After a string of major symphonic recordings, Karl Böhm and the Staatskapelle Dresden embarked in the autumn of 1938 (relatively late, three years after they had begun recording with him) on the documentation of a new genre. From now on, it was increasingly the case that notes instrumental soloists would be invited to Dresden - world stars such as the pianists Wilhem Backhaus, Edwin Fischer and Walter Gieseking were imaginatively combined with newcomers like the young violinist Wolfgang Schneiderhan and with former members of the orchestra such as past leaders Jan Dahmen and Max Strub, who had successfully established themselves as soloists.