PLEASE NOTE: FREE SHIPPING FOR ORDERS OVER $49.00 - US ONLY
Classical CDs, LPs, 78s,
Related Books & Ephemera
The Summer doldrums (when private producersJOSEF VLACH Cond.Czech Phil.: Mozart, Dvorák, Suk, Tschaikowsky, Hurnik, Paur, Respighi, Stravinsky, Britten & Debussy. (Czech Republic) 4-Supraphon 4203, recorded 1960-82. (C1450)
are quiet) have resulted in a great many more titles
added to our SALE sections . . . particularly Opera.
A gargantuan collection has been arriving in
several stages, the initial appearance being this
week. The vast majority of these often out-of-print
CDs (many Naxos issues of Met Opera broadcasts)
remain factory-sealed, just as they were aquired
over 20 years ago. All are offered at half-price,
so here’s your opportunity to fill in missing
titles in your collection at greatly reduced prices.
“The violinist and conductor Josef Vlach (1923-1988), who played a crucial role in cultivating the superlative Talich tradition and quality, is far from being as well known as he deserves to be. At the age of 23, Vlach co-founded the Czech Chamber Orchestra for Vaclav Talich, who after being falsely accused of collaborating with the Nazis was banned from working with the Czech Philharmonic and the National Theatre. The young orchestra soon proved to be a sensation (Pierre Fournier branded it the best chamber formation in the world), yet following the Communist coup in 1948, it rather opted for diluting rather than renouncing Talich.
The maestro's stringent requirements for the utmost artistic quality, diligence and engagement served as the fundamental principles for the Czech Chamber Orchestra, revived by Josef Vlach in 1957. They went on to gain great acclaim worldwide, with the most noteworthy triumphs including the performance in Osaka in 1960 (standing in for the Boston Symphony Orchestra), the concert at the Salzburger Festspiele in 1962 (broadcast by some 180 radio stations), tours of the USA, Germany, the UK, Switzerland, France, Belgium. The orchestra then returned from the limelight to the twilight at home, rehearsals in a dingy basement, to a country where they were more tolerated than supported. Yet even amidst such unfavourable circumstances Vlach's exceptionable musical qualities and the Talich credo would bear extraordinary fruits. According to Ivan Moravec's reminiscences, Josef Vlach was ‘in everyday life a person absolutely unexceptional, humble yet rather absent-minded, whereas his imagination as regards music was so immense that I can hardly conceive of Talich's successor possessing a greater, ampler and more compelling vision’. The present recordings, made between 1960 and 1982 (most of them before 1966) are among the most precious gems from the Supraphon archives. They have all been carefully remastered, with half of them now being released on CD for the very first time.
Josef Vlach and the Czech Chamber Orchestra - recordings abounding in torrential energy, a legend arising from the feted Talich tradition.”
BRUNO MADERNA Cond. Philadelphia Orch.: Symphony #5 in c-sharp (Mahler), Live Performance, 1971. (Canada) St Laurent Studio YSL T-373. Transfers by Yves St Laurent. (C1449)
“Maderna was a musician who couldn't write or conduct a note without wanting to communicate something essential, and essentially human. He is arguably the most underrated figure of the avant-garde. Maderna's music breathes an expressive freedom that makes it, I think, immediately compelling. His commitment to the modernist cause is unassailable. As well as Maderna's own music, there are a handful of recordings you need to hear. There's a white-hot Mahler 9th with the BBC Symphony Orchestra from 1971 - one of the most incandescent interpretations I've ever heard, and a thrilling LE MARTEAU SAN MAÎTRE on YouTube; on CD and download, you can find Maderna's Schönberg, Webern, Malipiero, Stravinsky, and even Mozart as well. The most eloquent revelation of how much Maderna meant to the whole generation of post-war composers is the music they wrote in his memory: Boulez's RITUEL IN MEMORIAM BRUNO MADERNA and Berio's CALMO. But the best tribute to Bruno you can give him is to listen to his own music. Enjoy.”
- Tom Service, THE GUARDIAN, 13 Nov., 2013
VLADIMIR de PACHMANN: Chopin Recital; Schumann, Mendelssohn, Verdi-Liszt (the latter's RIGOLETTO Paraphrase). (Canada) St Laurent Studio YSL 78-370, recorded 1911-27. Transfers by Yves St Laurent. (P1235)
“In the late nineteenth century and early in the twentieth, when anyone of musical culture mentioned Chopin, the name of Vladimir de Pachmann would immediately come to mind, the one name never far behind the other, seemingly forever linked…. de Pachmann was the first to play everything of Chopin, not only the large-scale works, but the smaller masterpieces and some works that had never been played….de Pachmann was the first to give Chopin cycles, such as those which he played at his American début in New York in the 1889-1890 season: three concerts which included both large scale and smaller works…. The composer Kaikhosru Shapurji Sorabji wrote an excellent summary of de Pachmann’s art: ‘The almost unlimited range of his gradations within a mezzo-forte and an unbelievable ‘quasi-niente’; the amazing fluidity and limpidity of his ‘jeu perlé’; his delicious dainty staccato; the marvelous cantilena; the exquisite phrasing, and the wonderful delicate fantasy of the whole … made his playing of certain works of Chopin an enchantment and a delight’…. Of de Pachmann’s playing of the Larghetto from the f minor Concerto, American critic Olin Downes wrote: ‘… if it is said that when he sang on the keys, the ineffable song of the Larghetto, angels wept over the bars of heaven, it is only a little more than the truth. Indeed the music had a haunting seraphic melancholy, a freedom from every thralldom of this world only to be evoked by the supreme artists and the pure in heart’.
Even the most casual listener, hearing de Pachmann’s recordings for the first time, will notice the difference between his Chopin interpretations and modern performances. Certainly this is because of de Pachmann’s extreme use of performance practices of the nineteenth century.
Perhaps the pianist was right when he said at the end of his life, ‘I shall not be forgotten, I have made some gramophone records. And when your children and your grandchildren ask you who was this de Pachmann?, you will be able to show them how he played and understood the works of Chopin. And though they cannot see me, they will hear my voice through my music and they will know why all the world worshiped de Pachmann’.”
- Edward Blickstein, Program Notes
ARTHUR de GREEF, Vol. II: Soirée de Vienne (Schubert-Liszt); Grande valse brillante in E-flat; Sonata #2 in b-flat (both Chopin); w.Landon Ronald Cond. New S.O.: Concerto #2 in g (Saint-Saëns). (Canada) St Laurent Studio YSL 78-366, recorded 1925-28. Transfers by Yves St Laurent. (P1234)
“Arthur de Greef studied piano at the Brussels Conservatory with Louis Brassin, winning first prize in 1879. He also studied composition with François Auguste Gevaert, and it may have been one of these teachers who suggested that the young de Greef continue his studies in Weimar with Franz Liszt. It is not absolutely certain how long he studied with Liszt: an authority, Donald Manildi, states that he was fifteen when they met and that he studied for ‘about two years’ which implies the years 1877–1879; however, he may not have begun tuition until 1879. Following his period of study with Liszt, de Greef spent some time in Paris where he received tuition from Saint-Saëns. In 1889 Grieg visited Belgium and conducted performances of his Piano Concerto in a minor with de Greef as soloist. The performances were a great success, and Grieg asked de Greef to play the concerto in Paris the following year. The two musicians became friends, a relationship that lasted until the composer’s death in 1907. Grieg wrote in a letter to violinist Ole Bull, ‘de Greef is the best interpreter of my music I have met with. It is surprising how he understands my meaning. Whether I roam over the mountains or through the valleys, whether I am refined or vigorous, he follows me with a wonderful instinct. I feel happy and honoured by his sympathy for my art. He is a real Master; that I see more and more, just one of those whom you may look for with a lantern all around the musical world’.
In 1885 de Greef returned to Brussels to take up a post as teacher of piano at the Conservatory, and in December 1887 was created Professeur Supérior de Piano by royal command. He first visited London in 1890, and in 1892 took the rare step of playing a piano concerto by Mozart in a performance conducted by Hans Richter. George Bernard Shaw who reviewed the concert stated, ‘I have to congratulate M. de Greef on having come triumphantly through the ordeal of taking Mozart’s own place at the pianoforte in the c minor Concerto’. In the same year de Greef gave a series of recitals in Paris devoted to the history of piano music, and for the next forty years he combined a teaching career at the Conservatory with that of performing. He also composed, leaving amongst his works a symphony, three symphonic poems and two piano concerti.
de Greef’s style is somewhat like that of Emil von Sauer. His playing is clear and lucid, free from indulgence and rhetoric. An interesting feature of some of his recordings is his alteration of the text. Most important are the recordings of works by Grieg, Saint-Saëns and Liszt where it can be assumed that the alterations and additions were sanctioned by the composers themselves. Grieg evidently approved, as Percy Grainger, who also studied the work with its composer, makes changes to the text in his performances of Grieg’s Piano Concerto, and later published an edition for Schirmer detailing these changes.”
- Jonathan Summers, Naxos - A–Z of Pianists
. . . repeated from the recent past . . .THE BING GIRLS ARE THERE (Clifford Grey & Nat D. Ayer), recorded 1917, w. John Ansell Cond. Alhambra Theatre Enmsemble; Nat D. Ayer, Violet Loraine & Joseph Coyne; Extras by Eric Courtland, Walter Jeffries, Wilkie Bard & De Groot and his Piccadilly Orch. (England) Palaeophonics 136, w.Elaborate ‘The Play’ 16pp. Brochure replete, with numerous photos of the Alhambra Theatre 1917 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0277)
“A composer, pianist, and performer, before moving to England where his career really took off, Ayer wrote one enduring standard, ‘Oh, You Beautiful Doll’ (1911), with A. Seymour Brown, and collaborated with Brown on several other numbers such as ‘Moving Day In Jungle Town’ (1909) (apparently a reference to Theodore Roosevelt’s hunting trip to Africa) and ‘If You Talk In Your Sleep, Don’t Mention My Name’ (1911). He also contributed to Broadway musical comedies and revues such as MISS INNOCENCE (1908), THE NEWLYWEDS AND THEIR BABY (1909), THE ECHO (1910), A WINSOME WIDOW and THE WALL STREET GIRL (1912). Ayer’s first trip to England was as a member of the Ragtime Octet, at a time when American jazzy and ragtime music - particularly that of Irving Berlin - was beginning to sweep Europe. In 1916 Ayer teamed with lyricist Clifford Grey to write the score for one of the West End’s biggest World War I hits, the revue THE BING BOYS ARE HERE, which starred George Robey and Violet Loraine, and contained the immortal ‘If You Were The Only Girl In The World’, along with ‘Another Little Drink Wouldn’t Do Us Any Harm’ and ‘The Kipling Walk’, among others. Ayer and Grey followed that with the music and lyrics for THE BING BOYS ARE THERE (1917, ‘Let The Great Big World Keep Turning’) and THE BING BOYS ON BROADWAY (1918), with its tender ballad, ‘First Love, Last Love, Best Love’, which was introduced by Robey and Clara Evelyn. As well as composing the music - and sometimes the lyrics - Ayer often appeared on stage himself, notably with Alice Delysia in the revue PELL-MELL (1916, Clifford Grey, Hugh E. Wright) and with Binnie Hale and Gertie Millar in the musical comedy HOUP-LA! (1916, Howard Talbot, Hugh E. Wright, Percy Greenbank). Among the many other London shows to which he contributed were HULLO, RAGTIME(1912, ‘You’re My Baby’ with A. Seymour Brown), 5064 GERARD (1915, ‘At The Foxtrot Ball’ Dave Comer, Irving Berlin, Henry Marshall, Stanley Murphy, et al.), YES, UNCLE! (1917, Grey), BABY BUNTING (1919, Grey), SNAP (1922, Kenneth Duffield, Herman Hupfeld), ‘Shufflin’ Along’ (with Ralph Stanley), THE SMITH FAMILY (1922) and STOP-GO! (1935, Edgar Blatt).”
AS YOU WERE (Arthur Wimperis & Herman Darewski), recorded 1918, w. Herman Darewski Cond. London Pavilion Ensemble; Alice Delysia, Daisy Hancox, C. Hayden Coffin, Mona Vivian, Clifford Morgan & John Humphries; Additional material by Alice Delysia (whose 1933 reprise of her 'If you could care for me' [as a solo, from ‘Alice Delysia Memories’] alone is worth the price of the CD! Her use of portamento is beguiling]) & Mayfair Dance Orch. (England) Palaeophonics 139, w.Elaborate ‘The Play’ 16pp. Brochure replete, with numerous photos of the London Pavilion 1918 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities. (PE0276)
“AS YOU WERE, a fantastic revue by Arthur Wimperis (adapted from Rip's PLUS ÇA CHANGE), with music by Herman Darewski, opened at the London Pavilion 3 Aug.,1918 and ran for 434 performances.
After appearing in several stage productions in Paris, Alice Delysia played on Broadway in the chorus of THE CATCH OF THE SEASON (1905). Leading roles soon followed and in 1912 she was back in Paris for THE QUAKER GIRL and other productions. Upon her return to London she took advantage of numerous opportunities to play in revues and musical comedies, especially in adaptations of French works. One of these was AFGAR, OU LES LOISIRS ANDALOUS (1919), in which she also appeared in the USA the following year. Delysia was the star of AS YOU WERE (London Pavilion, 3 August 1918) and as such played a series of characters representing the beauties of all time, including Helen of Troy and Ninon de l'Enclos. Another American production in which she appeared was THE COURTESAN (1923) but from the mid-20s and through into the mid-30s she was mostly to be seen in London’s West End in a succession of revues and musical comedies, among them PRINCESS CHARMING (1926), THE CAT AND THE FIDDLE (1932), MOTHER OF PEARL (1933) and AT THE SILVER SWAN (1936). From then onwards until her retirement Delysia performed mostly in non-musical plays, although she also toured variety theatres and gave song recitals.”
ELENA NIKOLAIDI, w.Fritz Egger (Pf.): Siete Canciones Populares Españolas (de Falla); Das Leben ist ein Traum; Stets sagt die Mutter (both Haydn); w.Carl Cerne (Pf.): Der Sänger (Lavrangas); w.Leopold Ludwig Cond. Vienna S.O.: Arias from Euryanthe, Carmen, Ballo & Il Trovatore; w.Hans Weisbach Cond. Vienna S.O.: Sechs Lieder von der unglücklichen Liebe der edlen Dame Pang Tschi Yü (Bittner). (Austria) Radio Österrich ORF 30. (V2475)
“Elena NIikolaidi was a noted Greek-American opera singer and teacher. Nikolaidi sang leading mezzo-soprano roles with major opera companies worldwide and made numerous recordings. She made her début with orchestra in Athens in a performance conducted by Dimitri Mitropoulos. Her first stage appearance was in the premiere of THE GHOST BRIDGE by Theophrastos Sakellaridis.
In 1936, Nikolaidi traveled to Vienna to compete in the Belvedere vocal competition. She placed fourth but earned a second hearing with the great conductor Bruno Walter, which resulted in her being cast as Princess Eboli in Verdi's DON CARLOS with the Vienna State Opera on16 December, 1936. She became a star in Vienna; after one performance as CARMEN she received an ovation reported as being between 15 and 30 minutes in length—the longest ever recorded there. In 1948, Nikolaidi came to the United States with her husband and their son. She made her Town Hall début recital in New York in 1949. The following morning, Jerome D. Bohm of the NEW YORK HERALD TRIBUNE wrote: ‘In 20 years of music reviewing and in twice that number spent in listening to most of the world's best singers, I have encountered no greater voice or vocalist’; THE NEW YORK TIMES critic wrote of her ‘rare brilliance’. She made her American operatic début as Amneris in Verdi's AÏDA with the San Francisco Opera and reprised the role for her Metropolitan Opera début in 1951, alongside the debut of George London. In the early 1960s she retired from opera but continued concertizing extensively for a number of years.”
- Ned Ludd
PHILIPPE CUPER - The Complete Works of Louis Cahuzac (incl.several world premiere recordings). (Germany) Clarinet Classics CC 0065, recorded 24 Feb., 2002, Paris. (W0020)
"An important new recording of the complete works of Louis Cahuzac played by Philippe Cuper (Principal Clarinet of the Paris National Opera Orchestra and international soloist on his third CD for Clarinet Classics), who has direct professorial lineage from Louis Cahuzac. One of the great clarinet players of the 20th century, Cahuzac was also prolific as a recording artist. His work as a composer is less widely known, so it is with particular pride that Clarinet Classics presents the only current CD devoted to his music."
- Ned Ludd
ARTURO BENEDETTI MICHELANGELI: Scarlatti, Galuppi, Brahms, Grieg, Debussy, Albéniz & Mompou; w.Galliera Cond. La Scala Orch.: Concerto in a (Grieg). (Canada) St Laurent Studio YSL 78-371, recorded 1941-48. Transfers by Yves St Laurent. (P1232)
“Michelangeli ranks among the grandest of all musical autocrats. And when his transcendent mastery is complimented by warmth, wit and charm, such additions are beyond price….”
- Bryce Morrison, GRAMOPHONE, March, 2009
“Michelangeli had an ability to evoke a colour world in which he achieved astonishing effects, combining sustained sound with a pearly clarity. He could mould the texture like melted wax into the subtlest shapes.”
- THE INDEPENDENT
ALEXIS WEISSENBERG: Prelude & Fugue in a (Bach); Piano Sonata in E-flat (Haydn); Sonata in d, #24; Sonata in d; Sonata in c-sharp (all Soler); Variations On A Theme By Rode, Op.33 'La Ricordanza' (Czerny). (Canada) St Laurent Studio YSL 33-363, from Lumen LD 3-400, recorded 1950s. Transfers by Yves St Laurent. (P1231)
“Alexis Weissenberg, a charismatic Bulgarian-born pianist known for his thundering aggressiveness and rational detachment at the keyboard, and for his unapologetic defense of those traits in interviews, appeared as a soloist with the world’s leading orchestras, played recitals on celebrated stages and made many recordings. A naturalized French citizen, he was a Romantic specialist, most closely associated with Schumann, Chopin and perhaps especially Rachmaninoff, whose percussive pyrotechnics suited him.
Mr. Weissenberg’s cool yet blazing approach divided reviewers. Where some heard impeccable technique, others heard soulless efficiency. Where some embraced the drama of his interpretations, others condemned them for aggressiveness. On these points, however, nearly everyone agreed: Mr. Weissenberg possessed a technical prowess rivaled by few other pianists.
In any case, as reviews over many years made clear, Mr. Weissenberg did sometimes give performances, or make recordings, that were simply, electrically, unequivocally breathtaking.
- Margalit Fox, THE NEW YORK TIMES, 9 Jan., 2012
PIERRE BOULEZ Cond. Boston S.O.: Symphonies of Wind Instruments (Stravinsky); Three Pieces for Orchestra, Op.6 (Berg) - Live Performance, 11 Feb., 1969, Symphony Hall; PIERRE BOULEZ Cond. Cleveland S.O., w.LEONARD ROSE: Cello Concerto in a (Schumann), Live Performance, 28 July, 1969, Blossom Festival; Interview with Pierre Boulez. (Canada) St Laurent Studio YSL T-361. Transfers by Yves St Laurent. (C1448)
PRO ARTE QUARTET: Orientale (Glazunov); Quartet #2 in D (Borodin); w.Alfredo Casella: Piano Quintet #1 (Bloch). (Canada) St Laurent Studio YSL 78-369, recorded 1933. Transfers by Yves St Laurent. (S0694)
CLAUDIO ARRAU, Vol.IV: Chopin Recital, (partially with Thomas Scherman Cond. Little Orchestra Society Orch.); Kreisleriana (Schumann). (Canada) St Laurent Studio YSL 78-355, recorded 1938 & 1947. Transfers by Yves St Laurent. (P1227)
KAREL ANCERL Cond. Boston S.O.: MA VLAST (Smetana), Live Performance, 8 Aug., 1969, Tanglewood – [The first complete performance by the Boston Symphony Orchestra (under a stormy sky, thunder included)! A duly thrilling event captured in glorious sound!] (Canada) St Laurent Studio YSL T-340. Transfers by Yves St Laurent. (C1436)
KLAUS TENNSTEDT Cond. Boston Symphony Orchestra: Symphony #8 in c (Bruckner). (Canada) St Laurent Studio YSL T-332, Live Performance, 20 Dec., 1974, Symphony Hall, Boston. [This glorious live performance beautifully displays the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1425)
“What we have here is a release of a radio broadcast [which] comes with the weight of representing the ignition point of one of the great conducting careers of the last quarter of the twentieth century. St. Laurent Studios has done its usual superb job of restoration; the original broadcast sound was well balanced and rich, but with a bit of congestion at climaxes….music lovers are in their debt for this extraordinary release.”
- Henry Fogel, FANFARE
NORMA, Live Performance, 26 Oct., 1963, w.Bonynge Cond. Vancouver Opera Ensemble; Joan Sutherland, Marilyn Horne, John Alexander, Richard Cross, etc.; JOAN SUTHERLAND: Rare Broadcast Arias & Scenes, 1957-68, from Die Meistersinger, Alcina, Lucia, La Traviata, Rigoletto & Tosca - also featuring Jon Vickers, Nicolai Gedda, James Pease, Gabriel Bacquier, Tito Gobbi, John Lanigan, Noreen Berry, Mildred Miller, etc. (Canada) 3-Immortal Performances IPCD 1055, w.50pp Elaborate Booklet, w.Notes by Henry Fogel & Richard Caniell; Audio restoration by Richard Caniell. Sutherland’s role début in a much celebrated performance taken from the house lines. Extensive texts, lush with many rare photographs of the production. (OP3178)
"The role of Norma is one of the most challenging that a soprano can confront and Sutherland was one of the most important proponents of that role in the second half of the twentieth century….There is nothing tentative about any aspect of her singing here. It is true, as has often been noted, that Sutherland did not display the unique kind of vocal acting that one heard from Callas. But it is in no way true that her Norma is a bland exercise in vocalism for the sake of a pretty sound. The combination of rage, hurt, tenderness, and humiliation that Norma experiences in this opera is present throughout Sutherland’s performance. Her interactions with Marilyn Horne’s brilliant Adalgisa are, in fact, alive and fully nuanced."
- Henry Fogel
FAUST (in German), recorded 1908, w.Seidler-Winkler Cond. Berlin Hofoper Ensemble; Emmy Destinn, Karl Jörn, Marie Goetze, Desider Zador & Paul Knüpfer: EMMY DESTINN: ten most revered recordings from the period 1906 to 1910. 2-Marston 52074. Transfers by Ward Marston. (OP3180)
"One of our early releases was the 1908 recording of Bizet's CARMEN sung in German by a cast headed by the larger-than-life Bohemian soprano, Emmy Destinn.
During that year she also participated in a similar recording of Gounod's FAUST, which in Germany was titled MARGARETHE to differentiate it from Goethe's revered masterpiece. We have, over the years, received requests from our customers to reissue this earliest recording of Gounod's opera, and we have finally issued this recording as a two-CD set. The cast includes tenor Karl Jörn, mezzo Marie Goetze, baritone Desider Zador, and bass Paul Knüpfer. The orchestra and chorus are in the capable hands of Bruno Seidler-Winkler.
Michael Aspinall's informative essay includes biographical information on the singers and a thorough critical analysis of the performance. The second CD concludes with ten of Emmy Destinn's most revered recordings from the period 1906 to 1910."
GIANNA PEDERZINI - Biography by Maurizio Tiberi. Roma, 2-TIMA Club, 2016. 439pp. in Two Volumes; Index; Exhaustive Chronology, 1923-72; Discography, 1928-49; Repertoire; copious Photos, many never before in print; Illustrated with concert & opera program reproductions, newspaper articles & reviews, plus delightful caricatures. (Italian Text) (Pictorial thick paper covers) (B1860)
“Gianna Pederzini had personality and charisma and was a great artist. Her voice was beautiful: round and dark. When I sang CARMEN with her, in 1953, she was no longer young, but she still had an exceptional figure. She had strong eyes, green, the color of steel. She was a beautiful woman—beautiful face, beautiful nose, the most beautiful legs in opera. She knew how to be beautiful and to impose her beauty in the theater. She was a real woman. I was lost in her arms.”
- Franco Corelli, OPERA FANATIC, 20 July, 1991
. . a great many more out-of-print CDs [Various MET Opera
broadcasts, plus Operas by Handel, Mercadante, Marais,
Cavalli, Rameau, Lully, Monteverdi, Charpentier, Gluck,
Vivaldi, Pergolesi, Rossini, Meyerbeer, Weckerlin, Nicolai,
Schreker, Marschner & Gurlitt] have been added
throughout our listings, in appropriate categories . . .
out-of-print books [many biographies, Record
Catalogue-Discographies, Toscanini and the Metropolitan
Opera] have been added at the beginning of
each completely revised book section . . .
more coming in the next months . . .
. . and our 50% Discount Sale continues . . .
--------------------- ANNOUNCEMENT -----------------------
You can view our current Auction #147
online, with revised closing date of Saturday, 21 May!
At a total of 118 pages, this is the largest auction we’ve ever produced, filled with many rarities, plus MINT
copies of ‘Society’ recordings (all pressed from original masters), now at closeout prices.
It will come as no surprise that Norbeck, Peters & Ford have been concentrating our efforts in locating and promoting thousands of historical-interest CDs during the past quarter century, often at the expense of the somewhat rarified collector of the original 78rpm issues. Now, the long wait is over as we have spent much of the past year organizing, researching and listing many 78s in our vast inventory, many of them with appropriate critical and biographical quotes. This auction features a large assortment of instrumental, vocal and historically important records, the vast majority being in truly spectacular condition.
As our little urchin stares into the recording horn, you can now view our current AUCTION
whose revised closing date is Saturday, 21 May!
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 Melodiya, Vista Vera, 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.
We continue to offer FREE Shipping on all U.S. orders over $49.00. If you would like to join our emailing list, please sign up at the top right.
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.
Now that our Auction #145
is completed, the Auction Catalogue remains on our current website. Most of the elusive and rare items of course are gone, but some titles remain available.
As always, please contact us with any special requests.
Please remember that we can take your order over the telephone from 10:00am to 6:00pm (EST), thereby providing you with the most current status of your order. Should you order by email or shopping cart and do not receive a timely acknowledgement of your order, please telephone.
Thank you again for your loyal support, and happy browsing our ever changing website and exciting offerings.
C1450. JOSEF VLACH Cond. Czech Phil.: Mozart, Dvorák, Suk, Tschaikowsky, Hurnik, Paur, Respighi, Stravinsky, Britten & Debussy. (Czech Republic) 4-Supraphon 4203, recorded 1960-82. - 099925420321
C1449. BRUNO MADERNA Cond. Philadelphia Orch.: Symphony #5 in c-sharp (Mahler), Live Performance, 1971. (Canada) St Laurent Studio YSL T-373. Transfers by Yves St Laurent.
P1235. VLADIMIR de PACHMANN: Chopin Recital; Schumann, Mendelssohn, Verdi-Liszt (the latter's RIGOLETTO Paraphrase). (Canada) St Laurent Studio YSL 78-370, recorded 1911-27. Transfers by Yves St Laurent.
P1234. ARTHUR de GREEF, Vol. II: Soirée de Vienne (Schubert-Liszt); Grande valse brillante in E-flat; Sonata #2 in b-flat (both Chopin); w.Landon Ronald Cond. New S.O.: Concerto #2 in g (Saint-Saëns). (Canada) St Laurent Studio YSL 78-366, recorded 1925-28. Transfers by Yves St Laurent.
Klaus Tennstedt (Bruckner 8th) (St Laurent Studio YSL T-332)
Otello (Uzunov, Milanov, MacNeil; Schippers) (2-HTM 65-001)
The Artistry of Virginia Zeani (9-Musique Aria 7648401)
Irene Jordan, Vol. II; MEDEAD (Giannini) - Paray (YSL T-343)
Jussi Bjorling; Bertil Bokstedt - Copenhagen Recital (JSP 682)
Norma (Sutherland, Horne, Alexander, Cross) (3-IPCD 1055)
Il Trovatore (Calusio; Bjorling, Greco, Castagna) (2-IPCD 1052)
Raoul von Koczalski, Vol. II (3-Marston 53016)
Tristan (Bodanzky; Melchior, Flagstad, Thorborg, Huehn) (3-IPCD 1040)
Vocal Record Collectors' Society - 2015 Issue (VRCS-2015)
Tannhauser (Szell; Traubel, Melchior, Kipnis) (3-IPCD 1053)
Janet Baker, Vol. I (2-St Laurent Studio YSL T-297)
Don Giovanni (Szell; Pinza, Steber, Resnik, Sayao) (IPCD 1059)
William Masselos, Vol. I; Virgil Thomson (2-YSL T-293)
Claudia Novikova & Obukhova (Eclectra E CCD-2029)
Offenbach - Hommage Mechanique (Music Box) (Malibran 214)
Mignon (Tourel, Stevens, Tokatyan, Crooks, Pinza) (4-IPCD 1061)
Aida / Carmen (Vickers, Zeani, Bumbry, Merrill) (4-IPCD 1056)
Verdi Requiem (Toscanini; Milanov, Roswaenge) (2-IPCD 1058)
Germaine Lubin; Lucienne de Meo; Souzay (2-Marston 52070)
Mattia Battistini; Giuseppe Bellantoni (6-Marston 56002)
La Traviata (Zeani [debut], Prevedi, Merrill) (2-YSL T-267)
The Chocolate Soldier (Pringle, Workman) (Palaeophonics 135)
Going Up (Joseph Coyne, Evelyn Laye) (Palaeophonics 131)
Ernani (del Monaco, MacNeil, Cavalli; Santini) (Myto 00337)
Il Tabarro; Don Pasquale (Albanese, Sayao) (3-IPCD 1057)
Contes d'Hoffmann (Beecham; Jobin, Singher, Pinza) (2-IPCD 1060)
Hullo America! (Janis, Chevalier, Lupino) (Palaeophonics 112)
Rita Gorr (Malibran 782)
Leopold Stokowski; Birgit Nilsson, George London (Guild 2410)
The Bing Girls are There (Nat D. Ayer) (Palaeophonics 136)
Rosenkavalier (Ludwig, Della Casa, Soderstrom) (4-IPCD 1050)
Oberon (Cluytens; Araujo, Angelici, Nore) (3-Malibran 790)
Yes, Uncle! (Henri Leoni, Crawford, Griffin) (Palaeophonics 138)
As You Were (Alice Delysia) (Palaeophonics 139)
Conchita Supervia, Vol. V; Maria Barrientos (Marston 51010)
A–Z of Singers (4-Naxos 8.558097/100)
Rose-Marie (Friml) (Edith Day, Oldham) (Palaeophonics 130)
Joseph Fuchs, V; Lillian Fuchs; Bernstein; Perlea (YSL T-331)
JENNIE TOUREL; Milanov, Rogatchewsky (3-IPCD 1048)
Arturo Benedetti Michelangeli, Vol. I (2-St Laurent Studio YSL T-284)
Janet Baker, Vol. II (2-St Laurent Studio YSL T-298)
Charles Munch, Vol. VII; Addison, Gramm (2-YSL T-308)
Passing Show (Elsie Janis, Basil Hallam) (Palaeophonics 127)
Gabrielle Ritter-Ciampi (Malibran 784)
Norman Dello Joio; Leonard Warren; Scherman (YSL T-318)
Charles Munch, Vol. VIII; Rudolf Firkusny (YSL T-312)
Arturo Toscanini, Vol. II (St Laurent Studio YSL 78-324)
Sergei Lemeshev, Vol. VII (8-Aquarius AQVR 400)
Tristan (Beecham; Melchior, Flagstad, Klose, Branzell) (4-IPCD 1042)