2. Contents in German and English
4. 1. Introduction: Paul Silber.................................................2’ 22”
5. 2. Introduction: Sheila Braggins .......................................5’ 23”
6. 3. Alfred Wolfsohn - English canon “London’s Burning”
7. .... Fips Faraday, Roy Hart, Julian Keeble, Ernest Cole,
8. ....Jenny Johnson, Jill Johnson, Marita Gunther,
9. ....Avis Cole .....................................................................;;..1’44”
10. 4. Alfred Wolfsohn – Haydn’s string quartet No 6,
11. ....Fips Faraday, Roy Hart, Julian Keeble, Ernest Cole,
12. ....Jenny Johnson, Jill Johnson, Marita Gunther,
13. ....Avis Cole.....................................................................;.. 3’ 38"
14. 5. Alfred Wolfsohn – Mozart’s “The Magic Flute”
15. ....all the six principle voices - Jill Johnson .................7’ 20”
16. 6. Alfred Wolfsohn - Christopher Rilke’s “Cornet”
17. ....all the characters - Jill Johnson...............................;;.....9’ 29”
18. 7. Marita Gunther’s London Lecture..........................;;;...12’ 07”
19. 8. Alfred Wolfsohn answers some questions ..................3’ 17”
20. 9. Conclusion: Paul Silber ..........................................;......0’ 49”
21. Total time -..........................................................:..;;;;;;;.;;;.46’ 16”
    (Tracks 3, 4, 5, 6 were recorded in mono sound.)
    Alfred Wolfsohn, in German, introduses each track,
    are then they are orally translated by Paul Silber into English.

On track 7, MARITA GUNTHER, a life long pupil of Alfred Wolfsohn, reads her lecture given in London in 2001

 

Track 5 « The Magic Flute »

The sisters, Jill and Jenny Johnson, were Alfred Wolfsohn’s two «Star Pupils». ( You can hear Jenny Johnson singing "The Lift Girl" song, see «Dorothy Hart and her fellow women soloist» on track 14 of that disc ) In this disc, Jill Johnson sings six excerpts from "The Magic Flute", the most famous of Mozart’s operas. The six principle characters include, of course, the roles of “The Queen of the Night” and “Sarastro”. These two roles are the highest and lowest singing parts ever written for a classical opera. Jill Johnson, not a classically trained singer, sings these excerpts to demonstrate the vocal range that she had attained under Alfred Wolfsohn’s training. The accompanying piano is played by Alfred Wolfsohn. Her demonstration comes very close to the requirements of a classically trained voice. It is, in any case, a ‘tour de force’.