Decca Records
| Decca Records | |
|---|---|
 |
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| Parent company | Universal Music Group |
| Founded | 1929 |
| Founder | Edward Lewis |
| Distributor(s) |
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| Genre | Various |
| Country of origin | UK |
| Official website | |
Decca Records began as a British record label established in 1929 by Edward Lewis. Its U.S. label was established in late 1934 by Lewis along with American Decca's first president Jack Kapp and later American Decca president Milton Rackmil. In 1937, as a result of anticipating Nazi aggression leading to World War II, Lewis sold American Decca and the link between the U.K. and U.S. Decca labels was broken for several decades.
The British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group, which is owned by Vivendi, a media conglomerate headquartered in Paris, France. The US Decca label was the foundation company that evolved into UMG.
The name "Decca" was coined by Wilfred S. Samuel by merging the word "Mecca" with the initial D of their logo "Dulcet" or their trademark "Dulcephone." Samuel, a linguist, chose "Decca" as a brand name as it was easy to pronounce in most languages.
The name dates back to a portable gramophone called the "Decca Dulcephone" patented in 1914 by musical instrument makers Barnett Samuel and Sons. That company was eventually renamed the Decca Gramophone Co. Ltd. and then sold to former stockbroker Edward Lewis in 1929. Within years, Decca Records Ltd. was the second largest record label in the world, calling itself "The Supreme Record Company".
Decca bought the UK branch of Brunswick Records and continued to run it under that name.
In the 1950s the American Decca studios were located in the Pythian Temple in New York City.
In classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels (later merged as EMI). The pre-war classical repertoire on Decca was not extensive, but was select. The 3-disc 1929 recording of Delius's Sea Drift, arising from the Delius Festival that year, suffered by being crammed onto six sides and was withdrawn before 1936, probably as a result of the standardisation on 78 revolutions per minute. However, it won Decca the loyalty of the baritone Roy Henderson, who went on to record for them the first complete Dido and Aeneas of Purcell with Nancy Evans and the Boyd Neel ensemble (Purcell Club, 14 sides, pre-1936); and Henderson's famous pupil Kathleen Ferrier was recorded and issued by Decca through the period of transition from 78 to LP (1946–1952). Heinrich Schlusnus made important pre-war lieder recordings for Decca.
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