Her er et spørgsmål, som jeg har grundet over. Det er på engelsk, da jeg også har sendt det til venner i udlandet:
1.9.1939 – 7.12.1941
A question from Morten Hein mail firstname.lastname@example.org Member of GHT
I have been wondering on possible relations between Electrola/Lindström and Victor from the outbreak of war and to Pearl Harbor. I have some examples of relations that goes from the US to Germany and vice versa.
Can anyone tell more about these relations?
After the outbreak of the war Danish EMI was transferred from EMI Hayes to Electrola/Lindström in Berlin. That transfer was planned well in advance of the war. Instead of having records processed and pressed in England Danish records were now processed and pressed in Berlin. In the middle of this American jazz records were pressed in Berlin to the Danish market. They were probably not sold elsewhere than in Denmark. They have Danish HMV X numbers. This continued to mid 1943. On the Danish ordering cards one can read: Can not be ordered in Berlin after July 1st. 1943.
I will refer to 3 examples – but there are more. The 2 with B matrice numbers are probably dubbed in Copenhagen by the Danish recorder Johann Emile Dändler. One is dubbed in Berlin with German matrice number. The B matrice numbers are the catalogue numbers of the American originals. The unusual thing is that three sides are recorded after the outbreak of the war. How did the come to Germany/Denmark?
Matrice recording date
Rosetta B10555A 21/10 39
Glad Rag Doll B10555B 25/2 29
HMV X6540 (coupled as original)
and his orchestra
Davenport Blues OA037667 21/6 39
Wall of the Winds OA037668 21/6 39
HMV X6823 (coupled as original)
Body and Soul B10523A 11/10 1939
Fine Dinner B10523B 11/10 1939
HMV X6534 (coupled as original: Bluebird, but not as English HMV)
After the outbreak of the war, in September 1939, Lauritz Melchior travelled from his hunting Castle in Germany back to the US via Denmark. In late September he recorded 10 sides in Copenhagen. They were processed and pressed in Berlin.
Early 1941 Melchior recorded 6 sides of Danish and Swedish songs for Victor in New York with Strasfogel at the piano. Victor issued an album M 851 with these 6 sides and 6 of the sides from Copenhagen. The Copenhagen recordings bears the same matrice and take numbers as the recordings pressed in Berlin. This indicates that they are not dubbings but made from a copy mother that has reached New York somehow.
But how? To my best knowledge the only way of transportation between Germany and the US was via the PAN AM clipper flying boats from New York to Lisbon. That was the route Kirsten Flagstad used returning to Norway in 1941.
This can not just be casual incidents. It must have been organised. Were there other examples?
contribute to these puzzling examples?