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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.

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).

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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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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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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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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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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.

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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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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.

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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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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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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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