June 1921. After a brief marriage to actress Gerda Müller from 1927 to 1929, he was again together with Gustl Jansen. In 1936, Scherchen married the Chinese composer Xiao Shuxian in Peking (Beijing). A daughter, Tona Scherchen, was born to them in 1938. She has also made a name for herself as a composer. The last of his five wives was the Zurich-based Romanian mathematics teacher Pia Andronescu, with whom he had five children: Myriam, David, Esther, Nathan and Alexandra. He died in Florence, survived by a number of children from five wives and other women. One of his sons was Karl Hermann "Wulff" Scherchen. Wulff met Benjamin Britten when they were thirteen (nearly fourteen) and twenty, respectively. Their romantic relationship did not begin until four years later. John Bridcut describes the passionate exchanges of letters between the increasingly-famous composer and the teenager in Britten's Children. Wulff's relationship with Britten is also the subject of Serenade for Tenor, Saxophone and Orchestra, a song cycle by Lyle Chan based on the romantic letters exchanged by the pair. Until 2014, his daughter, Myriam Scherchen, co-ran the music label Tahra, which released officially authorized historical recordings of conductors such as Scherchen, Furtwängler, Mengelberg and others, generally drawn from primary recorded sources. Tahra ceased business after the death of the co-principal of the label, René Trémine. The sister of Auguste Maria Jansen, Helen (Lene) Jansen, was married to the Hungarian cartographer Alexander Radó, who, under the alias 'Dora', was a member of the European-wide resistance organization known as the "Rote Kapelle". When Radó was threatened in Switzerland by German security agents and faced eviction, Hermann Scherchen hid him in his apartment in Geneva. Quote "Music does not have to be understood. It has to be listened to." ("") Recordings Scherchen recorded an unusually wide range of repertoire, from the baroque to the contemporary. His Mahler recordings, made before Mahler became a part of the standard repertoire, were especially influential; so too were his recordings of Bach and Handel, which helped pave the way for the period-performance practice movement. Included as well were significant recordings of music by Haydn, Beethoven, Berlioz, Tchaikovsky, Glière, Bartók, Schoenberg and many others. In 1959, Hermann Scherchen recorded Handel's Messiah, with Pierrette Alarie, soprano, Nan Merriman, contralto, Leopold Simoneau, tenor and Richard Standen, bass. (Westminster XWL 3306, WST 306) In 1959, Hermann Scherchen recorded Bach's Mass in B minor, with