The Coolidge Quartet -A Discography of Issued Victor Recordings (1938-40)

Researched and Written by Bryan Bishop

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William Kroll, first violin

Nicolai Berezowsky, second violin

Nicholas Moldavan, viola

Victor Gottlieb, cello

These were the founding members of the Coolidge Quartet, which was founded in 1936 as the resident quartet of the Coolidge Foundation of the Library of Congress. Mrs. Elizabeth Sprague Coolidge, the well-known patron of the arts who established the Coolidge Foundation, introduced the group in a 1936 radio broadcast with a speech:

“My pleasure is augmented by pride in the fact that these four young artists have chosen to call themselves ‘the Coolidge Quartet.’ No sweeter honor could befall me, because, to the high artistic esteem in which I hold them, I feel a real family relationship – stronger, perhaps, than some of those of blood. In adopting my name they seem almost to have become my adopted children.”

Mrs. Coolidge is said to have referred to the group, somewhat humorously, as “the four horsemen of the ApoCoolidge.”

The Coolidge Quartet was not the only group to be formed under Mrs. Coolidge’s aegis. Earlier ones had included the Berkshire String Quartet, founded in 1916, and the Elshuco Trio (its unusual name taken from the first syllables of Mrs. Coolidge’s names, i.e., ELizabeth SHUrtleff COolidge, Shurtleff being her husband’s middle name), founded in 1918. The Elshuco Trio made a handful of recordings for Brunswick in the early 1920s, mostly of salon pieces.

New York-born William Kroll (1901-1980) was a violin student of Henri Marteau at the Berlin Hochschule für Musik, and later of Franz Kneisel in New York. From 1922 to 1929 he played in the Elshuco Trio, and he was the first violinist in the Coolidge Quartet for its entire existence, from 1936 to 1944. Then he founded the Kroll Quartet, which lasted until 1969, making a number of LPs for Epic. (In fact, it may be that the Coolidge Quartet morphed into the Kroll Quartet; this is suggested by the fact that the Coolidge’s last known second violinist, Louis Graeler, then became the second violinist in the Kroll Quartet.) By all accounts Kroll was not easy to work with; indeed, all the other positions in the Coolidge Quartet changed hands several times! Kroll was also a composer of note, his best-known piece being “Banjo and Fiddle” for violin and piano, which was recorded by many violinists, including Jascha Heifetz. Besides his quartet work, Kroll can be heard on record in the first recording ever made of Bach’s Triple Concerto in A minor, BWV 1044, made for Victor in 1938 (set M-544), with harpsichordist Yella Pessl and flutist Francis Blaisdell.

Nicolai Berezowsky (1900-1953) was born in St. Petersburg, Russia, and escaped from the Soviet Union in 1922, settling in New York where he studied violin with Paul Kochanski and composition with Rubin Goldmark (George Gershwin’s teacher). He played in the New York Philharmonic for seven seasons, and was in the Coolidge Quartet until 1940. He had a certain amount of success as a composer, with Serge Koussevitzky and Gregor Piatigorsky championing his work. He wrote four symphonies, several concertos and much chamber music (the Coolidge Quartet, in fact, recorded his First String Quartet while he was their second violinist). He also conducted; he can be heard in this capacity on Alexander Kipnis’ 1945 recording of excerpts from Moussorgsky’s “Boris Godunov” (Victor M-1000).

Nicholas Moldavan (1891-1974) was born in Kremenetz, Russia, and studied viola at the St. Petersburg Conservatory, graduating in 1912. After the Russian Revolution he undertook a tour of the Far East in 1918 and never returned, settling in the USA. In 1925 he joined the world-famous Flonzaley Quartet, and can be heard on all their electrical Victor recordings. After the Flonzaleys disbanded in 1929, he, along with their leader, Alfred Pochon, founded the Stradivarius Quartet, with which he remained until 1935. He then became the founding violist of the Coolidge Quartet, remaining at least through the 1940-41 season. (The Coolidge Quartet’s subsequent violists were David Dawson and Jascha Veissi.)

I can find out little about Victor Gottlieb, the founding cellist of the Coolidge Quartet, not even the year of his birth, but photographs suggest that he was the youngest of the Quartet’s original members. After his service with the group, he moved to California with his wife, violinist Eudice Shapiro. Together they founded the American Art Quartet in 1943 (with violinist Robert Sushel and violist Virginia Majewski), a group that specialized in contemporary music; they were both also active in Hollywood studio orchestras. Victor Gottlieb died in 1963. (The Coolidge Quartet’s subsequent cellists were Naoum Benditzky and Daniel Saidenberg.)

Jack Pepper, another musician about whom I can find little information, save that he seems also to have been later active in Hollywood, replaced Berezowsky in the second violin chair at the start of the 1940-41 season. He was the only non-founding member to play on a Coolidge Quartet recording – their last two sessions, in September, 1940. (He was then replaced as second violinist by the aforementioned Louis Graeler.)

By the third year of its existence, 1938, the Coolidge Quartet was making recordings for Victor in New York, beginning with a very fine recording of Hindemith’s Quartet, Op. 22 (in those days known as “Quartet No. 3,” but since renumbered as “No. 4” due to the discovery and publication of an earlier quartet, Op. 2, which has become the official “No. 1”). This set the tone for further issues, because, even though it was not a première recording of the work, for American record buyers at the time it might as well have been, since the previous one, an early electric Polydor set by the Amar Quartet (of which Hindemith himself was the violist) was long out-of-print. All subsequent recordings by the Coolidge Quartet were, except for their Beethoven series, world première recordings, and included numerous works by American composers, both post-Romantic and contemporary (including collaborations with composers or their wives), as well as hitherto neglected Classical-period quartets (Schubert, Hummel). The importance of the Coolidge Quartet’s recordings, therefore, lies in their sense of discovery.

As for the Beethoven series, this commenced in 1939 with the first quartet of Op. 18, and the remaining quartets of Opus 18 were recorded and issued in order, and the first two of Op. 59, before the Coolidge Quartet’s recording career fizzled. The intent, made clear in Victor’s entry for the ensemble in their 1940 Catalog, was to record them all, but this remained unrealized. There are two possible reasons for this. First, the critical response for these Beethoven recordings was lukewarm, given the existence of competing versions by established groups such as the Budapest, Busch and Léner Quartets. Second, the price differential which existed between the Coolidges’ Beethoven series and the competing versions was erased in 1940. It must be remembered that until then, there were two classes of Victor Red Seal Records – the 11000-and-up series priced at $1.50 per disc, and the 14000-and-up series priced at $2.00. The Coolidges’ Beethoven series were placed in the lower-priced category, and all their non-Beethoven recordings in the higher. Most of the other string quartet records in Victor’s catalog were also in the higher-priced category, which alone made the Coolidge Quartet’s versions of Beethoven a more attractive prospect for the record buyer. Then in the summer of 1940, Columbia, which had a similar two-tiered pricing system, suddenly lowered the prices of all Masterworks records to $1 per disc, and Victor had no choice but to follow suit. Overnight, the prices of all versions of Beethoven quartets dropped; as an example, the Coolidges’ version of Op. 18, No. 1 had cost $4.50 as opposed to the Busch Quartet’s $6.50, but under the new pricing both sets now cost $3.50.

The Coolidge Quartet’s Victor recordings are very rare today, because, during the lean years of the Second World War with its shortages of shellac, most of them were deleted from the catalog. Only two remain listed in the 1948 RCA Victor Catalog: the last two of their Beethoven series (Op. 59, Nos. 1 and 2), which are in many ways the least representative of the group’s abilities. Irving Kolodin, writing in his “Guide to Recorded Music” (Doubleday, 1941), said of the Op. 59, No. 1 recording: “The suspicion presented by the Coolidges’ playing of the Opus 18 quartets (that they were essentially a neat, fluent ensemble with a special affinity for these works) is unfortunately substantiated by this performance.” Yet the Opus 18 recordings were all deleted, while the Opus 59, being more saleable, remained available.

I cannot claim this to be a complete discography of the Coolidge Quartet; that will have to wait for the happy day when the online Encyclopaedic Discography of Victor Recordings (at has reached through the end of 1940 and perhaps beyond (as of this writing, the latest Victor sessions detailed in that very valuable resource are those of October 1932), when a complete discography with details of takes and unissued sides can be extrapolated. As it is, I do have Michael Gray’s outstanding online resource (, which does give recording dates and matrix numbers (the latter are sometimes, but not always, visible on the labels of the discs), so I can give a fairly accurate picture of the order in which the issued recordings were made.

My listing is divided into three sections: 1) an alphabetical listing by composer; 2) a chronological issue history, with side layouts for multi-movement works; 3) a short listing of the recordings in the order that they occurred. All record numbers given are U.S. Victor issues unless otherwise indicated.

A brief note about Victor set numbers, which for Red Seal “Musical Masterpiece” sets used three different prefixes: M, AM and DM. Those with “M” prefixes were standard manual couplings, with side 2 on the reverse of side 1, side 4 on the reverse of side 3, etc. Those with “AM” prefixes were in “slide” automatic sequence for older-style record changers, where a set of four records, for example, would have sides 1 and 5 coupled, 2 and 6, etc. It is called “slide” because the records were placed on the turntable before play with side 1 on top, and the records allowed to slide off after play into a padded drawer, until they were all finished, then the stack retrieved and turned over with side 5 on top. The sets with “DM” prefixes were in “drop” automatic sequence for newer changers, where the same set of four records would have sides 1 and 8 coupled, 2 and 7, 3 and 6, and 4 and 5. The records would drop from a higher point onto the turntable, and after play, the stack would be turned over and played in reverse order. Until 1940, Victor pressed most of its album sets in M and AM couplings; then, later in 1940, reissued many sets in its back catalog as DM couplings. For a while, new sets were issued in all three couplings, then in 1941 the AM sets were phased out.

Victor records with an -S suffix were single-sided records, the blank reverse side being graced with an ornate design. These are found only in sets devoted to works requiring an odd number of sides, with the last side being on the single-sided record. No less than seven Coolidge Quartet sets were issued this way; only two sets with works requiring an odd number of sides had filler couplings for the last side.

Of the 105 issued sides by the Coolidge Quartet, I have about half, and these I have made available for download on my blog,; they are also available for listening on YouTube. I have indicated their availability in Section I, with the notation “Download: Shellackophile.” A couple of other recordings are available for listening online through other sources, and these I have also indicated in the appropriate places.


Beethoven: Ludwig van (1770-1827)

String Quartet No. 1 in F, Op. 18, No. 1
(Recorded March 17, 1939; matrices CS-032993/8, six 12″ sides)
Set M/AM-550, issued 1939; DM-550, issued 1940
HMV DB 3927/29 (Europe)

String Quartet No. 2 in G, Op. 18, No. 2
(Recorded April 28, 1939; matrices BS-036830/6, seven 10″ sides)
Set M/AM-622, issued early 1940; DM-622, issued later in 1940
HMV EC 85/88 (Australia)

String Quartet No. 3 in D, Op. 18, No. 3
(Recorded October 27, 1939; matrices CS-043322/5, four 12″ sides)
Set M-650, issued 1940
Download: Shellackophile

String Quartet No. 4 in C minor, Op. 18, No. 4
(Recorded October 24, 1939; matrices BS-043300/6, seven 10″ sides)
Set M/AM/DM-696, issued 1940
Download: Shellackophile

String Quartet No. 5 in A, Op. 18, No. 5
(Recorded December 18, 1939; matrices CS-046002/6, five 12″ sides)
Set M/AM/DM-716, issued 1940

String Quartet No. 6 in B-Flat, Op. 18, No. 6
(Recorded December 19, 1939; matrices CS-046011/5, five 12″ sides)
Set M/AM/DM-745, issued 1941
Download: Shellackophile

String Quartet No. 7 in F, Op. 59, No. 1 (“Rasumovsky”)
(Recorded April 3, 1940; matrices CS-048703/10, eight 12″ sides)
Set M/DM-804, issued 1941

String Quartet No. 8 in E minor, Op. 59, No. 2 (“Rasumovsky”)
(Recorded September 26, 1940; matrices CS-056178/83 and CS-056185/6, eight 12″ sides)
(Jack Pepper replaces Nicolai Berezowsky as second violinist on this recording)
Set DM-919, issued 1942; M-919, issued 1943
Download: Shellackophile

Berezowsky, Nicolai (1900-1953)

String Quartet No. 1, Op. 16
(Recorded May 31, 1938; matrices CS-023457/61, five 12″ sides)
Set M/AM-624, issued early 1940; DM-624, issued later in 1940

Chadwick, George Whitefield (1854-1931)

String Quartet No. 4 in E minor: Second movement (Andante simplice)
(Recorded May 31, 1938; matrix CS-023450, one 12″ side)
Filler for Set M-558 (Griffes: Two Sketches), issued 1939
Download: Shellackophile

Coolidge, Elizabeth Sprague (1864-1953)

String Quartet in E minor
(Recorded January 22, 1940; matrices CS-046480/5, six 12″ sides)
Set M/AM/DM-719, issued 1940
Download: Shellackophile

Griffes, Charles Tomlinson (1884-1920)

Two Sketches (Based on Indian Themes)
(Recorded May 27, 1938; matrices CS-023448/50, three 12″ sides)
Set M-558, issued 1939
Download: Shellackophile

Harris, Roy (1898-1979)

Quintet for Piano and Strings
(with Johana Harris, the composer’s wife, at the piano)
(Recorded January 24, 1939; matrices CS-031828/34, seven 12″ sides)
Set M/AM/DM-752, issued 1941
Download: Shellackophile

Hindemith, Paul (1895-1963)

Quartet No. 3, Op. 22 (now known as “Quartet No. 4″)
(Recorded May 20, 1938; matrices CS-023255/60, six 12” sides)
Set M/AM-524, issued 1939; DM-524, issued 1940
Download: Shellackophile

Howe, Mary (1882-1964)

Allegro inevitabile, for string quartet
(Recorded September 27, 1940; matrix CS-056192, one 12″ side)
(Jack Pepper replaces Nicolai Berezowsky as second violinist on this recording)
Filler for Set M/DM-891 (Mason: Quartet in G minor), issued 1942
This recording can be heard on YouTube (channel: Jk Stevenson)

Hummel, Johann Nepomuk (1778-1837)

String Quartet in G, Op. 30, No. 2
(Recorded March 24, 1939; matrices CS-035342/5, four 12″ sides)
Set M-723, issued 1941

Jacobi, Frederick (1891-1952)

Hagiographa – Three Biblical Narratives, for piano and strings
(with Irene Jacobi, the composer’s wife, at the piano)
(Recorded January 23, 1940; matrices CS-046490/4, five 12″ sides)
Set M/AM/DM-782, issued 1941

Loeffler, Charles Martin (1861-1935)

Music for Four Stringed Instruments
(Recorded May 27, 1938; matrices CS-023442/7, six 12″ sides)
Set M/AM-543, issued 1939; DM-543, issued 1940
This recording can be heard online at “Sunday Gramophone” (

McBride, Robert (1911-2007)

Quintet for Oboe and Strings
(with Robert McBride, oboe)
(Recorded October 27, 1939; matrices BS-043320/1, two 10″ sides)
Record No. 2159, issued 1941
(This is the only single-record issue among the Coolidge Quartet’s recordings)
Download: Shellackophile

Mason, Daniel Gregory (1873-1953)

Quartet in G minor (On Negro Themes), Op. 19
(Recorded September 27, 1940; matrices CS-056193/7, five 12″ sides)
(Jack Pepper replaces Nicolai Berezowsky as second violinist on this recording)
Set M/DM-891, issued 1942

Schubert, Franz (1797-1828)

Quartet No. 9 in G minor, Op. Posth. (D. 173)
(Recorded October 28, 1938; matrices CS-028165/8, four 12″ sides)
Set M-641, issued 1940
Download: Shellackophile


Issued in 1939:

M-524 Hindemith: Quartet No. 3, Op. 22:
15238-A First movement (Fugato)
15238-B Second movement (Quickly and energetically)
15239-A Third movement (Calm and moving), part 1
15239-B Third movement, part 2
15240-A Fourth movement (Lively); Fifth movement (Rondo: with easy grace), part 1
15240-B Fifth movement, part 2

Automatic sequence: AM-524 (15241/3); DM-524 (16224/6)

M-543 Charles Martin Loeffler: Music for Four Stringed Instruments:
15349-A First movement (Poco adagio; Allegro comodo), part 1
15349-B First movement, part 2
15350-A Second movement (Easter Sunday: Adagio ma non troppo), part 1
15350-B Second movement, part 2
15351-A Third movement, part 1 (Moderato; Allegro vivo)
15351-B Third movement, part 2 (Tempo di marcia; Adagio)

Automatic sequence: AM-543 (15352/4); DM-543 (16156/8)

M-550 Beethoven: Quartet No. 1 in F, Op. 18, No. 1:
12420-A First movement (Allegro con brio), part 1
12420-B First movement, part 2
12421-A Second movement (Adagio affetuoso ed appassionato), part 1
12421-B Second movement, part 2
12422-A Third movement (Scherzo: Allegro molto); Fourth movement (Allegro), part 1
12422-B Fourth movement, part 2

Automatic sequence: AM-550 (12423/5); DM-550 (12686/8)

M-558 Charles Tomlinson Griffes: Two Sketches (Based on Indian Themes):
15416-A No. 1 (Lento e mesto), part 1
15416-B No. 1, part 2
15417-A No. 2 (Allegro giocoso)
15417-B George W. Chadwick: Quartet No. 4 in E minor – Second movement (Andante simplice)
Issued in 1940:

M-622 Beethoven: Quartet No. 2 in G, Op. 18, No. 2:
4448-A First movement (Allegro), part 1
4448-B First movement, part 2
4449-A Second movement (Adagio cantabile), part 1
4449-B Second movement, part 2
4450-A Third movement (Scherzo: Allegro), part 1
4450-B Third movement, part 2; Fourth movement (Allegro molto quasi presto), part 1
4451-S Fourth movement, part 2

Automatic sequence: AM-622 (4449-52); DM-622 (4471/4)

M-624 Nicolai Berezowsky: Quartet No. 1, Op. 16:
15765-A First movement (Allegro)
15765-B Second movement (Vivace)
15766-A Third movement (Adagio sostenuto), part 1
15766-B Third movement, part 2; Fourth movement (Allegro con brio), part 1
15767-S Fourth movement, part 2

Automatic sequence: AM-624 (15768/70); DM-624 (15983/5)

M-641 Schubert: Quartet No. 9 in G minor, Op. Posth. (D. 173):
15848-A First movement (Allegro con brio)
15848-B Second movement (Andantino), part 1
15849-A Second movement, part 2; Third movement (Menuetto: Allegro vivace)
15849-B Fourth movement (Allegro)

M-650 Beethoven: Quartet No. 3 in D, Op. 18, No. 3:
12607-A First movement (Allegro)
12607-B Second movement (Andante con moto), part 1
12608-A Second movement, part 2; Third movement (Allegro)
12608-B Fourth movement (Presto)

M-696 Beethoven: Quartet No. 4 in C minor, Op. 18, No. 4:
4511-A First movement (Allegro ma non tanto), part 1
4511-B First movement, part 2
4512-A Second movement (Scherzo: Andante scherzoso quasi allegretto), part 1
4512-B Second movement, part 2
4513-A Third movement (Menuetto: Allegretto), part 1
4513-B Third movement, part 2; Fourth movement (Allegro), part 1
4514-S Fourth movement, part 2

Automatic sequence: AM-696 (4515/8); DM-696 (4519/22)

M-716 Beethoven: Quartet No. 5 in A, Op. 18, No. 5:
13437-A First movement (Allegro)
13437-B Second movement (Menuetto)
13438-A Third movement (Andante cantabile), part 1
13438-B Third movement, part 2
13439-S Fourth movement (Allegro)

Automatic sequence: AM-716 (13440/2); DM-716 (13443/5)

M-719 Elizabeth Sprague Coolidge: Quartet in E minor:
17504-A First movement (Allegro ben moderato)
17504-B First movement, part 2
17505-A Second movement (Funeral Lament: Lento)
17505-B Third movement (Divertimenti), part 1 (Choral; Little Ballad; A Fit of Temper; A Memory; Badinage)
17506-A Third movement, part 2 (Andantino [Berceuse]; Out of the Depths)
17506-B Third movement, part 3 (Final Fugato)

Automatic sequence: AM-719 (17507/9); DM-719 (17510/2)

Issued in 1941:

M-723 Johann Nepomuk Hummel: Quartet in G, Op. 30, No. 2:
17544-A First movement (Allegro con brio)
17544-B Second movement (Andante grazioso)
17545-A Third movement (Menuetto: Allegro con fuoco)
17545-B Fourth movement (Finale: Vivace)

M-745 Beethoven: Quartet No. 6 in B-Flat, Op. 18, No. 6:
13570-A First movement (Allegro con brio)
13570-B Second movement (Adagio ma non troppo), part 1
13571-A Second movement, part 2; Third movement (Scherzo: Allegro)
13571-B Fourth movement, part 1 (Adagio “La Malinconia”; Allegretto quasi allegro)
13572-S Fourth movement, part 2 (Allegretto quasi allegro)

Automatic sequence: AM-745 (13573/5); DM-745 (13576/8)

M-752 Roy Harris: Quintet for Piano and Strings (with Johana Harris, piano):
17750-A First movement (Passacaglia), part 1
17750-B First movement, part 2
17751-A First movement, part 3; Second movement (Cadenza), part 1
17751-B Second movement, part 2
17752-A Second movement, part 3
17752-B Third movement (Fugue), part 1
17753-S Third movement, part 2

Automatic sequence: AM-752 (17754/7); DM-752 (17758/61)

M-782 Frederick Jacobi: Hagiographa – Three Biblical Narratives (with Irene Jacobi, piano):
17999-A First movement (Job), part 1
17999-B First movement, part 2
18000-A Second movement (Ruth), part 1
18000-B Second movement, part 2
18001-S Third movement (Joshua)

Automatic sequence: AM-782 (18002/4); DM-782 (18005/7)

2159 Robert McBride: Quintet for Oboe and Strings (with Robert McBride, oboe):
2159-A Part 1
2159-B Part 2
(This is the only single-record issue by the Coolidge Quartet. It is my guess that its issue occurred between Sets M-782 and M-804, a guess based on the fact that the immediately preceding 2000 series numbers, Records Nos. 2157 and 2158, are part of Set M-789, “Art Songs by Povla Frijsh, Vol. 2.”)

M-804 Beethoven: Quartet No. 7 in F, Op. 59, No. 1:
13680-A First movement (Allegro), part 1
13680-B First movement, part 2
13681-A First movement, part 3; Second movement (Allegretto vivace), part 1
13681-B Second movement, part 2
13682-A Second movement, part 3; Third movement (Adagio molto e mesto), part 1
13682-B Third movement, part 2
13683-A Third movement, part 3; Fourth movement (Allegro), part 1
13683-B Fourth movement, part 2

Automatic sequence: DM-804 (13684/7)

Issued in 1942:

M-891 Daniel Gregory Mason: Quartet in G minor on Negro Themes, Op. 19:
11-8124-A First movement (Allegro commodo, ma con spirito), part 1
11-8124-B First movement, part 2
11-8125-A Second movement (Larghetto tranquillo), part 1
11-8125-B Second movement, part 2
11-8126-A Third movement (Allegro moderato, drammatico)
11-8126-B Mary Howe: Allegro inevitabile

Automatic sequence: DM-891 (11-8127/9). The Howe piece is shifted to Side 1 for this sequence.

DM-919 Beethoven: Quartet No. 8 in E minor, Op. 59, No. 2:
11-8260-A First movement (Allegro), part 1
11-8261-A First movement, part 2
11-8262-A Second movement (Molto adagio), part 1
11-8263-A Second movement, part 2
11-8263-B Second movement, part 3
11-8262-B Third movement (Allegretto)
11-8261-B Fourth movement (Finale: Presto), part 1
11-8260-B Fourth movement, part 2

The manual sequence set was issued later: M-919 (11-8380/3)


May 20 ’38 CS-023255/60 Hindemith: Quartet No. 3, Op. 22 (M-524)
May 27 ’38 CS-023442/7 Loeffler: Music for Four Stringed Instruments (M-543)
May 27 ’38 CS-023448/50 Griffes: Two Sketches Based on Indian Themes (M-558)
May 31 ’38 CS-023451 Chadwick: Quartet No. 4 – Andante (15417-B in M-558)
May 31 ’38 CS-023457/61 Berezowsky: Quartet No. 1, Op. 16 (M-624)
Oct 28 ’38 CS-028165/8 Schubert: Quartet No. 9 in G minor (M-641)
Jan 24 ’39 CS-031828/34 Harris: Quintet for Piano and Strings (M-752)
Mar 17 ’39 CS-032993/8 Beethoven: Quartet No. 1 in F, Op. 18, No. 1 (M-550)
Mar 24 ’39 CS-035342/5 Hummel: Quartet in G, Op. 30, No. 2 (M-723)
Apr 28 ’39 BS-036830/6 Beethoven: Quartet No. 2 in G, Op. 18, No. 2 (M-622)
Oct 24 ’39 BS-043300/6 Beethoven: Quartet No. 4 in C minor, Op. 18, No. 4 (M-696)
Oct 27 ’39 BS-043320/1 McBride: Quintet for Oboe and Strings (2159)
Oct 27 ’39 CS-043322/5 Beethoven: Quartet No. 3 in D, Op. 18, No. 3 (M-650)
Dec 18 ’39 CS-046002/6 Beethoven: Quartet No. 5 in A, Op. 18, No. 5 (M-716)
Dec 19 ’39 CS-046011/5 Beethoven: Quartet No. 6 in B-Flat, Op. 18, No. 6 (M-745)
Jan 22 ’40 CS-046480/5 Coolidge: Quartet in E minor (M-719)
Jan 23 ’40 CS-046490/4 Jacobi: Hagiographa – Three Biblical Narratives (M-782)
Apr 3 ’40 CS-048703/10 Beethoven: Quartet No. 7 in F, Op. 59, No. 1 (M-804)
Sep 26 ’40 CS-056178/86* Beethoven: Quartet No. 8 in E minor, Op. 59, No. 2 (DM-919)
Sep 27 ’40 CS-056192 Howe: Allegro inevitabile (11-8126-B in M-891)
Sep 27 ’40 CS-056193/7 Mason: Quartet in G minor on Negro Themes, Op. 19 (M-891)

*Matrix CS-056184 was skipped over. It is unclear why; my guess is that the third movement was originally allocated two sides instead of the one eventually used.

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