We have broken new ground in recording Bruno Walter with the Orchestra of the Conservatoire of Paris. In consequence of recent happenings in Austria, new associations have had to be formed. Bruno Walter is, it would seem, fated to be a storm centre, and the last five years in particular have been for him one long succession of dramatic episodes. He has come out with a clean sheet, and has at the same time succeeded in retaining the admiration and esteem of his colleagues in a rare manner. 

This latest recording took place in the very modern Salle de la Chimie. At first only slow progress was made, and after the session Bruno Walter apologised, saying: 'You know, it is like a honeymoon, oftentimes things do not go so well...Anyhow, the material' (meaning the instrumentalists) 'is good. We'll make up for it tomorrow.' 

Later on we discussed our last recording in Vienna, when on Sunday, January 16, in the old Musikverein Hall, during an actual performance, we recorded the complete Ninth Symphony of Mahler.  These records (20 in all) turned out extraordinarily successful, and Bruno Walter recalled that that was the last time, after an association of more than 20 years, that he had waved the baton over that venerable orchestra for gramophone recording. It was the swan song of the old Philharmonic Orchestra (Gustav Mahler's own orchestra) and the performance was worthy of the occasion. 

Bruno Walter as a young man was Gustav Mahler's first Kapellmeister at the Vienna Opera from 1901 to 1907 (when Mahler resigned and left Walter co-director with Franz Schalk). Thus he worked at the feet of his master, who studied with him all his compositions and discussed his aims and ambitions. Indeed, the Ninth Symphony is dedicated to Walter, who, with the Vienna Philharmonic Orchestra, gave the first performance of it a year after Mahler's death. 

Bruno Walter is a tireless worker. His day in Vienna often consisted of a rehearsal in the morning, recording in the afternoon, coaching or taking a vocal rehearsal ' at 6pm, and a performance at the Opera in the evening. On one occasion he actually fitted in a recording even after the opera, when it was pointed out to him that that was the only time the Singakademie was free!

It seems that he is only happy when every spare moment of his time is occupied. Just before the Anschluss became an accomplished fact he told me how thoroughly happy he was. He had just signed a contract for a long term with the Vienna opera, and was beginning to do fine work. This last season all the performances were on a much higher level of excellence, due to his meticulous preparation of the operas. He prided himself on presenting a new AIda, Dalibor, Orpheus and Carmen. He was proud, too, of a new Romanian dramatic tenor he had discovered and had just insisted on signing up for seven years. There is no doubt of his great capacity in the organising and arranging of an opera season, as shown by the results obtained at Covent Garden, at the State Opera in Berlin, at Salzburg, Vienna and elsewhere. 

In the recording room Bruno Walter impresses one with his practical and easy approach to his job. This belies somewhat the romantic emotion he puts into his conducting in his renderings of Mahler and Bruckner. He has said that he always tries to approach even the oldest and most hackneyed work as though it was a new composition which he was playing for the first time. 

The freedom of his relations with members of the Vienna Philharmonic Orchestra met with its reward in the unstinted support they gave him, which undoubtedly was very largely due to the fact that it is his habit to treat the members of an orchestra as colleagues and not merely as workers. When coaching an orchestra, he deprecates any appearance of teaching symphonic musicians how to count 1,2,3, knowing that this would not only bore them, but would offend the artist in them. Such perfect recording as that of Mozart's D minor Piano Concerto, in which Bruno Walter plays the solo piano part and also conducts, could hardly be obtained without this instinctive cooperation of the whole orchestra. These records, by the way, gave Bruno Walter extreme pleasure, and are amongst his greatest treasures. 

He is very definite as to the value of recorded music, and says: 'What would we not give for records of Mozart, Chopin or Beethoven; even of Liszt and Brahms? We listen hungrily to verbal descriptions of their playing, told to us by people who yet know only from hearsay how they played. Recording is a great blessing, and the engineers have as great a responsibility to make it more and more real, and to see that the recording of works of great musical geniuses is not neglected.'

During a pause in recording, Bruno Walter recalled some of his early experiences, a few of which I reproduce hereunder with some little amplification of detail. Born in Berlin on September 15, 1876, he was also educated there. His early masters were Hans von Bülow and Gustav Mahler. He knew Arthur Nikisch and held the highest esteem for him. It was one of his regrets, he told me, that he never met Bruckner personally. All his knowledge of that great composer was gained from Mahler, who knew him intimately. For many years Walter tried to get closer to Bruckner, but was never successful in doing so, and says that only in the last 10 years has he understood him, and now he could not live without him. Bruno Walter has great faith in the enduring qualities of the music of both Bruckner and Mahler for the reason that, to use his own words, 'it is music that goes to the depths of a man's soul.' 

No young musician ever had such opportunities or such a master. During some seven years Mahler delegated to young Walter a large share of his duties, discussed with him his compositions, and sought his advice. The confidence engendered by these solid seven years of study and experience is the secret of Walter's perfect master-touch. He never distorts his music for the sake of 'gallery effects.' 

The fullness and activity of Bruno Walter's life are demonstrated by the importance of the posts he has held: At the Vienna Opera from 1901 to 1907, he was assistant and first Kapellmeister to Mahler. 1907 to 1912, coordinated conductor with Franz Schalk. 1912 to 1922, General Music Director (with sole responsibility) at the Munich Royal Opera (now the National Theatre). From 1925 to 1929 he was the responsible director or the Berlin Opera (the Staedtische Oper). Besides this work, he also acted during his spare time as conductor of the famous Gewandhaus and ThomasKirche choirs for three years. 

One cannot forget his work in re-establishing the Covent Garden opera after the War. From 1924 to 1931, firstly under Mr Harry Higgins and then under Colonel Eustace Blois, he assembled a dazzling company of artists. including Lotte Lehmann, Frida Leider, Friedrich Schorr, Delia Rheinhard, Elisabeth Schumann, Olszewska, Lauritz Melchior, and others. German opera attained its highest peak of popularity in London during this brilliant post-War period. 

During the many occasions when I had the pleasure of visiting one or other of the famous coffee-houses of Vienna with Bruno Walter, he used to ply me with questions about London and his many friends there. He had a great affection for our city, and was upset and distressed at finding himself unable to continue his regular visits for the opera season, following the decease of his great patroness, Mrs Lou Courtauld.

The 11 years, 1925-1937, form in the opinion of musical experts the most glorious period in the history of Salzburg. At that time none worked so hard as Walter to recreate the popularity of Mozart's music. And now all of these achievements are but memories and a new career has commenced; but Bruno Walter is a man with the vitality and the courage to do that. 

Quite recently Brano Walter, to his great joy, has been presented with full citizenship by the French Government. In his new capacity he has been invited to take charge of the French Music Festival to be held in Paris, Versailles and Fontainebleau in the spring of 1939. The French Minister of Fine Arts has made it clear to the Doctor that he is to engage the finest artistes and no means are to be spared to make the season the best ever. It is even suggested that possibly Toscanini himself will be associated with Dr Walter in this Festival. 

During a brief three days visit to London in the autumn, at the special invitation of His Master's Voice, Bruno Waiter and the London Symphony Orchestra carried out six full recording sessions. Amongst the works, his favourite symphony was recorded, namely, the Great C Major Schubert, as well as one of the most delightful Haydn Symphonies, the D Major No 86,c previously unrecorded. These jewels, under the magnetic baton of Walter, brought out the best efforts of the London Symphony Orchestra. It gave me, personally, enormous satisfaction to see how quickly this magnificent organisation, with its old tradition of Richter, Nikisch, Sir Landon Ronald, Weingartner, etc., rapidly fell into line with Walter's requirements.

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