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Related Books & Ephemera
Yves St Laurent offers the splendid------------------------------------------------------------
1989 MET 'unknown' WERTHER
plus ANTAL DORATI &
ELEAZAR de CARVALHO in Boston;
SZELL, Vol. X,
GUARNERI QUARTET, Vol. II . . .
and numerous more CDs on our 50% SALE
In September we fondly remember HENRYK SZERYNG
, on the 22nd and CORNELL MacNEIL
, on the 24th – two great artists who dignified their respective fields of music.
ANTAL DORATI Cond. Boston S.O.: Symphony #8 in G (Prokofiev), Live Performance, 21 Nov., 1958; ELEAZAR de CARVALHO Cond. Boston S.O.: w.NICOLE HENRIOT-SCHWEITZER: Piano Concerto #1 in E-flat (Liszt), Live Performance, 26 Feb., 1949. (Canada) St Laurent Studio YSL T-558, Live Performances, Symphony Hall, Boston. [Live performances beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1640)
"Antal Dorati, an internationally known conductor who championed the music of Bartok and who led the National Symphony in Washington from 1970 to 1977, was a warm, hearty conductor, not so concerned with refined interpretive detail as with vital, sensible statements of the music at hand. Aside from his wide-ranging career in concert life, he made more than 500 recordings, many of them sonic showpieces, which further spread his fame.
Mr. Dorati was born in Budapest. At the age of 14 he entered the Liszt Academy, where his teachers included Bela Bartok and Zoltan Kodaly. Upon his graduation at the age of 18 he became a coach at the Budapest Royal Opera, where he made his conducting debut in 1924. In 1928 he became Fritz Busch's assistant at the Dresden Opera, and from 1929 to 1933 he was music director at the smaller Munster Opera. Although he never held another full-time operatic post, he periodically guest-conducted opera the rest of his life.
Mr. Dorati's next years were devoted primarily to dance, which presumably sharpened his sense of rhythmic propulsion in music. From 1933 to 1941 he was a conductor with the Ballet Russe de Monte Carlo, touring the world with the company, and from 1941 to 1945 was music director of American Ballet Theater. Throughout this period Mr. Dorati continued his guest conducting in the symphonic repertory, making his American concert debut in 1937 with the National Symphony. After World War II he returned to the orchestral world, starting with the reconstruction of the Dallas Symphony as its music director from 1945 to 1949. He became an American citizen in 1947.
After the Dallas orchestra came 11 years with the Minneapolis Symphony, during which time he also appeared frequently in Europe - principally with the London Symphony and the Philharmonia Hungarica, a West German-based ensemble of Hungarian refugees. In the early 1970's, as that orchestra's honorary president, he recorded all the Haydn symphonies with the ensemble.
In the 1960s, Mr. Dorati established his residence in Switzerland and served as music director of the BBC Symphony (1963-66) and the Stockholm Philharmonic (1966-70). As music director of the National Symphony he led the inaugural concert in 1971 at the John F. Kennedy Center for the Performing Arts. He became senior conductor of the Royal Philharmonic in London in 1975, moving up to conductor laureate in 1978. His last full-time post was as music director of the Detroit Symphony from 1977 to 1981.
Throughout his career, Mr. Dorati advocated a wide range of 20th-century music. Above all he prized the work of his teacher and compatriot Bartok, music for which his own gifts for strong rhythmic articulation and vivid instrumental color were particularly suited. He was also a composer himself, in an idiom that was both modernist yet accessibly melodic, and he often conducted his own large-scaled scores. His autobiography, NOTES OF SEVEN DECADES, was published in 1979."
- John Rockwell, THE NEW YORK TIMES, 15 Nov., 1988
“Eleazar de Carvalho, Brazil's foremost conductor and teacher to maestros Zubin Mehta, Seiji Ozawa and Claudio Abbado, was described by local music critics as one of the world's greatest conductors. Mr. Carvalho's career spanned 50 years during which he conducted 3,000 concerts.
In 1947, he made his overseas debut conducting the Boston Symphony Orchestra. He also conducted the philharmonic orchestras of Berlin and Vienna. Between 1951 and 1965 he taught conducting at the Berkshire Music Center in Massachusetts and at New York's Juilliard School of Music. He also taught at Yale from 1987 to 1993.
In 1971 he founded the Sao Paulo State Symphony Orchestra and remained its principal conductor until his death.”
- THE NEW YORK TIMES, 15 Sept., 1996WERTHER, Live Performance, 18 March, 1989, w. Jean Fournet Cond. Met Opera Ensemble; Neil Wilson, Kathleen Kuhlmann, Bernd Weikl, Dawn Upshaw, Renato Capecchi, Charles Anthony, James Courtney, Sandra Bush & Ray Morrison. (Canada) 2-St Laurent Studio YSL T-661. (OP3277)
“A company that makes the investment of time and money to issue a performance of WERTHER
that contains no box office names is a company that is doing something out of a true artistic belief in the quality of the performance. Tenors singing the title role at the Met during this period included Alfredo Kraus, Franco Corelli, and Placido Domingo. So who was Neil Wilson? Those who could be found singing Charlotte at that time include Frederica von Stade, Regine Crespin, and Tatiana Troyanos. Although Kathleen Kuhlmann is not a complete unknown, her reputation isn’t in the same league.
Research online didn’t create optimism either, as the one review I found of this performance (Martin Bernheimer in THE NEW YORK TIMES
) was decidedly less than enthusiastic. But listening to this set proved to be a thoroughly satisfying experience, one that I will be pleased to repeat many times in the future. At the core is veteran French conductor Jean Fournet, who was 76 at the time of this performance. He understood every element of appropriate French style and was able to communicate it to the Met Orchestra. In matters of balance, texture, color, tempo relationships, and dramatic urgency this account is outstanding. Clarity of texture is merged with a long-flowing line to keep the music soaring throughout.
Wilson was a last-minute substitute for Neil Shicoff (and for Shicoff’s understudy, who was also ill). He had enjoyed some prior successes in Europe and at the New York City Opera. While Wilson’s voice lacks glamor and individuality of color, it nonetheless is a basically warm, focused, attractive light tenor, and the singer portrays the complex character of Werther from the inside. There are passing moments of sagging pitch, but they are minor. Far more importantly, Wilson sings with style and real presence, and the ovation after ‘Pourquoi me reveiller’ is well deserved. Kuhlmann is even better. Her dark, rich mezzo has a vibrant glow, and her Charlotte is every bit as vibrant and alive as those of her more famous Met colleagues. What is very special is the evenness of the voice; its character is unchanged from a plummy lower register to a warm and luminous top.
Bernd Weikl is a bit blustery as Albert, but the remainder of the cast is superb, particularly Dawn Upshaw’s wonderfully sung Sophie. This release took me by surprise, and I would now rank it as one of the finest recordings of WERTHER
, one that anyone who loves this opera should investigate. There are more stunning individual performances on competing sets, but very few with the kind of fully integrated unity that is found here. As usual, St. Laurent Studio provides no notes or libretto, but we get thorough trackings and performance documentation, along with a superb rendering of the Met broadcast network’s stereo sound. This release is available from Norbeck, Peters & Ford (www.norpete.com)
- Henry Fogel, FANFARE
"Neil Wilson, a tenor who sang at the Metropolitan Opera from 1988 to 1993, was particularly admired for his portrayal of the title role in Massenet's WERTHER. He began his operatic career in 1980 in a performance of Verdi's FALSTAFF at Wolf Trap. He also appeared in the early 1980s in performances with the Opera Orchestra of New York at Carnegie Hall and at the Wurttembergische Staatsoper in Stuttgart, Germany. In 1988 he made his Metropolitan Opera debut as Macduff in Verdi's MACBETH. Other roles he sang with the company were Rodolfo in Puccini's LA BOHEME and WERTHER, both of which included broadcast performances, and Alfredo in Verdi's LA TRAVIATA. In 1990 he was selected as a leading tenor at the Komische Oper in Berlin, and over the last decade he gave more than 150 performances in leading roles, both in the house and on tour. In May, 2000, he was awarded the Wagner Prize by the Liederkranz Foundation, and performed in a concert that the Foundation presented at Alice Tully Hall.”
- Allan Kozinn, THE NEW YORK TIMES, 25 Aug., 2000
"The mezzo-soprano Kathleen Kuhlmann made her debut in 1979 at the Lyric Opera in Chicago; her European debut followed in 1980 at the Cologne opera; In 1982 she made her debut at the Royal Opera House Covent Garden in Handel’s SEMELE; La Scala, the Glyndebourne Festival (title role in Rossini’s LA CENERENTOLA), which was followed by the Salzburg Festival and the Metropolitan Opera.
Since that time Kathleen Kuhlmann appeared in Munich, Hamburg, Dresden, Berlin, Essen, Dusseldorf, Stuttgart, Vienna, Barcelona, Bilbao, Naples, Parma, Pesaro, Genua, Brussels, Amsterdam, Paris and Toulouse; also in Sydney, Montreal and San Francisco. She sang Handel’s XERXES in Chicago, Munich and Cologne, GIULIO CESARE in Munich, Paris, Bordeaux and Rome; SEMELE (the role of Juno) in Aix-en-Provence and Cologne Opera House, ALCINA in Chicago and Paris; she gave L'ITALIANA IN ALGERI in Dresden. She also sang Mistress Quickly in Verdi’s FALSTAFF at the Cologne Opera House.”
- Bach Cantatas WebsiteGEORGE SZELL Cond. Cleveland Orch.: Oberon – Overture (Weber); Symphony #40 in g, K.550 (Mozart); 'Eroica' Symphony #3 in E-flat (Beethoven). (Canada) 2-St Laurent Studio YSL T-618, Live Performance, 7 May, 1970, Severance Hall [Szell's final Cleveland Concert]. Transfers by Yves St Laurent. (C1641)
"It must be remembered that when George Szell came to prominence in the United States in the mid 1940s (and his mid-forties) he was a highly respected conductor and musician in Europe. He had a very solid grip on his repertoire which soon expanded to new works which he was debuting and championing. However, all that most music lovers around the world today know about Szell’s artistry they have divined from the recordings made by Columbia in Cleveland from the late 1940s on. In an interview with Szell as an intermission feature in one of the weekly broadcast concerts he stated that Columbia allowed him to record items that he requested only if they were not in conflict with Ormandy or Bernstein. Those he did make revealed meticulously prepared performances which could be misinterpreted as somewhat objective. The lean balances of those LPs and then CDs only reinforced that impression."
- Bruce SurteesGUARNERI QUARTET: Quartet in G, Op.77, #1; Quartet in F, Op.77, #2 (recorded 1977); Quartet in g, Op.74, #3 (recorded 1970) (all Haydn). (Canada) St Laurent Studio YSL 33-699. (S0728)
"The Guarneri Quartet's roots date to the 1964 Marlboro Festival, where as individual musicians they appeared with various ensembles and with pianist Rudolf Serkin. At the urging of violinist Alexander Schneider, the group collectively agreed to form a string quartet, taking their name from the famous Italian family of violin makers. It quickly achieved critical acclaim with 1965 appearances at the Spoleto Festival and Metropolitan Museum of Art. The group has since regularly appeared at the latter venue and have established other such recurring events, such as the Lincoln Center-based series entitled Guarneri and Friends, which began in 1973. The Guarneri Quartet also made immediate headway in the recording venue, with its traversal of the 16 Beethoven quartets (and Grosse Fugue) for RCA, issued from 1966-1969, which received several prestigious awards. The group gave highly acclaimed performances of all the Beethoven quartets in a historic 1970 series of concerts in London. For the first decade or so of its existence, the Guarneri players had developed a reputation largely associated with eighteenth and nineteenth century repertory staples, but in the mid-'70s, the group shifted its focus to include important works from the twentieth century, like the six quartets of Bela Bartok, which the Quartet also recorded to critical acclaim….
The Guarneri Quartet has also reached its audiences via numerous broadcasts over radio and several appearances on television, including a particularly notable one from 1990 on the CBS Network's Sunday Morning program, hosted by Charles Kuralt, which featured an interview with the players. The group was also the subject of a 1989 film entitled High Fidelity - The Guarneri String Quartet."
- Robert Cummings, allmusic.com. . . REPEATED . . . FROM THE RECENT PAST . . .DIE MEISTERSINGER, Live Performance, 10 Feb., 1945, (replete with Milton Cross’ commentaries), w.Szell Cond. Met Opera Ensemble; Herbert Janssen, Eleanor Steber, Kerstin Thorborg, Charles Kullman, Emanuel List, Mack Harrell, John Garris, etc. (Canada) 3-Immortal Performances IPCD 1088. Notes by Richard Caniell as well as a second article by Caniell and Anne Woods. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 54pp booklet. (OP3276)
“At the center of any MEISTERSINGER cast is, of course, Hans Sachs…. and the fact is that Janssen is a marvelous Sachs. It is true that his voice was lighter than Schorr’s, and certainly Schorr was also a great artist and a great Sachs. But so is Janssen, despite less vocal weight than we are used to in the role. His singing is lyrically beautiful, and in particular he conveys the humanity of the character in myriad ways through inflection and subtle emphasis of inflection. The contrast between his nobility and human warmth and Beckmesser’s superficiality (admittedly a caricature by Wagner) is clearly portrayed in their scenes together....is this a performance that Wagnerians will want to add to their collection? Yes. Absolutely, without a doubt….DIE MEISTERSINGER flies by because of the variety of color and finely sprung rhythms Szell brings to it. He even seems to be conducting with a smile at times. His is a masterful reading, and one we would be poorer without. Szell clearly also deserves the credit for the overall sense of ensemble among the singers.
Immortal Performances lives up to its usual extraordinary production standards, with a lavish booklet containing wonderful photos and terrific notes on the performance as well as details of the process of preparing this production. Milton Cross’ announcements are also included, but separately tracked if you don’t enjoy the nice atmospheric touch they provide. In the end, probably the central value of this important release is Szell’s conducting. But there is much else about this historic performance that collectors will treasure.”
- Henry Fogel, FANFARE, Nov. / Dec., 2017
“Herbert Janssen is magnificent in the central role of Hans Sachs. Janssen’s characteristic warmth of voice and personality is evident throughout. Those traits seem to affect his colleagues as well. In Eva and Walther’s conversations with Sachs, both Steber and Kullman seem transfixed by Janssen’s personality and art. In those episodes, their voices and manner take on an additional degree of intensity and rapt beauty. Janssen brings a Lieder artist’s sensitivity to diction, phrasing, and dynamics. In fine voice throughout, Janssen is also able to summon more than adequate power and boisterousness for the Act II scene with Beckmesser (‘Jerum! Jerum!’)…. Both Eleanor Steber and Charles Kullman approach ideal assumptions of the roles of Eva and Walther von Stolzing. Steber, then a lyric soprano with a rich, gorgeous instrument, embodies Eva’s warmth, kindness of heart, and youthful passion. It’s not surprising that such an accomplished Mozart interpreter also dispatches Eva’s trills with technical elan and beauty. Like Steber’s, Kullman’s attractive lyric instrument has ample heft and metal, and he sings Walther’s music with assurance and stamina, no mean feat in this most demanding and lengthy work. Kullman is absolutely convincing as a young, headstrong knight, who also bears the heart of a poet. Gerhard Pechner, too, is one of the finest Beckmessers on disc.
If you love DIE MEISTERSINGER (as I do), you owe it to yourself to hear this Met 1945 broadcast, a performance that captures, as well as any I’ve heard, the beauty and humanity of Wagner’s incomparable creation.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2017CARMEN, recorded 1954, w.Gressier Cond. Denise Scharley, Libero de Luca, Martha Angelici, Michel Roux, Robert Massard, etc. (France) 2-Malibran 821. [A thrilling and truly idiomatic performance, especially from the radiant Scharley! Highly recommended!] (OP3275)
FAUST - Excerpts, Live Performance, 1965, w.Etcheverry Cond. Alain Vanzo, Renee Doria, Adrien Legros, Robert Massard, etc. (France) Malibran AMR 168. (OP3273)
CHARLES MUNCH Cond. Boston S.O.: Symphony #10 – Adagio (Mahler-Krenek), Live Performance, 4 Dec, 1959; Symphony #7 in C (Sibelius), Live Performance, 4 Oct., 1957; Symphony #7 in c-sharp (Prokofiev), Live Performance, 27 Nov., 1953. (Canada) St Laurent Studio YSL T-610, Live Performances, Symphony Hall, Boston. [Live performances brilliantly displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1639)
REGINE CRESPIN, w.John Wustman (Pf.): Songs by Schumann, Wolf, Canteloube, Faure, Rosenthal & Sauguet. (Canada) St Laurent Studio YSL T-742, Live Performance, Weston Country School Auditorium (MA), 10 Feb., 1967. Transfers by Yves St Laurent. (V2579)
"Regine Crespin, the French operatic soprano and later mezzo-soprano, one of the most important vocal artists to emerge from France in the decades after World War II was widely admired for the elegance, warmth and subtlety of her singing, especially in the French and German operatic repertories. Early on, the natural carrying power of her voice seemed to point to a career as a dramatic soprano. Indeed, she made her 1950 debut at the regional company in Mulhouse, France, singing Elsa in Wagner's LOHENGRIN. Yet Ms Crespin's singing was imbued with nuanced phrasing, telling attention to text, creamy lyricism and lovely high pianissimos. While she had an enveloping voice, she always seemed to keep something in reserve, leading some listeners to sense a touch too much French restraint. But most opera buffs valued Ms Crespin for the effortless richness, lyrical nobility and subtle colorings of her singing. She was also a sophisticated actress whose Junoesque presence commanded attention. Ms Crespin's Metropolitan Opera debut came in 1962 as the Marschallin in DER ROSENKAVALIER, directed by the soprano Lotte Lehmann, who had been the most renowned interpreter of the role. Reviewing Ms Crespin's portrayal, THE NEW YORK TIMES critic Harold C. Schonberg wrote that she gave 'a simply beautiful performance' [enriched with] 'all kinds of delicate shading'. But when she let out her full voice, he added, it 'soared over the orchestra and all over the house - big, confident and beautiful'."
- Anthony Tommasini, THE NEW YORK TIMES, 6 July, 2007NATHAN MILSTEIN, w. Szell Cond. Cleveland Orch.: Symphonie Espagnole (Lalo), Live Performance, 4 Jan., 1968, Severance Hall; w.Louis Fremaux Cond. ORTF S.O.: Violin Concerto in D (Brahms), Live Performance, 22 June, 1967, Paris. (Canada) St Laurent Studio YSL T-666. Transfers by Yves St Laurent. (S0727)
"Always putting the music before himself was a hallmark of Milstein’s humility and humanity….The instrument is an extension of the human voice, and the bow is to playing the violin as the breath is to singing….I measure violinists by somewhat different standards; and those standards, if anyone deserves the title of greatest violinist of the 20th century, it is Nathan Milstein."
- Jerry Dubins, FANFARE, Jan./Feb., 2006FRITZ REINER Cond. Chicago Orch.: 'The Great' Symphony #9 in C (Schubert), Live Performance, 19 Dec., 1957, Orchestra Hall, Chicago; Irmelin - Prelude for Orchestra (Delius), Broadcast Performance, 10 Feb., 1954, WGN-TV Studios; Francesca da Rimini in e (Tschaikowsky), Broadcast Performance, 4 Nov., 1953, WGN-TV Studios. (Canada) St Laurent Studio YSL T-607. Transfers by Yves St Laurent. (C1632)
“Most importantly, there is Schubert’s Ninth Symphony, a staple of the repertoire that Reiner never recorded for RCA. This performance had languished in the CSO Archives since 1957, when it was broadcast live on WBAI radio in New York. The CSO trustees permitted live broadcasts of the 1957–58 season on that station but refused to permit them in Chicago for fear it would hurt attendance. A special phone line was set up from city to city to enable these transmissions. Subsequently, much of the material was issued by the CSO either in their centennial box set of 12 CDs, their turn-of-the-millennium set of 10 CDs, or as individual releases in conjunction with a fund-raising radio marathon produced on WFMT.
Full acknowledgement: during those years I was President of the CSO and oversaw those releases. I put together a committee that included Norman Pellegrini and Don Tait from WFMT, Gerald Stein (a very knowledgeable music lover in Chicago), Martha Gilmer the CSO’s Artistic Administrator, and Gary Stucka (a CSO cellist with a passion for historic recordings), and we went through the recorded archives each year to determine which performances we would release. This Schubert Ninth was never chosen for one very specific technical reason: a complete drop-out to silence from 9:01 to 9:04 in the second movement. We felt that it was jarring, and we always had something else we preferred. There is also a second problem in the original, a drop in volume at 7:08 in the third movement, after which the volume slowly fades back up until it reaches the correct level again at about 7:50. It is worth noting that Norbeck, Peters & Ford makes a point of mentioning these flaws in their listing.
But now that virtually every note of Reiner’s CSO career has been released in one form or another, one is grateful to St. Laurent for making this Schubert Ninth available, warts and all. The orchestral playing is glorious, proving that the CSO was performing at the highest international level during the middle of Reiner’s tenure….
St. Laurent Studio’s usual high level of sound restoration is in evidence here. The rich, warm sound of the old Orchestra Hall, extremely well captured by the original engineer’s mike placement, is faithfully reproduced in the Schubert. The dry WGN-TV studio sound is given as much warmth as possible. For the many fans of Fritz Reiner, this release is of enormous importance.”
- Henry Fogel, FANFARESERGE KOUSSEVITZKY Cond. Boston S.O.: Concerto in D for Strings (Henri Casadesus); 'Rhenish' Symphony #3 in E-flat (Schumann); Symphony #7 in C (Sibelius). (Canada) St Laurent Studio YSL 78-643, Live Performances, 1944-48. Transfers by Yves St Laurent. (C1633)
“Koussevitzky gave [the Sibelius Seventh] its American premiere, and was admired by the composer for his performance….Sibelius and Koussevitzky collectors may well wish to add this performance from eleven years later and with his extraordinary Boston musicians, but the recessed sonic picture makes it difficult to recommend to general collectors…..Although the broadcast is four years earlier than the Sibelius (1944 vs. 1948), the sound is light years better. In fact this sounds like a state-of-the-art 1948 studio recording, with the rich colors produced by the Boston musicians vividly conveyed. Tempi are on the quick side, but the playing is supple and warm, so the result doesn’t sound rushed at all. One notes Koussevitzky’s famed ear for color and balance, particularly in the Intermezzo. The strings produce a warm, dark and rich sonority while never covering the woodwinds. The tempo adjustments that the conductor employs never seem arbitrary - everything seems to flow naturally. The ritard at the end of the Intermezzo is fairly severe but very smoothly executed. Throughout, this is a performance offering high drama and a richly romantic view of the music. There is nothing small scaled about this ‘Rhenish’. It is a reading of opulence and grandeur, trmonding one of a bygone era.
I am not aware of any prior release of this performance, or any other Schumann Third by Koussevitzky, which makes this release by St. Laurent Studio a disc of extraordinary importance in documenting the work of one of the 20th century’s most important conductors. That they have transferred it in such superb monaural sound makes it all that much better.”
- Henry Fogel, FANFAREHERMANN ABENDROTH Cond. Leningrad Phil.: Symphony #1 in C (Beethoven); Symphony #5 in e (Tschaikowsky). (Canada) St Laurent Studio YSL T-627, Live Performance, 31 Oct., 1954. Transfers by Yves St Laurent. (C1625)
“….The performance of Beethoven’s First Symphony manages to be both granitic and flexible at the same time. The orchestral sound has weight. The double basses and cellos are more forward than one is used to from Mravinsky recordings, but the texture is never overly heavy. Think of Klemperer with added grace and a smile.
The Tchaikovsky is a major performance. Since by 1954 the orchestra had played this music repeatedly under the strong-willed Mravinsky, it is a testament to the strength of Abendroth’s musical personality that he could fashion something considerably different. The Adagio molto introduction is extremely slow but delicate and lyrical rather than weighty. Then the transition to the main Allegro con brio is done gradually. It takes a minute or two for Abendroth to reach what is ultimately a relatively normal tempo, and once he does, he applies further acceleration. Throughout all four movements, this is a mercurial, flexible performance. What makes it special is the conviction with which it is presented, both from the conductor and the musicians. One feels that one is participating in an event, not just a standard reading of an oft-played work. There is an intensity to the playing that grabs and involves the listener. Abendroth manages to encompass the lyrically beautiful and the dramatically powerful into a unified whole….This is a recording I expect to return to frequently.”
- Henry Fogel, FANFAREKAREL ANCERL Cond. Cleveland Orch.: MA VLAST - Sarka (Smetana); 'New World' Symphony #9 in e (Dvorak); w.GARY GRAFFMAN: Piano Concerto #3 in C (Prokofiev). (Canada) St Laurent Studio YSL T-617, Live Performance, 12 July, 1969, Blossom Music Festival. Transfers by Yves St Laurent. (C1638)
KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: 'Pastoral' Symphony #6 in F; Symphony #8 in F (both Beethoven). (Canada) St Laurent Studio YSL T-730, Live Performance, 27 July, 1975. Transfers by Yves St Laurent. (C1637)
BRUNO WALTER: A Treasury of Little Known Broadcasts, w. Eleanor Steber, Leopold Simoneau, George London, William Warfield, Jennie Tourel, Maureen Forrester, Nadine Conner, Irmgard Seefried, Jean Watson, Vladimir Horowitz, John Newmark, Yehudi Wyner, Westminster Choir, Concertgebouw Orch. & New York Philharmonic. (Canada) 4-Immortal Performances IPCD 1099, Live Performances, 1936-71, also offers Jim Fassett's broadcast commentary & Elaborate 37pp Booklet. Transfers by Richard Caniell. Program Notes by James Altena & Richard Caniell. (C1629)
GEORGE SZELL Cond. Cleveland Orch., w. CLIFFORD CURZON: Piano Concerto #27 in B-flat, K.595 - Live Performance, 30 Nov., 1969; w. CHRISTOPH ESCHENBACH: Piano Concerto #19 in F, K.459 - Live Performance, 16 Jan., 1969 (Eschenbach's American debut) (both Mozart, both Severance Hall); Eschenbach interview with Martin Perlich. (Canada) St Laurent Studio YSL T-545. Transfers by Yves St Laurent. (C1622)
LEONARD BERNSTEIN Cond. NYPO: Symphony #83 in g (Haydn); Study in Sonority (Riegger); Symphony #6 in d (Sibelius). (Canada) St Laurent Studio YSL T-615, Live Performance, 5 May, 1967, Philharmonic Hall, New York. Transfers by Yves St Laurent. (C1621)
“The Sixth Symphony…can easily seem like a shapeless series of fragmentary moments. It lacks the long-breathed thematic material and development to be found in varying forms in four of the first five symphonies (#3 is another enigmatic piece). One of the oddities about the Sibelius Sixth is that each movement doesn’t really build to a climax. The music progresses along, and then stops. Bernstein, with a complete mastery of the concept of tension and release, along with an infinite variety of colors and degrees of intensity at his disposal, makes it all seem like a logical progression. The studio recording was made four days after this live performance from 1967, which has even more frisson than that admirable effort. The rhythmic intensity Bernstein builds in the third movement is almost ferocious, and he manages to weave the varying threads of the finale into something with structural unity and a sense of direction. The Philharmonic plays brilliantly for him….
As with Sibelius, this live performance of Symphony #83 has just a touch more energy and presence than the studio recordings. Bernstein’s Haydn displays grace, textural clarity (he always reduced the strings), brilliant wind playing, wit, and that hard-to-define quality known as character. This performance treats the music with the same significance and command that conductors usually reserve for Mozart and Beethoven, without weighing the Symphony down….”
- Henry Fogel, FANFAREREGINE CRESPIN, w.John Wustman (Pf.): Songs by Wolf, Rosenthal, Debussy, Poulenc, Milhaud & Berlioz. (Canada) St Laurent Studio YSL T-741, Live Performance, Hunter College, New York, 11 Nov., 1967. Transfers by Yves St Laurent. (V2578)
CHARLES RICHARD: Le temps des cerises (Jean-Baptiste Clement); Arias from Lakme, Manon, Mignon, Werther, Mireille, Les Contes d'Hoffmann, Rigoletto, Tosca & La Boheme; CHARLES RICHARD & ODETTE TURBA-RABIER: Lakme - D'ou viens-tu...C'est le dieu de la jeunesse. (France) Malibran AMR 170. (V2581)
SMARTER THAN BOTH OF US ! ! !
We are grateful to so many of our readers who continue to note that our once-regular use of accent marks have become rather erratic. Due to the ever-growing popular use of ‘Smart’ Phones, Google automatically and frequently is restricting such marks, as well as that which we consider regular punctuation. In compliance with Google’s restrictive demands, as well as the fact that such complicated listings will require too long a period during which to download, or may not succeed in downloading at all, most of our newer listings are deleting such marks, much to our sense of loss. While our older listings so far retain such marks, we are informed that it won’t be long before they too automatically will be amended. We certainly take pride in our presentation, but are being compelled to adapt to another loss of style in these fast-paced times! We very sincerely appreciate so many of your valued comments and commiseration!!!
. . . numerous out-of-print CDs and LPs, [many sealed
copies of numerous out-of-print additions: The Record
Collector, Naxos, VRCS, Issues of Symposium's Harold
Wayne series, Romophone, GOP & many Met Opera
broadcasts & operas from Moscow's Aquarius, plus
Operas by Mercadante, Marais, Coccia, Vivaldi,
Cherubini, Spontini, Ricci, Vaccaj, Fioravanti,
Paisiello, Scarlatti, de Majo, Generali, Cavalli,
Rameau, Lully, Pergolesi, Cimarosa, Anfossi, Pietri,
Musinelli, Rossini, Charpentier, Gluck, Handel,
Vivaldi, Monteverdi, Rossini, Cagnoni, Myslivecek,
Mayr, Hasse, Meyerbeer, Weckerlin, Nicolai,
Marschner, Gurlitt, Schreker, etc.] have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies,
Record Catalogue- Discographies . . .
and more CDs and books are added each week] . . .
Our 50% Discount Sale continues,
now offering more than 2200 titles . . .
- - - - - - - 78rpm collectors, please note auctions from:
Dave Schmutz, www.78classicalgallery.com - or at: 818-242-6247
------------------ ANNOUNCEMENT -----------------
Norbeck, Peters & Ford's Annual 78rpm Has Now Closed!
This auction featured an entire section of which is dedicated to 7" discs, plus many wonderful instrumental and vocal rarities, many of which we're offering for the first time in our 45 years of operation.
You can still view the online version simply click the link below:
Auction #149 Online Catalog
To download a copy of Auction #149, simply click the link below:
Auction #149 Catalog File Download
For the recently-offered Archipel, Myto, Gebhardt, Walhall, Melodiya, Vista Vera & Living Stage titles on sale, simply visit our sale section of our website). This is the ideal opportunity at bargain prices to fill in gaps in one's collection.
. . . For the Opus Kura,
Archipel, Myto, Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our
sale section of our website . . .
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
Take a look at our exciting array of Broadway & Off-Broadway Original Cast and London Original Cast LPs, all in superb condition.
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We carry splendid CD offerings from Yves St Laurent, VRCS, The Record Collector, Marston, Palaeophonics, Immortal Performances (Canada), Malibran, Aquarius, Truesound Transfers, Walhall, Bongiovanni, Clama and many other labels.
As always, please contact us with any special requests.
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Thank you again for your loyal support, and happy browsing our ever changing website and exciting offerings.
C1640. ANTAL DORATI Cond. Boston S.O.: Symphony #8 in G (Dvorák), Live Performance, 21 Nov., 1958; ELEAZAR de CARVALHO Cond. Boston S.O.: w.NICOLE HENRIOT-SCHWEITZER: Piano Concerto #1 in E-flat (Liszt), Live Performance, 26 Feb., 1949. (Canada) St Laurent Studio YSL T-558, Live Performances, Symphony Hall, Boston. [Live performances beautifully displaying the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent.
OP3277. WERTHER, Live Performance, 18 March, 1989, w. Jean Fournet Cond. Met Opera Ensemble; Neil Wilson, Kathleen Kuhlmann, Bernd Weikl, Dawn Upshaw, Renato Capecchi, Charles Anthony, James Courtney, Sandra Bush & Ray Morrison. (Canada) 2-St Laurent Studio YSL T-661.
C1641. GEORGE SZELL Cond. Cleveland Orch.: Oberon - Overture (Weber); Symphony #40 in g, K.550 (Mozart); 'Eroica' Symphony #3 in E-flat (Beethoven). (Canada) 2-St Laurent Studio YSL T-618, Live Performance, 7 May, 1970, Severance Hall [Szell's final Cleveland Concert]. Transfers by Yves St Laurent.
S0728. GUARNERI QUARTET: Quartet in G, Op.77, #1; Quartet in F, Op.77, #2 (recorded 1977); Quartet in g, Op.74, #3 (recorded 1970) (all Haydn). (Canada) St Laurent Studio YSL 33-699.
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
Renata Scotto, Vol. I Hunter College, 1970; John Wustman (St Laurent Studio YSL T-665)
Klaus Tennstedt, Vol. IV (Bruckner 7th - Boston) (St Laurent Studio YSL T-570)
Aida / Forza (Bellezza; Rethberg, Ponselle, Martinelli, Pinza, de Luca) (2-Immortal Performances IPCD 1071)
Samson et Dalila (Pelletier; Maison, Stevens, Warren, Moscona) (2-Immortal Performances IPCD 1084)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
Bruno Walter - Treasury of Little Known Broadcasts (Steber, Tourel, Simoneau, Forrester) (4-Immortal Performances IPCD 1099)
Walkure, Act III (Traubel, Janssen) - Tristan, Act II, 1944 (Melchior, Traubel) (2-Immortal Performances IPCD 1093)
Regine Crespin; Karl Kritz, Thomas Schippers, John Wustman (2-Immortal Performances IPCD 1085)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
Don Giovanni (Bruno Walter; Pinza, Rethberg, Lazzari, Dino Borgioli) ( 3-Immortal Performances IPCD 1091)
Forza (Molinari-Pradelli; Leontyne Price, Corelli, Merrill, Hines, Corena) (2-St Laurent Studio YSL T-652)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
Charles Munch, Vol. XVII; Damnation de Faust (Steber, Singher, McCollum) (2-St Laurent Studio YSL T-458)
Erich Leinsdorf, Vol. IV; Idil Biret - debut (St Laurent Studio YSL T-380)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
Fritz Reiner - Schubert, Delius & Tschaikowsky (St Laurent Studio YSL T-607)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
Klaus Tennstedt, Vol. II - Haydn, Mahler & Webern (2-St Laurent Studio YSL T-542)
Marian Anderson, Vol. III (St Laurent Studio YSL 78-629)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Mignon / Carmen (Swarthout, Vinay, Hackett, Albanese, Pinza) (4-Immortal Performances IPCD 1096)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
Walkure (Boulez; McIntyre, Hofmann, Jones, Bode, Salminen, Randova) (3-St Laurent Studio YSL T-645)
Landmarks of Recorded Pianism, Vol. I (Lipatti, Cortot, Novaes, Rosenthal, Horowitz, Niryeghazy) (2-Marston 52073)
Der Rosenkavalier (Szell; Jessner, Novotna, Conner, List) (3-Immortal Performances IPCD 1092)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Forza (Stiedry; Milanov, Tucker, Warren, Hines) (2-St Laurent Studio T-679)
Missa Solemnis (Toscanini; Milanov, Thorborg, von Pataky, Moscona) (2-Immortal Performances IPCD 1086)
La Navarraise; Griselidis (Moizan, Vanzo, Mollien, Roux, Mars) (2-Malibran 813)
Klaus Tennstedt, Vol. VI - (Bruckner 4th - Boston) (St Laurent Studio YSL T-695)
Lener String Quartet, Vol. I (Brahms) (St Laurent Studio YSL 78-634)
Charles Rousseliere (The Record Collector TRC 46)