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London Philharmonic Orchestra
Hallé Orchestra
Myra Hess, piano
Sir Hamilton Harty, piano, conductor 
Studio recordings, 1927-33

Producer and Audio Restoration Engineer: Mark Obert-Thorn
Cover artwork based on a photograph of Sir Hamilton Harty, c.1920

Special thanks to Nathan Brown and Charles Niss for providing source material

Total duration: 65:36


"The work and the interpreters are as happily met as one could wish" The Gramophone

Sir Hamilton Harty demonstrates why his Hallé was "the soundest orchestra in the country" in 1928!


  • SMETANA The Bartered Bride - Overture [notes / score]
    Recorded 17 November 1933 in EMI Abbey Road Studio No. 1
    Matrix nos. CAX 6995-2 and 6996-1 • First issued on Columbia DX 562

    London Philharmonic Orchestra
    Sir Hamilton Harty conductor 

  • LISZT (arr. Doppler) Hungarian Rhapsody No. 12 [notes / score]
    Recorded 10 April 1931 in the Central Hall, Westminster
    Matrix nos. WAX 6060-3 and 6061-2 • First issued on Columbia LX 132

  • BRAHMS (arr. Parlow) Hungarian Dance No. 5 [notes / score]
  • BRAHMS (arr. Parlow) Hungarian Dance No. 6 [notes / score]
    Recorded 11 February 1929 in Free Trade Hall, Manchester 
    Matrix nos. WA 8539-2 and 8540-1 • First issued on Columbia 5466

  • DVOŘÁK Carnival Overture [notes / score]
    Recorded 30 April 1927 in Free Trade Hall, Manchester 
    Matrix nos. WRAX 2556-1 and 2557-2 • First issued on Columbia L 2036

  • DVOŘÁK Symphony No. 9 in E minor, Op. 95 (“From the New World”) [notes / score]
    Recorded 2 May 1927 in Free Trade Hall, Manchester 
    Matrix nos WRAX 2671-2, 2672-1, 2673-1, 2674-1, 2675-2, 2676-1, 2677-2, 2678-2, 2679-2 and 2680-2 
    First issued on Columbia 9770 through 9774

    Hallé Orchestra
    Sir Hamilton Harty 

  • DVOŘÁK Slavonic Dance No. 1 in C major, Op. 46, No. 1 [notes / score]
    Recorded 17 October 1933 in EMI Abbey Road Studio No. 3 
    Matrix no.: CA 14066-1 • First issued on Columbia DB 1235

    Myra Hess & Sir Hamilton Harty 
    piano duet


REVIEW - DVOŘÁK New World Symphony

The Dvorak is thus divided: first movement on one record ; second on three sides ; Scherzo on sides 6 and 7 ; Finale on last three sides. This re-recording is in the same hands as the original performance. The Hallé, in the opinion of most critics, is at present the soundest orchestra in the country, and though it would be possible to add even to it certain graces of style, there is no better example of cohesion, of the rich fruits of careful, consistent and long-continued work under a wise and balanced conductor, to be heard amongst us. The strings sometimes are a little rough (that is not a prominent quality in this performance, though), and the woodwind has not quite the polish of our best London men—Murchie, Goossens, H. Draper, for instance. The wind chorus is not easily to be beaten for well bound, round, sweet playing. I find the solo bits in the Largo somewhat loud. This movement might conceivably be made still more winsome. The strings never bite too much, and don't become shrill. There is room for plenty of personal preference as to how this work should be interpreted. For myself, I should have liked just a shade more of spaciousness for the tunes; but that isn't a grumble. Indeed, I have none to make. The work and the interpreters are as happily met as, knowing both intimately, one could wish.

K. K., The Gramophone, May 1928 (link)



Producer's Note

The sources for the present transfers were primarily American Columbia pressings from the late 1920s through the late 1930s a “Royal Blue” shellac copy for the Smetana; a combination of a blue “microphone” label pressing and a laminated Australian Columbia for the Liszt; “Full-Range” era copies of the Brahms pieces and the Dvorak Slavonic Dance; a “Viva-Tonal” pressing of the Carnival Overture; and a c.1935 “large-label post-Viva” set for the New World Symphony, with two sides taken from a “Viva” copy.

The New World posed particular restoration problems in that it required not only significant pitch corrections throughout each side, but also volume level adjustments to counteract the frequent gain-riding of the original engineers. Once fixed, however, this early set rather surprisingly revealed the best recorded sound of any of the discs, with a level of detail and breadth of frequency range associated with recordings made a decade later.

Mark Obert-Thorn



Sir Hamilton Harty

notes from Wikipedia


Sir (Herbert) Hamilton Harty (4 December 1879 – 19 February 1941) was an Irish composer, conductor, pianist and organist.

After an early career as a church organist in his native Ireland, Harty moved to London at about age 20, soon becoming a well-known piano accompanist. The Musical Timescalled him "the prince of accompanists". As a composer he wrote throughout his career, many of his works being well received, though few are regularly performed in the 21st century.

In his career as a conductor, which began in 1904, Harty was particularly noted as an interpreter of the music of Berlioz. From 1920 to 1933 he was the chief conductor of theHallé Orchestra in Manchester, which he returned to the high standards and critical acclaim that it had enjoyed under its founder, Charles Hallé. His last permanent post was with the London Symphony Orchestra, but it lasted only two years, from 1932 to 1934. During his conducting career, Harty made some recordings with his orchestras. Shortly after his dismissal by the LSO, Harty began to suffer the symptoms of a brain tumour. After surgery, he resumed his career until 1940, but the tumour returned to cause his death at the age of 61.


Life and career

Early years

Harty was born in Hillsborough, County Down, Ireland, the fourth of ten children of an Anglican church organist, William Michael Harty (1852–1918), and his wife, Annie Elizabeth, the daughter of Joseph Hamilton Richards, a soldier from BrayCounty Dublin. Harty's father taught him the viola, the piano and counterpoint, and, at the age of 12, he followed his father's profession and was appointed organist of Magheracoll Church, County Antrim.

Harty took further posts in his teenage years as a church organist in Belfast and Bray. While in the latter, he came under the influence of Michele Esposito, professor of piano at the Royal Irish Academy of Music, who encouraged him to pursue a career as a piano accompanist. As Bray is only 12 miles from Dublin, Harty was able go into the city to hear an orchestra for the first time in his life.

Accompanist, composer and conductor

In 1900 or 1901, Harty moved to London to further his career. The biographer Michael Kennedy writes that Harty quickly became known both as "a promising composer and as an outstanding accompanist." The Musical Times later called him "the prince of accompanists". Of Harty's early compositions, Kennedy singles out the Trio (1901) and Piano Quartet (1904) and the Comedy Overture, premiered at the Proms in 1907. The Times said of this piece:

It proved to be one of the most successful works the season has brought forth. The frank jollity of its themes and the clearness of their expression, both as regards orchestration and formal structure, make it a delightful "Promenade" piece – that is to say, one which tired people can enjoy at a first hearing and find refreshment in listening to. … The overture was played with evident enjoyment and great spirit by the orchestra under Mr. Wood.

Among those whom Harty accompanied in his early days in London was the soprano Agnes Nicholls, whom he married on 15 July 1904. In the same year, Harty made his debut as a conductor, in the first performance of his Irish Symphony, at the Feis Ceoil music festival in Dublin. Reviewing the premiere, The Times called the piece, "a work of much promise … received with enthusiasm. It has many ideas, always freshly expressed, and the airs are developed with more than common variety and beauty." The following year, Harty's arrangement of Irish songs was included alongside works of Stanford and Vaughan Williams at a recital by Harry Plunket Greene. Among Harty's compositions from these years, Kennedy mentions a setting of Keats's "Ode to a Nightingale" (1907), a Violin Concerto (1909) premiered by Joseph Szigeti, the tone poemWith the Wild Geese (1910) and the cantata The Mystic Trumpeter to words by Walt Whitman (1913).

Through his wife's professional connections, Harty secured his first important conducting engagement in London. He conducted the London Symphony Orchestra (LSO) in a performance of With the Wild Geese in March 1911. The performance was well received, and Harty was engaged to conduct the LSO again during its 1912–13 season. Hoping to repeat his success as a composer-conductor, he gave the first performance of his Variations on a Dublin Air in February 1913. His concerts this time were not successful with the critics or the public, and the orchestra made a loss. Although the LSO did not not invite him back for the next season Harty was invited to conduct Tristan und Isolde and Carmen at Covent Garden in 1913. His performance as an operatic conductor was less than a triumph. After Carmen, the critic of The Times complained that "Mr Harty's rigid beat and inflexible tempi petrified [the] delicate and fragile phrases, and made them sound like quotations from some forgotten German score." Harty later admitted that he was not greatly in sympathy with opera as a genre: "Opera seems to me a form of art in which clumsy attempts are made at defining the indefinable suggestions of music. Or else one in which the author of a plot and his actors are hampered by music which prolongs their gestures and action to absurdity and obscures the sense of their words."


Hallé Orchestra

Returning to symphonic music, Harty conducted the Liverpool Philharmonic Orchestra in January 1914, and in April he made his début with the Hallé Orchestra in Manchester.During the First World War he joined the Royal Naval Volunteer Reserve and was posted for duties in the North Sea. He rose to the rank of lieutenant before being demobilised in June 1918. He resumed his association with the Hallé, replacing the indisposed Sir Thomas Beecham for performances of Handel's Messiah in December 1918, Bach's B minor Mass, and Schubert's Great C Major Symphony in March 1919. In The Manchester GuardianSamuel Langford wrote, "Mr. Harty has latterly achieved far more immediate control over the orchestra, and his spirit, judgment, and control were … equally admirable."

Harty was appointed permanent conductor of the Hallé in 1920. Under his baton, the Hallé recovered the eminence it had previously enjoyed under the conductorship of its founder, Charles Hallé, and his successor, Hans Richter. Kennedy writes that under Harty it was probably the best orchestra in England. Harty's skill as a piano accompanist developed into a similar talent for conducting concertos. Writing of his skill as in accompanying either as a pianist or as a conductor, John F. Russell wrote in 1941, "Anybody who heard Harty in his capacity as accompanist could never forget his extraordinary grasp of every nuance and expressive device. There was no question of a solo with accompaniment: unless the soloist was a very great artist the chances were that he would be submerged by the artistry of the accompanist." Wilhelm Backhaus and others wished they could take the Halle with them on their international travels. During a Brahms concerto, Artur Schnabel accidentally skipped two bars, but Harty's rapport with and control of the Hallé was such that he kept up seamlessly with the soloist. Schnabel said afterward that he had never experienced such magnificent accompaniment, but tactlessly added that the Halle was "almost as good as the Berlin Philharmonic"; Harty corrected him: the Hallé was "better by two bars".

Harty introduced many new works and composers to Hallé audiences. His passion for the music of Berlioz was reflected in his programming, and he regularly performed works by contemporary composers including BaxMoeranSibeliusRichard Strauss and Walton. Kennedy numbers among the outstanding occasions of Harty's conductorship the English premieres of Mahler's Ninth Symphony (1930) and Shostakovich's First Symphony (1932), the Halle's first performances of Mahler’s Fourth Symphony (1927) and Das Lied von der Erde (1930); and the first public performance of Constant Lambert's The Rio Grande (1929), with Harty as pianist and the composer conducting. As a composer, Harty's best-known works from this period are his lavish reorchestrations of Handel's Water Music and Music for the Royal Fireworks.

Harty was knighted in 1925. In 1926 he commissioned a symphony from Moeran, whose Symphony in G minor (1937) was the result, but Harty was too ill to conduct the premiere.


Last years

In 1932 Harty accepted the post of artistic adviser and conductor in chief of the London Symphony Orchestra. The committee of the Hallé felt that this appointment was "not compatible with the whole-hearted devotion to the interests of the Hallé Orchestra", and it decided not to renew Harty's contract when it ended in 1933.

The Hallé committee made its decision public in a way that Harty found distressing. He had his revenge by encouraging his new orchestra to poach eight of the Hallé's leading players to replenish the LSO's ranks, which had recently been depleted by defections to Beecham's new London Philharmonic Orchestra. In London, however, Harty did not prove to be a box-office draw, and according to a historian of the orchestra, Richard Morrison, Harty was "brutally and hurtfully" dropped in 1934, as an LSO predecessor, Sir Edward Elgar, had been in 1911.

In 1936, Harty's health began to deteriorate; he was diagnosed with a malignant brain tumour. The tumour was operable, but his right eye had to be removed with the growth.During 1937 and 1938 Harty convalesced in Ireland and Jamaica, using the time to resume composition. He set five Irish songs and wrote his last original composition, the tone poem The Children of Lir. He returned to conducting in December 1938, in a studio concert with the BBC Symphony Orchestra. He appeared at a London concert for the first time since the operation in March 1939, conducting the BBC Symphony Orchestra in the premiere of The Children of Lir. He conducted extensively during the 1939–40 season, but his health declined once more with a recurrence of the cancer, and his last public appearance was in December 1940.

Harty and his wife had become estranged, and he was nursed through his final illness by his secretary and intimate friend, Olive Elfreda Baguley. He died in Hove at the age of 61. He was cremated, and his ashes were placed in Hillsborough parish church.



According to the Grove Dictionary of Music and Musicians, "Recordings capture the brilliance of [Harty's] conducting. They include The Rio Grande, Walton's First Symphony, some outstanding Berlioz extracts and Elgar's Enigma Variations and Cello Concerto (with W.H. Squire)." Though few of Harty's compositions continued to be regularly programmed in the concert hall, and even the once-popular Handel arrangements have fallen from favour in the era of authentic period performance, several of his works have been recorded for compact disc, notably by the Ulster Orchestra.



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