comparative diachronic investigations which he conducted during several stays in Italy from 1910 onwards. Primarily aiming at a comprehensive account of stressed vowels in Romagnol dialects, Schürr eventually decided to make use of the phonograph, which enabled the recorded text to be listened to and checked repeatedly. His subsequent application to the Phonogrammarchiv was granted, and an Archivphonograph put at his disposal. The recordings comprise not only Schürr’s 57 so-called Normalsätze (standardised sentences created for his research purposes), but also the names of weekdays and months, individual phrases and proverbs as well as dialect poems or prose. Schürr’s approach of using the phonograph in documenting the dialects of Romagna is the more important since it constitutes the first sound documentation ever made in the field of dialectology as regards Italy.
The publication at hand is the result of the fruitful cooperation between the Phonogrammarchiv and the Centro per il Dialetto Romagnolo of the Fondazione Casa di Oriani. Thanks to the latter’s successful efforts, the Fondazione Cassa di Risparmio di Ravenna, with its library preserving the legacy of Friedrich Schürr, finally agreed to fund this project. The present multimedia publication consists of an audio CD, a data CD and a booklet (with a substantial contribution by dialectologist Sanzio Balducci). In addition to digital images of the original documentation accompanying the recordings, the data CD also provides scans of Schürr’s publication of 1917 (resulting from his phonographic field research) and relevant correspondence as well as Italian translations of most of the booklet texts, making it a more or less bilingual edition.

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Series 15/1:
Indian Recordings (Exner 1904–05, Archive 1918)

Editors: Ulla Remmer, Christian Liebl, Gerda Lechleitner.
Comments and preparation of texts: Ulla Remmer. OEAW PHA CD 38, 2016.

Series 15/1: Indian Recordings (Exner 1904–05, Archive 1918)

Audio CD1: Track 13
Ph 412:

Kālidāsa: Abhijñānaśākuntala 4.95
Recited by Pandit Gangadhara Shastri Tailang, 52 years old, professor at the Government Sanskrit College. Recorded January 6, 1905 in Benares/Varanasi.

Hörbeispielsound sample 1

Series 15/1: Indian Recordings (Exner 1904–05, Archive 1918)

Audio CD2: Track 22
Ph 464:

Pothana (or Bammera Pōtana): verses from Mahābhāgavatamu
Recited in Telugu by K. Deshikacharya, 24 years old, Junior Pandit of the Adyar Library. Recorded January 23, 1905 in Madras/Chennai.

Hörbeispielsound sample 2

Series 15/1: Indian Recordings (Exner 1904–05, Archive 1918)

Audio CD2: Track 28
Ph 2898:

“'Allāma” Muhammad Iqbāl: Tarāna-yi Hindī.
Recited in Hindustani by Har Dayal, 33 years old, professor. Recorded February 7, 1918.

Hörbeispielsound sample 3

Series 15/1 of the Indian Recordings comprises two audio CDs with the oldest sound documents of Indian origin preserved in the Phonogrammarchiv; those dating from 1929 (Schomerus Collection) will be published as Series 15/2 in due course. The first of the two collections in the present edition was compiled by the meteorologist Felix Exner in the course of his research trip to India in 1904–05; its total of 68 recordings contain primarily samples of recitation of Sanskrit and Vedic literature, but also a few works in Malayalam, Telugu, Marathi, Hindustani and Tamil. In 1918, another eight recordings were made in the Phonogrammarchiv in Vienna; they feature Har Dayal and Umrao Singh Sher-Gil, two outstanding personalities in the anti-colonial movement of India, reciting literature in Sanskrit, Hindi, Urdu, Braj Bhasha and Awadhi.

With the present edition, the historical Indian holdings of the Phonogrammarchiv are for the first time made publicly audible. The enclosed documentation provides information about the context of the recordings and the texts chosen as well as about the Indian reciters and other persons or institutions involved.

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Historische Stimmen aus Wien
[available in German only]

Herausgeber: Dietrich Schüller
Verlag der Österreichischen Akademie der Wissenschaften

Download RealPlayer Note: Please download the free software RealPlayer Basic to be able to listen to the sound samples provided.
Vol. 1:
Künstler des Späthistorismus.

Kommentiert von Walter Krause. OEAW PHA CD 1, 1996.
Sie hören Wurm-Arnkreuz' Gedanken über "Stil und Mode in der Architektur", außerdem kommen auf dieser CD noch weitere 6 Architekten neben Malern und Bildhauern zu Wort. order CD

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Vol. 2:
Reden zur Einführung des allgemeinen und gleichen Wahlrechts 1906.

Kommentiert von Rainer Hubert, mit einem Vorwort von Adam Wandruszka. OEAW PHA CD 2, 1996.
Adler, einer von 9 Politikern unterschiedlicher Parteien, die zwischen 1905 und 1907 zum Wahlrecht im Rahmen von Stimmporträts Stellung nahmen, äußert sich als Sozialdemokrat euphorisch, Mitglieder der liberalen und der christlichsozialen Parteien schwanken zwischen Zuversicht und Skepsis. order

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Vol. 3:
Kaiser Franz Joseph, Stimmporträt 1903.

Mit einer Einführung von Helmut Rumpler. OEAW PHA CD 3, 1997.
Die detaillierten Ausführungen des Kaisers hören Sie im Verlauf der gesamten Aufnahme. Das Stimmporträt schließt mit der berühmten Wendung "Es hat mich sehr gefreut ..." order CD

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Vol. 4:
Arthur Schnitzler und Schriftsteller seiner Zeit.

Ausgewählt und kommentiert von Peter Michael Braunwarth. OEAW PHA CD 4, 1997.
Burckhard brachte als Burgtheaterdirektor gegen vielfache Widerstände Schnitzlers "Liebelei" zur Uraufführung. Der Inhalt seines Stimmporträts zeigt die gedankliche Nähe zu Schnitzlers Welt. Schnitzler wiederum nahm sich die Person Burckhards für die eine oder andere Figur in seinen Theaterstücken zum Vorbild. order CD

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Vol. 5:
Brahms spielt Klavier. Aufgenommen im Hause Fellinger 1899.

Re-recording des gesamten Zylinders.
Mit einer gesprochenen Einführung und einem Kommentar von Imogen Fellinger. In Zusammenarbeit mit der Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. OEAW PHA CD 5, 1997.

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Vol. 2:
Reden zur Einführung des allgemeinen und gleichen Wahlrechts 1906, zweite, verbesserte Auflage.

Mit einer Einführung von Helmut Rumpler und einem Kommentar von Rainer Hubert. OEAW PHA CD 2, 2006.
Aus Anlass der 100. Wiederkehr der Einführung des allgemeinen, gleichen und direkten Wahlrechts wurde die CD aus dem Jahr 1996 in einer zweiten Auflage sowohl hinsichtlich ihres Kommentars wie auch ihrer technischen Aufbereitung aktualisiert. Helmut Rumpler verfasste eine dem heutigen Wissensstand entsprechende, neue und umfangreichere Einleitung. In technischer Hinsicht wurden die Originalmatrizen mit einer speziell ausgetesteten Wachsmischung neu abgegossen. Diese Abgüsse weisen gegenüber den früheren Kunststoffabgüssen ein besseres Signal-Rausch-Verhältnis als Basis für eine vorsichtige, mittlerweile ebenfalls weiterentwickelte digitale Signalverbesserung auf. Damit wird gegenüber der früheren Ausgabe eine bessere Sprachverständlichkeit erzielt. CD bestellen

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Mechanical Music

General editor: Dietrich Schüller
Austrian Academy of Sciences Press

Vol. 1:
Musical Boxes from Vienna and Prague: Dance Music

Selected and Commented by Helmut Kowar. OEAW PHA CD 6, 1999.
In the 19th century musical boxes were made in the Austrian empire, in Vienna and Prague. Up to now they are appreciated for their excellent craftsmanship and outstanding quality of tone.
The repertoire but also the typical kind of musical arrangement of the instruments is mirroring the taste of the people buying and ordering musical automata from the 1830s onwards. The recordings on this CD preserve the favourite tunes of their time and allow an insight into contemporary performance practice.
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Vol. 2:
Musical Boxes from Vienna and Prague: Operatic Melodies

Selected and Commented by Helmut Kowar. OEAW PHA CD 10, 2000.
The musical boxes from Vienna and Prague represented a strong competition to the Swiss models and won prizes at national and international exhibitions from the 1830s onwards.
This CD focuses on operatic melodies. The typical kind of musical arrangement of the so-called "Viennese movements" is set to achieve an easily audible melodic line and a clear accompaniment. The repertoire encompasses a variety of pieces from popular composers like Donizetti, Wagner, Bellini and Verdi, giving us an impression of the kind of music that 19th century people loved and liked to listen to in their homes.
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Vol. 3:
Viennese Flute Clocks around 1800

Selected and Commented by Helmut Kowar. OEAW PHA CD 12, 2003.
In about 1790 mechanical organ works first became known in Vienna. The smaller flute clock, however, came out of fashion rather soon. Apparently, then, the smaller barrel organs which are associated with clocks belong to the early days of this type of automata. The present CD is dedicated to these instruments.
In musical respects the Viennese flute clock had a marvellous start. Haydn, Mozart and Beethoven composed especially for these kind of automata. With regard to original compositions this CD incorporates all of Haydn's pieces played by the flute clock of P. Primitivus Niemecz made in 1792. Most flute clocks did not play original compositions but the well-known and favourite tunes of their time. Accordingly, the CD presents melodies from operas and ballets as well as some dance music.
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Vol. 4:
Viennese Flute Organs of the Biedermeier Period

Selected and Commented by Helmut Kowar. OEAW PHA CD 21, 2004.
Where the CD published in 2002 featured the flute clock around 1800, this CD presents the larger flute works of the Biedermeier period, which are usually housed within writing secretaries. These flute works document a pronounced fondness of the public for the opera.
The repertoire of the typical Viennese flute organ is dominated by Rossini in the early Biedermeier, although composers like Boieldieu were in high esteem as well. The CD also comprises works from later composers like Pacini, Bellini, Meyerbeer, Donizetti and Mercadante.
There are many indications that the arrangements of the notes on the barrels are in accordance with then common performance practice. Connecting passages are treated in freely, ritardandi and solo cadenzas within the arias and duets make the historical performance accessible, in a way that printed sources never could.
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Vol. 5:
KV 608
Allegro and Andante (Fantasy in f) by Mozart for the cylinder organ in "Laudon's tomb".
A virtual reconstruction.

Commented by Helmut Kowar. OEAW PHA CD 24, 2006

From 1791 on Count Deym presented in his art gallery a pompous, temple-like diorama showing life-sized wax figures, the so-called "Laudon's tomb". The music for this picture came from a barrel organ playing Mozart's KV 608. This musical automaton and the original cylinder with Mozart's piece pinned on it have been lost since 1821. But it seemed possible to restore the original sound and performance, thanks to quite a number of contemporary communications and treatises, other existing historical automata and the experience gained with mechanical music of that time (cf. the Phonogrammarchiv's research project, established in 1980). With the help of these sources an attempt was made to reconstitute the articulation and tempo of the piece, based on the music published in the new complete edition of Mozart's works. The authentic sound was derived from a real organ by choosing adequate ranks of pipes according to the descriptions mentioned in the historical messages. The resultant sound recording, then, tries to recreate the original sound character of a small barrel organ. Since the historical sources clearly do not allow us to achieve a definite version, the CD offers five different variants, which altogether will come very close to the original features of sound and performance. An extensive text explains the background and methodological aspects of this virtual reconstruction. order

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Vol. 6:
KV 594
"Ein Stück für ein Orgelwerk in einer Uhr" by W. A. Mozart.
A virtual reconstruction.

Commented by Helmut Kowar. OEAW PHA CD 26, 2008.
  Originally, Mozart’s Adagio and Allegro KV 594 was to be played on the organ automaton of an opulent diorama presented by Count Deym in Vienna in 1791, in memory of field marshal Laudon; technical problems, however, seem to have prevented this piece from ever being played. Thanks to the new CD released by the Phonogrammarchiv of the Austrian Academy of Sciences, the music of this composition is now brought to life as a virtual reconstruction. Without the expertise gained during the reconstruction of KV 608, the composition that was to follow, it would have been impossible to reconstruct the sound of Mozart’s Adagio and Allegro KV 594: practically no contemporary accounts relating to its performance practice are extant. As a result, merely four possible variants of the sound reconstruction of KV 594 are presented here; they will, however, come very close to the original intentions of both Deym and Mozart himself. What is so special about this composition is the fact that this music has presumably never experienced a historical performance; even so, its “authentic sound” – derived from appropriately selected registers of a real organ instrument – can now be listened to for the first time on this recording. It is accompanied by a detailed booklet highlighting aspects of the historical situation in 1791 and the transformation into a virtual musical reconstruction. CD bestellen

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Vol. 7:
Joseph Haydn - Sämtliche Flötenuhren

Edited by Helmut Kowar. OEAW PHA CD 29, 2009.

Vol. 7: Joseph Haydn - Sämtliche Flötenuhren

Audio CD: Track 1

Joseph Haydn, piece for flute clock HV XIX: 17, flute clock made by P. Primitivus Niemecz, Esterhaza 1792.

Hörbeispielsound sample

Joseph Haydn composed special music for musical clocks, and he did this obviously in close cooperation with his colleague at the Esterhazy court, the court chaplain and librarian P. Primitivus Niemecz, who became especially known for his skills in building musical automata. Two flute clocks (from 1792 and 1793) are extant bearing the signature of Niemecz, two others are attributed to him. There is an additional flute clock, made by Johann Joseph Wiest, which was on exhibition until 1804 in Deym’s art gallery in Vienna, thus presenting Haydn’s music to the public – while the Niemecz clocks did not leave private rooms during Haydn’s lifetime. These five instruments have 38 musical pieces on their barrels: 18 original compositions by Haydn or arrangements he himself made of his own works, the remaining pieces probably provided by Niemecz, who was also a musician and a pupil of Haydn. Many pieces show up on two or three clocks, so that the complete edition comprises 65 titles. The five flute clocks saw a changeful history ending up in private and public ownership in Austria, Germany, Switzerland and the Netherlands. With this CD their musical repertoire is presented for the first time collectively and completely.

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Musique de Genève. Höhepunkte Schweizer Spieldosenfertigung.
(Orbis musicarum 87), Helmut Kowar (Editor), Audio CD and Booklet (24 pages), Göttingen: Cuvillier 2010.
 

The program of this CD includes overtures, arias and choruses from operas and oratorios as well as brilliantly arranged fantasies and variation works, all played by Swiss musical boxes made by the most prominent makers residing in Geneva. With these musical boxes coming from the time between 1828 and 1864 we find famous melodies and several hardly know pieces by Mozart, Rossini, Auber, Meyerbeer, Kreutzer, Mehul, Händel, Haydn, Weber, Mendelssohn, Benedict, Wallace. The music gives us some insight in the musical taste of former times and displays the art of arrangement which aims at musically pleasing reproduction and a splendid sound, with some arrangements revealing a stunning virtuosity and an unsurpassable perfection regarding the instruments’ playing qualities. That is why these instruments are rated by collectors and connoisseurs as the top-class performance of the Swiss makers musical boxes. The instruments are part of a private collection in Germany. They were recorded in 2006 in the course of a research project carried out at the Phonogrammarchiv of the Austrian Academy of Sciences.

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Vol. 8:
Musik um 1600 - Die Automaten in der Kunstkammer des Kunsthistorischen Museums

Edited by Helmut Kowar. OEAW PHA CD 34, 2013.

Musik um 1600 - Die Automaten in der Kunstkammer des Kunsthistorischen Museums

Audio CD: Track 3

Praeambulum played by the automatic regal of ther "trumpeter automaton" (1582).

Hörbeispielsound sample 1

Musik um 1600 - Die Automaten in der Kunstkammer des Kunsthistorischen Museums

Audio CD: Track 17

Organ work of the "Walbaum cabinet" (ca. 1620/25), second piece, played on the rank of open flutes.

Hörbeispielsound sample 2

The „Kunstkammer“ holds five automata (four table automata and one art cabinet) with inbuilt organ works: the trumpeter Automaton (1582), the imperial ship (1585), the Bacchus carriage (ca 1602-1606), the Walbaum cabinet (ca 1620/25) and the Minerva carriage (ca 1625-30). These objects have to be rated as one of the earliest musical automata and sounding sources existing. In the course of recent restoration works it was possible to recreate their musical output. Due to conservational reasons the music of the trumpeter automaton, the imperial ship and the Bacchus carriage had to be reconstructed. The realization took advantage of partly well-preserved musical information on the automata’s program carriers (discs and wheels) and of the still functioning pipes and drums of the automata. Thus the reconstructions give the true and authentic sound of the historical performance. The status of the organ works of the Walbaum cabinet and the Minerva carriage allowed repair of their mechanics and playback of their music. Every automaton presents its scenery together with an appropriate music. The music is surprisingly complex and displays unique examples of a performance practice showing improvised passages. The sound recordings are accompanied by transcriptions of all musical pieces.

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LP-Edition

General editor: Dietrich Schüller
Verlag der Österreichischen Akademie der Wissenschaften 1979 ff.

This edition is no longer available.

PHA EP 1:
Stimmporträt Kaiser Franz Joseph
, 1979.
PHA EP 2:
Reden zur Einführung des allgemeinen, gleichen und direkten Wahlrechts (1906)
, 1980.
PHA EP 3:
Arthur Schnitzler, Max Burckhard, Julius Gans von Ludassy, Hugo von Hofmannsthal
, kommentiert von Michael Braunwarth, 1982.
PHA EP 4:
Stimmporträts Anton Wildgans 1931
, kommentiert von Walter Rupprechter, 1982.
PHA EP 5:
Johannes Brahms und sein Freundeskreis
, kommentiert von Helmut Kowar, 1983.
PHA EP 6:
Wiener Schauspieler I
, kommentiert von Margret Dietrich, 1984.
PHA EP 7:
K.k. Hofopernsänger
, kommentiert von Franz Lechleitner, 1985.
PHA EP 8:
Wiener Schauspieler II
, kommentiert von Margret Dietrich, 1986.
PHA LP 1:
Mechanische Musik des Wiener Biedermeier
, kommentiert von Helmut Kowar, 1988.
PHA LP 2:
Vokale Mehrstimmigkeit in Ost- und Südostafrika
, kommentiert von Gerhard Kubik, 1989.

Special Series

Click to enlarge picture African Tales
Julia Ahamer, Christiane Fennesz-Juhasz, Helmut Kowar (Eds.)
Limited Edition Compiled for "Linguistic diversity and literacy in a global perspective. A comparative look at practice in countries of Europe and Africa". Central Workshop, Graz, Austria, 23.-25.6.2005
OEAW PHA SPS 1, 2005.
Hier klicken um Bild zu vergrößern
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Musique de Genève. Höhepunkte Schweizer Spieldosenfertigung.
(Orbis musicarum 87), Helmut Kowar (Editor), Audio CD and Booklet (24 pages), Göttingen: Cuvillier 2010.

The program of this CD includes overtures, arias and choruses from operas and oratorios as well as brilliantly arranged fantasies and variation works, all played by Swiss musical boxes made by the most prominent makers residing in Geneva. With these musical boxes coming from the time between 1828 and 1864 we find famous melodies and several hardly know pieces by Mozart, Rossini, Auber, Meyerbeer, Kreutzer, Mehul, Händel, Haydn, Weber, Mendelssohn, Benedict, Wallace. The music gives us some insight in the musical taste of former times and displays the art of arrangement which aims at musically pleasing reproduction and a splendid sound, with some arrangements revealing a stunning virtuosity and an unsurpassable perfection regarding the instruments’ playing qualities. That is why these instruments are rated by collectors and connoisseurs as the top-class performance of the Swiss makers musical boxes. The instruments are part of a private collection in Germany. They were recorded in 2006 in the course of a research project carried out at the Phonogrammarchiv of the Austrian Academy of Sciences.

Hier klicken um Bild zu vergrößern

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Kleemeyer 170
Dittersdorf, Haydn, Martín y Soler and Pleyel on the twelve barrels of flute clock no. 170 by Christian Ernst Kleemeyer, Berlin.

Recordings and commentary: Helmut Kowar.

Complete edition of all extant historical barrels of the flute clock made by Christian Ernst Kleemeyer in Berlin in 1793. Recorded in 2009 within the Phonogrammarchiv’s research project on the documentation of mechanical musical instruments, total playing time: 77:38 minutes.

Cuvillier Verlag, Göttingen, published in May 2015.

Kleemeyer 170

Dittersdorf, Haydn, Martín y Soler und Pleyel auf den zwölf Walzen der Flötenuhr Nr. 170 von Christian Ernst Kleemeyer, Berlin.

Audio CD: Track 1

Barrel no. 12: "Sonata. / Adagio et Allegro. / Composé par Mr. Haydn / No. 336"

Hörbeispielsound sample


Field Recordings

Click to enlarge picture Vol. 1: Frelik, sher un khusidl ...
Brass Bands from Podolia, Klezmer and other Jewish Music collected by Isaak Loberan.

This new CD series of the Phonogrammarchiv presents the results from field projects conducted in cooperation with the archive. Vol. 1 is dedicated to the recent field work by Isaak Loberan, the Vienna-based Klezmer musician and researcher.
CD with Booklet, 28 pp., comments in English, Summaries in German and Russian.

EX-PHA 001, 2006.


Sound Documents of Romani Culture

Graz & Vienna: Romani Project
distributed by: Drava

Romani Projekt CD 1:
Schun, so me phukavav .../ Hör, was ich erzähle ...
[Listen to my story ... Fairy tales, narratives and songs of the Roma from Burgenland.]

Eds. Christiane Fennesz-Juhasz & Michael Wogg. Romani Projekt CD 1, 2002. ISBN 3-85435-383-9.

Romane pamaristscha, phukajiptscha taj gila andar o Burgenland - Fairy tales, narratives and songs of the Roma from Burgenland.
The CD presents sound recordings from the Rom culture collections of the Phonogrammarchiv.
Click to enlarge picture - 20KB
Romani Projekt CD 2:
Kodo phende e Romora ... / Dies erzählten die Rom ...
Lovarenge paramici taj gjila - Märchen und Lieder der Lovara.
[What the Rom told ... Fairy tales and songs of the Lovara.]

Eds. Christiane Fennesz-Juhasz & Mozes F. Heinschink. Romani Projekt CD 2, 2002. ISBN 3-85435-384-7.

The Double CD presents sound recordings from the Heinschink Collection of the Phonogrammarchiv. (Music) Transcriptions and German translations are published in the book "Fern von uns im Traum ... – Te na dikhas sunende ... Märchen, Erzählungen und Lieder der Lovara – Lovarenge paramici, tertenetura taj gjila" [Far away in a dream ... Fairy tales, narratives and songs of the Lovara]. Eds. P. Cech, C. Fennesz-Juhasz, D. W. Halwachs & M. F. Heinschink, Klagenfurt: Drava , 2001 (German - Romani; 432 pp.). ISBN 3-85435-366-9.
Click to enlarge picture - 35KB
Romani Projekt CD 3:
Oh romnije zelenije ... / Frau, du grüne ...
Romenge paramisa taj gila - Märchen und Lieder der Roma.
[Wife, you green one ... Tales and songs of the Roma]

Eds. Christiane Fennesz-Juhasz & Mozes F. Heinschink. Romani Projekt CD 3, 2003. ISBN 3-85435-421-5.

The Triple CD presents selected examples of narrative and singing traditions of various Roma groups in South East and Central Europe. These sound recordings, made between 1960 and 2002, are part of the Phonogrammarchiv’s holdings.
Transcriptions and German translations are published in the book "Die schlaue Romni ... – E bengali Romni ... Märchen und Lieder der Roma – So Roma phenen taj gilaben" [The sly Romni ... Tales and songs of the Roma]. Eds. P. Cech, C. Fennesz-Juhasz, D. W. Halwachs & M. F. Heinschink, Klagenfurt: Drava , 2003 (Deutsch - Romani; 352 pp.). ISBN 3-85435-413-4.
Click to enlarge picture

Video Edition: Orbis scientiarum 1

Zemanek DVD
Heinz Zemanek - Ein Pionier der Computertechnik

Edited by Helmut Kowar (= Orbis scientiarum 1).
DVD plus booklet (16 pp.), Göttingen: Cuvillier, 2011.