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Max von Schillings conducts Beethoven, Schumann and Weber - PASC228

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Max von Schillings conducts Beethoven, Schumann and Weber - PASC228-CD
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Berlin State Opera Orchestra
conducted by Max von Schillings

Recorded in 1928 and 1929

Producer and Audio Restoration Engineer: Mark Obert-Thorn
Cover artwork based on a photograph of Max von Schillings

Total duration: 77:59
©2010 Pristine Audio


A superb range of early Romantic works conducted by Schillings

Teacher of Furtwängler, composer and conductor, in excellent new transfers

  • WEBER Euryanthe - Overture (8:48) [notes / score]
    Recorded 8th October, 1928 in Berlin
    Matrix nos.: 2-20991 through 2-20993
    First issued on Parlophon P-9848 and 9849
  • WEBER Abu Hassan - Overture (3:27) [notes / score]
    Recorded 19th December, 1928 in Berlin
    Matrix no.: 2-21137
    First issued on Parlophon P-9849
  • SCHUMANN Manfred, Op. 115 - Overture [notes / score]
  • SCHUMANN Manfred, Op. 115 - Alpenkuhreigen und Zwischenaktmusik* (3:59) [notes / score]
    Recorded 3rd May and *10th May, 1929 in Berlin
    Matrix nos.: 2-21393 through 2-21395, and *2-21406
    First issued on Parlophon P-9484 and 9485
  • BEETHOVEN Egmont, Op. 84 - Overture (8:01) [notes / score]
    Recorded 14th December, 1928 in Berlin
    Matrix nos.: 2-21126 and 2-21127
    First issued on Parlophon P-9456
  • BEETHOVEN Symphony No. 6 in F Major, Op. 68 (“Pastoral”) (42:50) [notes / score]
    Recorded 16th, 23rd and 30th September, 1929 in Berlin
    Matrix nos.: 2-21560 through 2-21566; 2-21572 and 2-21573; and 2-21586 through 2-21588
    First issued on Parlphon P-9463 through 9468

    Berlin State Opera Orchestra
    conducted by Max von Schillings

Review of this release: Audiophile Audition


Notes on the recording:

The few CD reissues devoted to recordings of Max von Schillings which have appeared so far have concentrated on his justly-acclaimed Wagner performances, as well as those of his own compositions (Mona Lisa, Das Hexenlied). This release aims to broaden our appreciation of his abilities with a program of early Romantic repertoire.

The sources for the transfers were American Columbia “Viva-Tonal” pressings for the Weber items; American “Okeh” Odeons (also pressed by American Columbia during their “Viva-Tonal” period) for the Schumann tracks; a pre-EMI laminated British Parlophone for the Egmont; and Italian Parlophon pressings (with a couple patches from a German Odeon set) for the Pastoral Symphony. Although the original engineering was not state-of-the-art for its time, the recordings from the 1928-29 season appear to have less overloading and blasting than the symphony, taken down the following season.

Mark Obert-Thorn



Max von Schillings

notes from Wikipedia


Max von Schillings (April 19, 1868 – Berlin, July 24, 1933) was a German conductor, composer and theatre director. He was chief conductor at the Berlin State Opera from 1919 to 1925.

Schilling's opera Mona Lisa (1915) was internationally successful and was even performed at the Metropolitan Opera. The composer married Barbara Kemp, the soprano who sung the title role. Before Mona Lisa, Schillings had already written three operas: Ingwelde (1894), Der Pfeifertag (1899) and Der Moloch (1906).



Born in Düren, Max von Schillings was brother to the photographer Carl Georg Schillings. He received his first musical training in violin, piano and theory at the same time as his formal education in Bonn. His teachers were Caspar Joseph Brambach and Otto von Königslow. Schillings later studied jurisprudence, philosophy, literature and art history at the University of Munich. On October 1, 1892, he married his cousin Caroline Josefa Peill in Römlinghoven. They were divorced in 1923, and on June 11, 1923, he married the opera singer Barbara Kemp in Berlin-Charlottenburg.

Max Schillings was given a professorship by the Royal Bavarian Ministry of the Interior (Königliches Bayerisches Staatsministerium des Innern) on February 16, 1903. In October 1911, he was named an Honorary Doctor of Philosophy by the Philosophy Faculty at the University of Heidelberg. He was awarded the Ehrenkreuz (Ger. honorary cross) by the Order of the Württemberg Crown, the fifth highest rank awarded. With this honor, he was allowed to use the name Max von Schillings. In Düren, the street between Goethestraße and Aachener Straße was renamed "Schillingsstraße".

As early as the 1890s, he was given a position as an assistant at the Bayreuth Festival; later he was engaged as a conductor and music teacher in Munich. Between 1908 and 1918 he was the Intendant at the Königlichen Hoftheater (Royal Court Theatre) in Stuttgart, for which he received the honor mentioned above. From 1918 to 1925, he succeeded Richard Strauss as intendant of the State Opera in Berlin, whilst concurrently being the musical director of the summer-time Zoppot Forest Opera. In the second half of this decade, he undertook concert tours which took him through Europe and to the USA.

Having returned to Germany, he took over the job of President of the Prussian Academy of the Arts in 1932, succeeding Max Liebermann. From March 1933 until his death, Schillings was also the artistic director of the Berlin Staatsoper. He died in 1933 from a pulmonary embolism in Berlin. His ashes were entombed at Frankfurt-am-Main.

His composition work includes several operas, melodramas, choral works, chamber music pieces, violin and piano concertos, symphonic poems and works for stage (see list below). His most important work is undoubtedly his opera Mona Lisa (first performed on September 26, 1915 in Stuttgart), which became one of the most-performed operas in Germany until his death. He stands beside Humperdinck and Richard Strauss as one of the composers who re-established the music form of melodrama at the start of the 20th century. Schillings was renowned as a music educator - one of his more famous students was Wilhelm Furtwängler. He was the dedicatee of "Sea Drift" by Frederick Delius.

Max von Schillings was an opponent of the Weimar Republic and a declared anti-Semite. The expulsion and exclusion of important Jewish and free-thinking artists from the Prussian Academy of the Arts began during his time as President - some artists affected were Käthe Kollwitz, Heinrich Mann, Ricarda Huch, Alfred Döblin, Thomas Mann, Max Liebermann, Alfons Paquet, Franz Werfel and Jakob Wassermann. He laid off Arnold Schönberg from the teaching staff of the Academy, in contravention of Schönberg's contract and in 1933, he ordered Franz Schreker, the leader of masterclasses in composition at the Academy, into early retirement.


Selected works


  • Ingwelde
  • Der Pfeifertag
  • Moloch op. 20
  • Mona Lisa (1913/15, libretto by Beatrice von Dovsky)


  • Das Hexenlied
  • Kassandra
  • Das Eleusische Fest


  • Violin Concerto in A minor, op. 25
  • Violin Concerto in G minor, op. 38
  • Piano Concerto Ein Totentanz op. 37 ("A Death Dance")

Chamber music

  • String quartet in E minor
  • String quartet, op. 32


  • Glockenlieder ("Bell Songs"), op. 22
  • Meergruß und Seemorgen (Sea Greeting and Lake Morning), op. 6
  • Vier liederen aus der Wanderzeit ("Four Songs from the Wandering Time"), op.2







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