User:Techn0logist/List of electronic music works before 1940

Notes to self:

Perhaps it's better to look at pre-1945. Holmes essentially divides into two genreations: those where composers focused mostly on electronic performance instruments (<1945) and when they began focusing on electronic recording techniques (>1945).

Gramophone compositions

Date	Composer(s)	Title	Notes
1920	Stefan Wolpe	?	At a Dada concert in 1920, Wolpe put eight phonographs on a stage and had them play parts of Beethoven’s Fifth at different speeds.
1924		The Pines of Rome	Orchestral work used a phonograph recording of a bird sound. Before the introduction of electronic record players.
1927	Kurt Weill	The Tsar Has Himself Photographed	In the middle of the opera, Weil wrote an interlude for solo record-player—playing “Tango Angèle,” his first “hit”
1930	Paul Hindemeth	Trickaufnahmen	Gramaphone experiments. Hindemeth laid acoustic instruments at different speeds on top of each other.
1939	John Cage	Imaginary Landscape No. 1	For two variable-speed turntables, frequency recordings, muted piano, and cymbal. The records, which play the frequency recordings, are speed adjusted between 33 1/3 and 78 rpm, and rhythms are produced by lifting and lowering the record needle.
1942	John Cage	Imaginary Landscape No. 2 (March)	For tin cans, conch shell, ratchet, bass drum, buzzers, water gong, metal wastebasket, lion's roar and amplified coil of wire. The coil of wire is amplified by attaching it to a phonograph tonearm.
1942	John Cage	Imaginary Landscape No. 3	For tin cans, muted gongs, audio frequency oscillators, variable speed turntables with frequency recordings and recordings of generator whines, amplified coil of wire, amplified marimbula (a Caribbean instrument similar to the African thumb piano), and electric buzzer.
1942	John Cage	Credo In Us	One performer plays the radio and the phonograph

Instrument use in compositions

Theremin

Date	Composer(s)	Title (English)	Title (Original)	Instruments	Score	Recordings	Notes
1923	Andrey Paschenko	Symphonic Mystery	Симфоническая мистерия (Simfonicheskaya misteriya)	Theremin and orchestra	?	None known	Premiered on May 1924. This was the first composition commission by Leon Theremin, and the first orchestral work to use the Theremin.
1928~	Charles Ives	Symphony No. 4 (Ives)	Symphony No. 4 (Ives)	Theremin and orchestra			<Microtonal> Added in 1928, not when it was initially composed. He specifies an "ether organ", referring to the harmonium theremin. Used to play quarter-tones. [1]
1929	Vladimir Sokolov	Oriental Dance		Theremin and piano
1929	Vladimir Sokolov	Echo		Theremin and piano
1929	Vladimir Sokolov	Vocalise		Theremin and piano
1929	Vladimir Sokolov	Russian Song		Theremin and piano
1929	Joseph Schillinger	First Airophonic Suite, op. 21		Theremin and orchestra
1929	Joseph Schillinger	Melody		Theremin and piano
1930	Joseph Schillinger	Bury, Bury Me, Wind, op. 23		Theremin, violin and piano
1930	Joseph Schillinger	Gymnopdie for Electro quintet		Theremin, three Theremincellos, and Thereminkeyboard			May actually be an arrangement of Satie's Gymnopédie. There does appear to be a live performance of this but I haven't head it, and don't know if it's authentic
1932	Joseph Schillinger		Mouvement Électrique et Pathétique	Theremin and piano
1933	Friedrich Wilckens	Dance in the Moon		Theremin and piano
1933	Friedrich Wilckens	Adagio		Theremin
1933	Sandor Harmati	Illusion		Theremin and piano
1933	Edward B. Mates	Nocturne		Theremin and piano
1934	Nicolas Slonimsky	Dream Scents		Theremin and piano
1934	Riccardo Valente	Complaint		Theremin and piano	Yes	Jørgensen (2011)
1934	Edgard Varese	Ecuatorial		Two fingerboard Theremincellos, winds, percussion, and a bass singer			<Microtonal> The vocal parts contain quarter-tones, but I don't have a source for anything else microtonal.
1935	Percy Grainger	Free Music No. 1	Free Music No. 1	Four theremins	Yes	Lydia Kavina (1999), Lydia Kavina (2008)	<Microtonal> Theremin in preference to a string quartet, because of the instrument's complete 'gliding' freedom of pitch
1936	Percy Grainger	Free Music No. 2	Free Music No. 2	Six theremins	Yes	Lydia Kavina (2008)	<Microtonal>
1937	Percy Grainger	Beatless Music	Beatless Music	Six theremins	Yes	Lydia Kavina (2008)	<Microtonal>
1938	Jenő Takács		Deux mouvements Symphoniques pour Thérémine et Orchestre, op. 41	Theremin and orchestra
1938	Ernest Kanitz	Concertino for Theremin and orchestra		Theremin and orchestra
1938	Mortimer Browning	Concerto in F		Theremin and orchestra	Yes	Rosen (1939/1940)
1938	Johanna M. Beyer	Music of the Spheres	Music of the Spheres	Three electrical instruments/strings, lion's roar and triangle	Yes	None known*	Beyer had heard the theremin long before this composition, and likely intended it to be played for the theremin. She was a student of Henry Cowell and was in close touch with the composer Percy Grainger. *There was a recording of this work in 1977, but it was for a 70s-era synthesizer, which I consider too derivative to be a true recording.
1939	Jeno Szanto		Chant du Soir	Theremin and piano
1944	Bohuslav Martinu		Fantasia	Theremin, oboe, piano & string quartet	Yes
1945	Anis Fuleihan	Fantasy		Theremin and orchestra	Yes

Ondes Martenot

Date	Composer(s)	Title (English)	Title (Original)	Instruments	Score	Recordings	Notes
1928	Dimitrios Levidis		Poème symphonique, op.43-B	Ondes Martenot and orchestra			<Microtonal> The first composition for the instrument. Uses quarter tones and eighth tones.
1928	Edgard Varèse		Amériques	Ondes Martenot and orchestra			<Microtonal> In 1928, Varese altered the siren part in "Amériques" to use the ondes Martenot. The siren is not used in a noise-like manner, but instead for its microtonal properties.
1930	Pierre Vellones		Fantaisie	Ondes Martenot and piano
1930	Nikolai Obukhov		Le pasteur tout puissant règne	Ondes Martenot and piano
1932	Joseph Canteloube		Vercingétorix	Ondes Martenot and orchestra
1933	Darius Milhaud	Suite for Martenot and Piano		Ondes Martenot and piano	Yes	Jeanne Loriod (1962)
1933	Gustave Samazeuilh		Luciole	Ondes martenot and piano
1933	Charles Koechlin		The Seven Stars Symphony, suite symphonique, op. 132	Ondes martenot and orchestra
1934	Pierre Vellones		Split et Vitamines	Ondes martenot and saxaphone quartet
1934	Arthur Honegger		Sémiramis	Ondes Martenot and orchestra	Yes	1992
1935	Charles Koechlin		L’Album de Lilian (Book II), op. 149	Flute, piano, harpsichord, and Ondes Martenot
1935	André Jolivet		Trois Poémes pour Ondes Martenot et Piano	Ondes Martenot and piano
1936	Charles Koechlin		Les Eaux Vives, op. 160, pour l'Expo 37	Ondes Martenot and orchestra
1936	Pierre Vellones		Une Aventure de Babar
1936	André Jolivet		Danse Incantatoire	Ondes Martenot (2x) and orchestra
1937	André Jolivet		Incantation: "Pour que l'image devienne symbole"	Ondes Martenot (or violin)
1937	André Jolivet		Ouverture Rondeau	Ondes Martenot x4, piano x2, percussion
1937	Pierre Vellones		Fête Fantastique
1937	Charles Koechlin		Requiem des pauvres bougres, op.161	Ondes Martenot, chorus, orchestra, piano, organ
1937	Arthur Honegger		Le Cantique des Cantiques	Ondes Martenot and orchestra
1937	Olivier Messiaen		Fête des Belles Eaux	Ondes Martenot (6x)	Yes	Jeanne Loriod (1962)	Some sections are not very adventurous at all, but there are several sections, one of which has been called 'Oraison', which are notable.
1938	Olivier Messiaen	Two Monodies in Quarter Tone	Deux monodies en quarts de ton	Ondes Martenot			<Microtonal> Appears to, at the very least, be unpublished. Likely no recordings.
1938	Arthur Honegger		Jeanne d'Arc au bûcher	Ondes Martenot, orchestra and choir
1939	Charles Koechlin		Vers le soleil – 7 monodies for Ondes Martenot, op. 174	Ondes Martenot	Yes	Christine Simonin (1989)
1942	Olivier Messiaen		Musique de scène pour un Oedipe (Dieu est innocent)	Ondes Martenot			Appears to be unpublished, so likely no recordings
1943	Andre Jolivet		Suite Delphique, pour 12 instruments
1944	Jean Martinon		Symphonie No 2 "Hymne à la Vie"
1944	Charles Koechlin		Chant de sérénité	Ondes martenot and piano
1944	Olivier Messiaen		Trois petites liturgies de la présence divine	Ondes Martenot and orchestra
1945	Charles Koechlin		Le Buisson Ardent, poème symphonique d'après un épisode de "Jean-Christophe" de Romain Rolland, op. 203 & 171 (1945 & 1938)
1945	Henri Dutilleux			Trois Tableaux Symphoniques, d'après Les Hauts de Hurlevent

Trautonium

Date	Composer(s)	Title (English)	Title (Original)	Instruments	Score	Recordings	Notes
1930	Paul Hindemith	7 pieces for 3 trautoniums	Des kleinen Elektromusikers Lieblinge - 7 Stücke für 3 Trautonien	Trautonium (x3)	Yes	Oskar Sala (1977)	These pieces mostly just sound like they could've been written for strings, though the first is slightly interesting
1931	Paul Hindemith	Concertino for Trautonium and Strings	Konzertstück	Trautonium and strings	Yes	Oskar Sala (1978)
1932	Paul Höffer		Kleine Kammermusik
1933	Paul Hindemith	Exercises for Trautonium		Trautonium	Yes	?
1935	Paul Hindemith		Langsames Stück und Rondo	Trautonium	Yes	Oskar Sala
1938/1939	Harald Genzmer		Konzert für Trautonium und Orchester	Trautonium and orchestra
1941	Herrmann Ambrosius		Rhapsodie für [Konzert-]Trautonium und Orchester	Trautonium and orchestra
1941	Julius Weismann		Variationen und Fuge mit Orchester	Trautonium and orchestra
1942	Harald Genzmer		Musik für Trautonium und großes Blasorchester	Trautonium and orchestra

References to the Trautonium often note that the instrument also attracted the attention of Richard Strauss and Werner Egk, but Strauss used it only to emulate the sound of a gong in his 1940 Japanese Festival Music, and Egk apparently used it only for special effects in scores for radio plays and in operas that he conducted, after 1937, at the Berlin Staatsoper.

Rhythmicon

Date	Composer(s)	Title (English)	Title (Original)	Instruments	Score	Recordings	Notes
1931	Henry Cowell	Rhythmicana: for Rhythmicon and Orchestra	Rhythmicana: for Rhythmicon and Orchestra	Rhythmicon and orchestra	Exists[2]	?
1932	Henry Cowell	Music for Violin and Rythmicon	Music for Violin and Rythmicon	Rhythmicon and violin	Lost	None

Spharophon

Date	Composer(s)	Title (English)	Title (Original)	Instruments	Score	Recordings	Notes
1926	Georgy Rimsky-Korsakov	?	?	?	?	?	Some quarter-tone pieces by Georgi Rimsky-Korsakov were presented on the Spharophon in 1926 at the Donaueschingen Festival. It's unclear if the pieces were actually written for the Spharophon, or if Mager just adopted them. Mager may have also presented some of his pieces, but it's unclear. We do know that Mager and Korsakov had lots of correspondence, so it could go either way. The German Wikipedia sources a 1929 newspaper article and says that Hába , Wyschnegradsky, Paul Hindemith and Georg Rimski-Korsakow offered to write pieces for the instrument, but that it was little more than lip service. So it seems to suggest that there were no compositions for the instrument (except possibly by Mager), and that Mager just adapted one of Korsakov's compositions. "Beim Musikfest in Donaueschingen wurden sehr hübsche Vierteltonstückehen vom jungen Georg Rimsky-Korsakoff und vom Erfinder Jörg Mager vorgetragen." -- p390 in Musikblaetter Des Anbruch Jg.08 1926. This is where all the books I've found derive their information on the pieces. Would be good to have a native speaker help clarify if this means Mager presented some of his own compositions, or that he just played Korsakov's. The source also says Hindemeth was eager for the instrument to be practical, while Toch and Gael agreed to write compositions.
1932	Jörg Mager	?	?	?	Lost?	None known	One source says "a microtonal piece for thirty theatrical interpretations of drama Faust". Another says "to create sound effects that included an 'ethereal vibrato' to accompany a sunrise, the growling of a dog 'underlaid with microtonal sounds', 'spooky, demoniacal, eccentric music' for the Witches' Sabbath scene, and devil noises mixed into a 'whirl of tone trills'.
1935	Jörg Mager	Little Christmas Lullaby	Weihnachts-Wiegenliedchen	Spharophon	Yes	None known	Allegedly the only surviving piece of notated music for any of Jorg Mager's instruments

Croix Sonore

Date	Composer(s)	Title (English)	Title (Original)	Instruments	Notes
1934	Nikolai Obukhov	The Book of Life			Modification of an earlier composition
1934	Nikolai Obukhov		Pour le tabernacle, pour le mariage	Croix sonore, voice and piano	Modification of an earlier composition
1934	Nikolai Obukhov		Tout-puissant bénit la paix	Croix sonore and piano
1937	Nikolai Obukhov		Hymne mondial	Croix sonore, voices and piano

Novachord

Kammersinfonie op. 69 (1940)
Heitor Villa-Lobos - Symphony No. 7 (1945) includes a part for Novachord
Vera Lynn - We'll Meet Again (1939 Novachord Version)

Instrument use in original film scores

Theremin

Date	Composer(s)	Film Title (Original)	Film Title (English)	Country	Instruments (for relevant scenes)	Does original audio exist?	Notes
1924	Valentin Y. Kruchinin	Аэли́та	Aelita	Russia	Theremin and orchestra	No	A theremin was reportedly first used to accompany the silent film Aelita (1924) in the score by Valentin Y. Kruchinin, though I have not found clear evidence to prove this. The score was performed as an orchestra during the initial run in Moscow. As this pre-dated sound on film, it was performed live, and no recording from the time would be expected to exist (though there is a faint chance). The score does exist "in fragments", which were allegedly used in the otherwise-new score by Alexander Rennie for the 1999 DVD release.
October 1931	Dmitri Shostakovich	Odna/Одна	Alone	Russia	Theremin and orchestra	?	Theremin appears in scene where Yelena is lost in the snowstorm
1932	Gavriil Popov	Komsomol: Shef elektrifikatsii	Komsomol: Patron of Electrification	Russia	Theremin and orchestra	Yes	<Further Information> . Konstantin Kovalsky is pictured playing the theremin with an orchestra.
1932	Nikolai Krukov & Vladimir Popov	Изящная жизнь (Iziashnaya Zhizn)	The Nice Life	Russia	Theremin and noise instruments	Yes	<Recording> <Entire Film>. I can hear a noise segment possibly with theremin at 5:38, orchestral segment with theremin at 27:50~, a noise segment possibly with theremin at 38:00~, ... . Also, 1:01:50 seems to have an electro-acoustic reversal effect, probably using sound-on-film technology...
1932	Nikolai Krukov & Vladimir Popov	Дела и луди (Dela i ludi)	Affairs and People	Russia	Theremin and noise instruments	Yes	<Entire Film>
1936	Gavriil Popov	Родина зовет/Rodina zovet	Call to Arms	Russia	Theremin and noise instruments	Yes	Microtonal textures with brass instruments, noise orchestra, and low-pitch sounds with theremin. There were likely many involved, but Popov is the only one credited. <Entire Film>
1944	Robert E. Dolan	Lady in the Dark	Lady in the Dark	USA		Yes	Allegedly the first appearance of the theremin in Hollywood film
October 1945	Miklós Rózsa	Spellbound	Spellbound	USA	Theremin and orchestra	Yes
November 1945	Miklós Rózsa	The Lost Weekend	The Lost Weekend	USA	Theremin and orchestra	Yes
February 1946	Roy Webb	The Spiral Staircase	The Spiral Staircase	USA		Yes

It appears to be an urban legend that the theremin was used in the scores of King Kong (1933) and Bride of Frankstein (1935), although it is possible it was used as a sound effect.

Ondes Martenot

Date	Composer(s)	Film Title (Original)	Film Title (English)	Country	Instruments (for relevant scenes)	Is footage preserved?	Is standalone soundtrack preserved?	Notes
January 1931	Arthur Honegger & Maurice Martenot	La fin du monde	End of the World	France	Ondes martenot and piano	Yes	?	Featured about 1 hour 18 minutes in the party scene. Maurice Martenot is pictured playing the Ondes.
April 1934	Franz Waxman	Liliom	Liliom	France	Ondes martenot and orchestra	Yes	?	There are incorrect sources that indicate the score used a theremin: it was definitely an ondes Martenot. Used in the "Ascent into Heaven" scene around 1 hour 25 minutes in. It's actually quite hard to make out.
1934 (circa July 1934)	Arthur Honegger	L'Idée	The Idea	France	Ondes martenot and orchestra	Yes	?	Important to notice that the score was not originally in the 1932 film, which was silent, but introduced in 1934. It was apparently introduced a few months after the release of Liliom
November 1934	Arthur Honegger	Rapt	The Kidnapping	France	Ondes martenot and orchestra	Yes	?	Used in various scenes throughout the film
March 1935	Arthur Honegger	Der Dämon des Himalaya	Demon of the Himalayas	Switzerland(?)	Ondes martenot	Yes	?	Can be heard as a solo instrument in "The Smoking Den" scene (about 8 minutes in this link)
April 1935	Jacques Ibert	Golgotha	Golgotha	France	?	?	?	"For the climax, the crucifixion itself, he unleashed a tour de force of orchestral sonorities, with brass and rattling percussion vying for supremacy, culminating in a sepulchral march with the ondes martenot wailing desolately above it like a grief-stricken voice."
May 1935	Arthur Honegger	Crime et châtiment	Crime and Punishment	France	?	?	?
August 1936	Adolphe Borchard	Le roman d'un tricheur	Confessions of a Cheat	France	?	?	?	Played by Martenot's sister, Ginette
April 1937	Arthur Honegger	Marthe Richard au service de la France	Marthe Richard	France	?	?	?
June 1937	Pierre Vellones	Karakoram	Karakoram	France
1943	Arthur Honegger	Un seul amour	Secrets of a Ballerina	France	?	?	?

One source indicates that the Martenot was used by Shostakovich in 1932 film Counterplan, but this is highly unlikely. It is doubtful that there were any Ondes Martenots in Russia at the time, and there is little reason he would choose such a difficult option when the Theremin would have been available (and he had used it before). In addition, sources indicate that the original scores for Counterplan do not mention any electronic instrument. It is possible that the source suggesting the Ondes Martenot was used is referring to a later edited score. It is worth watching to find out, though I'm not sure if the original soundtrack is preserved.
Allegedly, there is an Ondes Martenot in Pygmalion (1938), composed by Arthur Honegger, during the scene where the speech apparatus is being demonstrated <Youtube>. Although this would be expected for Honegger, I have watched the scene, and cannot hear any electronic instrument (though it is fairly experimental for the time).
- "Honegger composed for "Pygmalion" (1938) one of the most successful noise-music sequences to date. This is the sound track for the scene in which the speech expert is demonstrating his apparatus. Percussive devices, claquettes, tuning-forks, the whir of machinery, and tones of the "Ondes Martenot" are orchestrated with such rhythmic brilliance that a non-melodic musical composition, perfectly proportioned to the screen image, impels the closest attention of the auditor-spectator."
Apparently the directors Abel Gance, Fritz Lang, André Cayate , Julien Duvivier, Marcel Carné, Laurence Olivier have all used the Martenot in their films, though it is not clear which films and composers this text means.

Trautonium

It was used in 1934 to produce what Sala termed the "Zaubermelodien" (Sala, "My Fascinating Instrument," 85) composed by Georg Häntzschel for Hanneles Hummelfahrt
According to German-language source, German electronic instruments like Trautonium were rarely used in film, though it notes that this would be difficult to prove.

Novachord

1939: Gone with the Wind, a Novachord was used for intermission music. Composed by Max Steiner
1940: Rebecca, composer Franz Waxman. Every time Rebecca is spoken about, the Novachord is there
1941: The Maltese Falcon. Bogey wakes from a drug induced sleep and looks in the mirror. think this is it.
1941: The Seawolf
1941: Topper Returns. The Novachord accompanies ghostly events.
1942: Cat People
1942: Frankenstien meets the Wolfman
1943: Northern Pursuit
1944: The Mask of Dimitrios
1944: House of Frankenstien

Sound-on-film compositions

Sound collage & musique concrete

Date	Composer(s)	Film Title (Original)	Film Title (English)	Country	Is original recording preserved?	Notes
June 1930	Walter Ruttmann	Wochenende	Weekend	Germany	Yes	A sound collage with no film. From my perspective, appears to be a clear forerunner to musique concrete.
September 1930	Sergei Eisenstein	Romance Sentimentale	Sentimental Romance	Russia/France	Yes	A combination of collage and drawn sound. "An aural melange of unidentifiable sounds created, according to one source, by running the soundtrack backwards or using 'drawn sound' that is, inscribing graphic figures such as letters, lines and profiles onto the soundtrack of the film and then playing it back through the projector. Utilized for the storm <Youtube 2:10> and animated sequences (?)
October 1930	Dziga Vertov	Энтузиазм: Цимфония Донбасса (Entuziazm: Simfoniya Donbassa)	Enthusiasm (film)	Russia	Yes	Uses the rhythm of a radio-telegraph and other recorded sounds, edited by cutting on film. From my perspective, seems to be a futurist composition with industrial noises, but splices them together using sound-on-film technology.
1934~	Jack Ellitt	Journey #1	Journey #1		Yes <Soundcloud>	If the date is correct, this is remarkably futuristic. Basically, it's musique concrete using sound-on-film, with electronic sounds and all. "The disc appears to be a private recording pressed by the BBC in 1954, yet the notes on the label indicate the disc is a transfer from a recording made on film stock (which Ellitt was working with intensively as a recording medium in the early 1930s). Horrocks believes Journey #1 is most likely a soundtrack for an unfinished film Ellitt has been working on with Lye called Quicksilver. This was an on-again/off-again project the two worked on sporadically from 1930 to 1934, but Horrocks writes in his biography of Lye that Ellitt's music came first and acted as inspiration for the film project, which means the recording could have been made as early as 1930. The listener can identify source materials in the recording that include field recordings and/or editing cut-offs, as well as drawn sound (the monophonic oscillator-like signals heard throughout); all techniques we know Ellitt was actively working with during the early 1930s. Journey #1 sounds like a demonstration of the ideas Ellitt wrote of in 1935's "On Sound"."

" Pudovkin's Deserter (1933), which included experiments such as running the soundtrack backwards, or inscribing and designing the sound so that it could be cut to change or even be warped"
Rapt (1934) runs the soundtrack backwards at around 1:01:41 for musical effect. There is a more impressive use of sound-on-film techniques earlier on the film, but it is used for wind sound effects.
Song of Ceylon (1934) is apparently of note, but I'm not sure yet

German drawn sound compositions

Date	Composer(s)	Film Title (Original)	Film Title (English)	Is original recording preserved?	Notes
1930-1932	Rudolph Pfenniger	Kleine Rebellion		Yes(?), but can't track down	Groteskes ballett film directed by Heinrich Köhler, with fully synthesized soundtrack. It's possible that this was an arrangement, not an original composition.
1930-1932	Rudolf Pfenninger	Pitsch und Patsch (Tönende Handschrift II)		Yes, but can't track down	An undersea animation drawn by Rudolph Pfenniger, with fully synthesized soundtrack. It's possible that this was an arrangement, not an original composition.

The five films by Rudolph Pfenniger were compiled as "Tönende Handschrift" in 1932, and this is still available and reasonably widespread, though I'm having a hard time tracking it down. It appears that 3 are on this DVD.
Please note that the experiments by Oskar Fischinger and László Moholy-Nagy were not compositional, but just experiments with different sounds/images
"Germany would quickly cease to be the fertile ground for work on synthetic film sound that it had been for the previous few years." (in other words, 1930-1933 was the peak period)

Russian drawn sound: ornamental sound

Date	Composer(s)	Film Title (Original)	Film Title (English)	Is original recording preserved?	Notes
1931	Arseny Avraamov	Кем быть? (Kem bït?)	Who to Be?	Lost	Not totally sure this has a synthetic soundtrack?
1931	Arseny Avraamov	Gibel sensatsii	The End of a Sensation	?	Appears to actually be a 1935 film without a synthetic soundtrack: perhaps the source is mistaken?
1934-1935	Arseny Avraamov		Drawn Sound of Siren	Yes<Youtube>	Not really a composition, more of a demonstration, but I'll consider it a composition anyway

Multzvuk group: experimental films ‘Ornamental Animation’, ‘Marusia Otravilas’, ‘Chinese Tune’, ‘Organ Chords’, ‘Untertonikum, Prelude’, ‘Piruet’, ‘Staccato Studies’, ‘Dancing Etude’ and ‘Flute Study’.
The group making productions in this format closed in 1934, and around 1936-1938 most of the archives were burned in an accident. If I hear right from Smirnov, the only thing still preserved is the "Drawn Sound of Siren".

Russian drawn sound: variophone

Date	Composer(s)	Film Title (Original)	Film Title (English)	Is original recording preserved?	Notes
1931	Georgy Rimsky-Korsakov, Vladimir Deshevov & Evgeny Sholpo	1905-Й Год в Буржуазной Сатире (1905-J God v Burzhuaznoj Satire)	1905 In The Bourgeois Satire	Lost	Director N.I. Galkin, composer V.M. Deshevov. Cartoon, fully synthesized soundtrack. Initial film in 1930, sound added in 1931. Seems to be lost. <Film Info>[3]
1932	Georgy Rimsky-Korsakov & Evgeny Sholpo	Симфония мира (Simfoniya mira)	Symphony of Peace/Symphony of the World	Lost	Cartoon by E.J. Johansson and G.V. Bankovsky, fully synthesized soundtrack. <Film Info>[4]
1933	Georgy Rimsky-Korsakov & Evgeny Sholpo		The Carburettor	Yes (audio only)<Youtube>	Educational film, fully synthesized soundtrack. Made with Variophone.
1933	Georgy Rimsky-Korsakov & Evgeny Sholpo		March Trot Gallop	Yes[5], though can't find
1935	Nikolai Timofeev & Evgeny Sholpo		Waltz	Yes[6], though can't find
1941	Igor Boldirev & Evgeny Sholpo	Стервятники (Stervyatniki)	The Vultures	Yes <Youtube >	Soviet propaganda cartoon. This one is somewhat experimental. For some reason, the cartoon I can find does not have the synthesized soundtrack, but an orchestrated one instead.

Very useful: https://archive.org/details/SmirnovPart03Compress
"Several dozen of his movies ... were shown for the first time at the animated film festival in Utrecht in November 2008"

Russian drawn sound: paper sound

Date	Composer(s)	Film Title (Original)	Film Title (English)	Is original recording preserved?	Notes
1933	Nikolai Voinov	Танец вороны (Tanets vorony)	Dance of the Crow	Yes <Youtube>	Cartoon
1934	Leo Shwarz & Nikolai Voinov	Вор (Vor)	The Thief	Yes <Youtube>	Cartoon by Aleksandr Ivanov and Panteleymon Sazonov

Began work in 1931, dismissed in 1936
"Four of his [Voinov] films are preserved in the Russian film archives"
"Animated cartoons with synthetic sound tracks, including Barynia (1931)" ... "About a Pig's Snout and a Soviet Kitchen Garden (1933)", ... "and Zones, Safety Lines (1934)"
http://2011.russiancinema.ru/index.php?e_dept_id=2&e_movie_id=19405, http://2011.russiancinema.ru/index.php?e_dept_id=2&e_movie_id=3762, http://2011.russiancinema.ru/index.php?e_dept_id=2&e_movie_id=18605, http://2011.russiancinema.ru/index.php?e_dept_id=2&e_movie_id=18607, http://2011.russiancinema.ru/index.php?e_dept_id=2&e_movie_id=18610

US drawn sound

Date	Composer(s)	Film Title (Original)	Film Title (English)	Is original recording preserved?	Notes
1939~	Norman McLaren	Allegro	Allegro	Lost?
1939~	Norman McLaren	Scherzo	Scherzo	Yes <Youtube>	Initially lost, rediscovered in 1984. I would say this is similar, but not as good as Dots.
1939~	Norman McLaren	Rhumba	Rhumba	?	Soundtrack-only
1940	Norman McLaren	Dots	Dots	Yes <Youtube>
1940	Norman McLaren	Loops	Loops	Yes <Youtube>
1943	John Whitney & James Whitney	"Five Film Exercises", Film 1	"Five Film Exercises", Film 1	Yes <Youtube>	These five films are absolutely groundbreaking. Composed using a specially constructed system of 12 linked pendulums, which delineated waveforms that could be filmed
1944	John Whitney & James Whitney	"Five Film Exercises", Film 2	"Five Film Exercises", Film 2	Yes <Youtube>
1944	John Whitney & James Whitney	"Five Film Exercises", Film 3	"Five Film Exercises", Film 3	Yes <Youtube>
1944	John Whitney & James Whitney	"Five Film Exercises", Film 4	"Five Film Exercises", Film 4	Yes <Youtube>
1945	John Whitney & James Whitney	"Five Film Exercises", Film 5	"Five Film Exercises", Film 5	?

The documentary Book Bargain (1937) allegedly uses drawn sound techniques by Norman McLaren, but according to one source, these were proposed by McLaren and not actually accepted. Further, if they are in the film, they will likely be used as sound effects. I need to track down the film.
A single drawn sound of the notes of the overtone series, which produce a phantom fundamental, is featured in the score by Bernard Herrmann for The Devil and Daniel Webster (1941).

Wire/tape/electroacoustic compositions

Date	Composer(s)	Title	Is original recording preserved?	Notes
1944	Halim El-Dabh	The Expression of Zaar	Yes