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A NEW YORK PHILHARMONIC Celebration . . . . .------------------------------------------------------------
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We are profoundly grateful to so many of you who sent condolences and shared memories of the late David Norbeck (of Norbeck, Peters & Ford) who died, 4 August, 2018.
It was David who introduced us to the world of CDs in the 1980s, while Jim was emphatically opposed to the idea! Jim finally conceded by ordering a very few copies of the initial issues. These few sold out so quickly that more hastily had to be ordered, and so it went. 34 years later we are regularly inundated with requests for CDs, thus confirming David’s prescient decision of 34 years ago! Worthy of note is the following:
"Thirty-five years after the CD format was introduced as one of the greatest audio advancements since the birth of recorded music, are CDs now on their way to becoming a niche product in the same manner as the cassette?....This may be the end of an era for physical stores, but that doesn't mean that people are done with the format in general. It just means that it's not profitable enough for stores to make it worth their square footage….There could be an upside for the independent dealers who also benefit from the CDs….Our industry is global, and CDs remain an important way for people to buy music in some of the world's biggest markets like Japan, Germany and France. As long as there are music lovers who want CDs and vinyl, and there are plenty of those people out there, we will make sure our music is available in those formats.”
- Randall Roberts, THE LOS ANGELES TIMES, 2 March, 2018
This week's HISTORICAL OFFERINGS:
THE MAHLER BROADCASTS, NYPO 1948 - 1982, incl. Sir John Barbirolli, Zubin Mehta, Pierre Boulez, Georg Solti, Klaus Tennstedt, Dimitri Mitropoulos, Rafael Kubelik, Leopold Stokowski, William Steinberg (Songs of a Wayfarer) & Bruno Walter (Das Lied von der Erde); Kathleen Ferrier, Set Svanholm, Irmgard Seefried, Maureen Forrester, Eugene Conley, Carlos Alexander, George London, Fischer-Dieskau, Camilla Williams, Yvonne Minton, Frances Yeend, Uta Graf, Martha Lipton, Louise Bernhardt, Kathleen Battle, etc. 12-NYP 9601/12, Slipcase Edition with 2 Elaborate Booklets, 246pp each. Privately Produced by the New York Philharmonic. Final ever-so-slightly used copy appears unplayed; booklets and slipcase appear as New! (C0100)
“ the New York Philharmonic has released the ultimate recorded Mahler collection, a celebration of both the composer and the orchestra that he once led as music director. On twelve CDs, THE MAHLER BROADCASTS, 1948-1982 contains live Philharmonic performances of the ten symphonies, DAS LIED VON DER ERDE, and SONGS OF A WAYFARER, and the names of the conductors alone are enough to send shivers: Barbirolli, Boulez, Kubelik, Mehta, Mitropoulos, Solti, Steinberg, Stokowski, Tennstedt, and Walter - all noted Mahlerians presiding over scores that, in several instances, they never recorded commercially. Two big books come with the discs, a 500-page treasure trove of essays, interviews, texts, and translations, contemporary program notes and reviews, photos from the Philharmonic archives, a full documentation of Mahler's years with the Philharmonic (1909 to 1911), and a list of the orchestra's Mahler performances from 1904 to 1998. If that weren't enough, a fascinating two-hour radio documentary, assembled in 1964 by William Malloch, is also included, with recollections by musicians who knew Mahler or performed under his baton.
….Even Zubin Mehta outdoes himself in the Second - this was the Philharmonic's 10,000th concert, on March 7, 1982, and everyone involved rises nobly to the occasion. The enigmatic Seventh Symphony has long been a stumbling block, even for Mahler fanatics, but the score sounds positively incandescent in this performance, thanks to Kubelik's passionate advocacy and the orchestra's virtuosity. Mitropoulos' Sixth is another magnificent achievement, an interpretation that seems hewn out of a single huge piece of marble, and Stokowski is just the conductor to keep the massive choral-and-orchestral forces of the Eighth in line without sacrificing a moment of the score's cosmic theatricality. For me, though, the set's high point, at least in terms of sheer on-the-spot, live-performance inspiration, is Tennstedt's electrifying account of the Fifth. The sonic quality may vary, but careful remastering by Seth Winner and Jon Samuels assures that even the earliest performance - a 1948 DAS LIED VON DER ERDE conducted by Walter with Kathleen Ferrier and Set Svanholm - represents the best broadcast sound of the period.”
- Peter G. Davis, NEW YORK MAGAZINE, Dec., 1998
“Now the Philharmonic has issued a magnificent set of 12 compact discs titled THE MAHLER BROADCASTS, 1948-1982, taken from radio performances over 34 years.
Bruno Walter, a longtime friend and disciple, was, after the composer himself, Mahler's first persuasive advocate on this side of the Atlantic. His thoughtful, searching performance of DAS LIED VON DER ERDE is the earliest recording (1948) included here and features vibrantly expressive readings of the music for solo voices by the short-lived English contralto Kathleen Ferrier and the tenor Set Svanholm.
The sound throughout is always acceptable, and usually much better than that, particularly in the more recent recordings….THE MAHLER BROADCASTS 1948-1982 may be highly recommended.”
- Tim Page, THE WASHINGTON POST, 13 Dec., 1998NYPO - THE HISTORIC BROADCASTS, 1923 to 1987, incl. Willem van Hoogstraten, Willem Mengelberg, Otto Klemperer, Camille St. Saëns, Stravinsky, George Szell, John Barbirolli, Leopold Stokowski, Artur Rodzinski, Bruno Walter, Dimitri Mitropoulos, Nadia Boulanger, Pierre Monteux, Guido Cantelli, Fritz Reiner, Josef Krips, Erich Leinsdorf, André Kostelanetz, Charles Munch, Rafael Kubelik & Leonard Bernstein; Jascha Heifetz, Artur Schnabel, Josef and Rosina Lhevinne, Edward Steuermann, Mack Harrell, Arthur Rubenstein, Kirsten Flagstad, Francis Poulenc, David Oistrakh, Donald Gramm, Reri Grist, Roberta Peters, Stanley Drucker, Marilyn Horne, Tatiana Troyanos, Siegmund Nimsgern & Vernon DeTar. 10-NYP 9701/11, Slipcase Edition with Elaborate 142pp. Booklet, including as well the full libretto to Bartók's BLUEBEARD'S CASTLE [Kubelik; Troyanos & Nimsgern]. Privately Produced by the New York Philharmonic. Final Sealed Copy! (C0071)
"Culled from New York Philharmonic broadcasts spanning 75 years, this remarkable 10-disc compilation testifies to the strong-willed yet chameleon-like orchestra's virtuosity and versatility under a diverse assemblage of podium personalities. Stylistically speaking, the earlier items are the most interesting, revealing, for instance, a more vibrant Otto Klemperer and freer Arturo Toscanini than their later commercial efforts sometimes suggest. Other artists are heard in repertoire which they otherwise didn't record: Fritz Reiner's Brahms 2nd, Leonard Bernstein's Berg and Webern, and a wrenching concert version of Bartók's Bluebeard's Castle under Kubelík's direction, to name but a few. From program notes to transfer quality, not one stone is left unturned to ensure first-rate results."
-Jed DistlerNYPO - AN AMERICAN CELEBRATION, featuring The New York Philharmonic, Bernstein, Masur, Slatkin, Kostelanetz, Mehta, Wynton Marsalis, John Reardon, Jan DeGaetani, Julianne Baird, Joseph Alessi, Walter Hendl, Glenn Dicterow, Thomas Whittemore, Stanley Drucker, Irene Gubrud, Ensemble: Lincoln Center Jazz Orchestra. 10-NYP 9701/11, Slipcase Edition with 2 Elaborate Booklets, 141 & 146pp., resp. Privately Produced by the New York Philharmonic. Final ever-so-slightly used copy appears unplayed; inner boxes, booklets and slipcase appear as New! (C0069)
“From its inception in 1996, the New York Philharmonic's own Special Editions label has produced outstanding CD collections that feature live performances, old and new, that stand as a unique tribute to the first Orchestra in the United States. This is your chance to order glorious music-making at its best!”
- Ned LuddLOVRO von MATACIC Cond. Berlin Radio S.O.: Johann Strauss Waltzes & Polkas. (Canada) St Laurent Studio YSL T-644, Broadcast Performances, 1958. [A positively enchanting program . . . in stellar sound!] Transfers by Yves St Laurent. (C1630)
“Lovro von Matacic was one of the great conductors who preserved the authentic late-Romantic tradition into the late-Romantic age. He worked at the Salzburg Festival on the music staff, and then returned to Yugoslavia which, at the end of World War I, had finally obtained its independence from Austria. He became the Music Director of the opera house in Osijek, continuing his career advancement through opera houses in the larger cities, Novi Sad, Ljubljana, Zagreb, and in 1938 the capital, Belgrade. In the same year he also became the conductor of the Belgrade Philharmonic Orchestra. After the German invasion of 1941 he resigned his position at the Belgrade Opera (1942) and from 1942 to 1945 he was conductor of the Vienna Volksoper.
After the war, he became the General Music Director in Skopje. He organized the annual Dubrovnik and Split Festivals. He was permanent guest conductor at the opera houses of Munich and Vienna. From 1956 to 1958, he was General Music Director of the Dresden State Opera and Staatskapelle Orchestra and, with Franz Konwitschny, co-General Music Director of the (East) Berlin State Opera. He appeared in America with the Chicago Lyric Opera in 1959. In 1961, Matacic succeeded Georg Solti as General Music Director of the Frankfurt Opera and orchestra, remaining there through 1966. In 1965 he was appointed Honorary Chief Conductor of the NHK (Japanese Radio and Television) Orchestra in 1965. He was Music Director of the Zagreb Philharmonic from 1970 to 1980, and of the Monte Carlo Opera from 1974 to 1979. At the end of these tenures, he became honorary conductor for life of both organizations.
He guest conducted extensively and at various times was principal guest conductor or permanent guest conductor at various times of the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, and Prague Philharmonic. He began conducting orchestras in America frequently, and led opera performances at La Scala, the Bayreuth Festival, Opera di Roma, and various other European and Japanese venues.
He recorded frequently, and many ‘dall vivo’ recordings of his live and broadcast performances exist. He was especially praised for his control over the immense formal structures of Bruckner's symphonies and his masterly control of phrasing.”
- Joseph Stevenson, allmusic.comKARL BOHM Cond. ORTF S. O.: Symphony #29 in A, K.201 (Mozart); Symphony #2 in D (Brahms). (Canada) St Laurent Studio YSL T-637, Live Performance, 25 May, 1973. Transfers by Yves St Laurent. (C1631)
FRITZ 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)
. . .REPEATED . . . FROM THE RECENT PAST . . .
MIGNON , Live Performance, 13 March, 1937, w.Pelletier Cond. Met Opera Ensemble; Gladys Swarthout, Charles Hackett, Josephine Antoine, Ezio Pinza, etc.; GLADYS SWARTHOUT, w.Monteux Cond.: POEME DE L’AMOUR ET DE LA MER - La Mort de l’amour; Le Temp des lilas (Chausson); w.Smallens Cond.: MIGNON - Connais-tu le pays; w. Agostini (Pf.): Si mes vers avaient des ailes (Hahn); w.Trovillo (Pf.): Chanson Triste (Duparc), all recorded 1949; CARMEN, recorded 1946, w.Leinsdorf Cond. Met Opera Ensemble; Gladys Swarthout, Ramon Vinay, Licia Albanese, Robert Merrill, etc.; (Canada) 4-Immortal Performances IPCD 1096, accompanied by Elaborate 58pp. Booklets, with photos & notes by Henry Fogel & Richard Caniell. The Met Opera broadcast also features Milton Cross' loquacious commentary. Transfers by Richard Caniell. Specially priced at 4 CDs for the price of 3. (OP3272)
“…when MIGNON is performed well by a talented and sympathetic cast - as it was for the Met broadcast of March 13, 1937 - the work can still provide much pleasure. This was Swarthout’s role debut, and as in the case of Carmen, she sings with a ravishing beauty, style, and an understated elegance that makes her Mignon a most sympathetic heroine. And what a treasure it is to be able to hear Ezio Pinza in his glorious prime as Lothario. Pinza invests Lothario’s music with such nobility and vocal grandeur so as to take one’s breath away…. Tenor Charles Hackett, in his late 50s and nearing the end of a distinguished career, offers a lovely performance as Wilhelm Meister, rising to the occasion in each of his famous arias. Josephine Antoine is a vocally sparkling and appropriately coquettish Philine. Once again, Wilfrid Pelletier demonstrates his mastery of the French operatic style, with flawless pacing and keen attention to Thomas’ orchestral palette. The broadcast sound is quite fine for its 1937 vintage, often approaching studio recordings of the era, but always more than listenable.
Thanks to Immortal Performances for making these artistic treasures available, and in such good sound. Recommended.”
- Ken Meltzer, FANFARE, March / April, 2018JACQUELINE DU PRE, w.James Buswel & Walter Trampler: String Trio in G, Op.9, #1 (Beethoven); JACQUELINE DU PRE, w.Thomas Schippers & Arnold Steinhardt: String Trio in d, Op.49, #1 (Mendelssohn), Live Performances, 12 / 18 July, 1965, Spoletto (Canada) St Laurent Studio YSL T-707. Transfers by Yves St Laurent. (S0725)
“Jacqueline du Pre's playing was characterized by an unusual mixture of elegance and ferocity. ' ‘Miss du Pre is a cellist in the modern vein’, Harold C. Schonberg wrote in THE NEW YORK TIMES after a 1967 concert. ‘There is plenty of strength to her playing, and a good measure of romanticism without the romantic string mannerisms of portamento and a fast wide vibrato. She can produce a mellow sound of unusual size and clearly was born to play the cello’.
Miss du Pre excelled in a wide variety of music, specializing in the sonatas of Johannes Brahms and the concertos of Haydn, Boccherini, Schumann, Dvorak and Saint-Saens. She had a particular affinity for English music, and made memorable recordings of the Delius and Elgar concertos. The Elgar was associated more closely with her than with any other cellist since Beatrice Harrison, who died in 1965.
Raymond Ericson, reviewing a 1965 performance of the Elgar work for THE TIMES, observed that ’Miss du Pre and the concerto seemed made for each other, because her playing was so completely imbued with the romantic spirit. Her tone was sizable and beautifully burnished. Her technique was virtually flawless, whether she was playing the sweeping chords that open the concerto, sustaining a ravishing pianissimo tone, or keeping the fast repeated note figures in the scherzo going at an even pace’.
Jacqueline du Pre was born in Oxford, England, on Jan. 26, 1945. Her talent was obvious from an early age, and she began cello lessons when she was 5 years old. Her early teachers included Herbert Walenn and William Pleeth; she later studied with Paul Tortelier, Mstislav Rostropovich and Pablo Casals. At the age of 11 she won her first competition, and she eventually took every possible prize for cellists at the Guildhall School of Music.
Her career began in earnest in 1961 when she played a concert at Wigmore Hall in London using a 1672 Stradivarius that had been presented to her anonymously. ‘She was immediately acclaimed for her instinctive feeling for style and breadth of understanding as well as technical proficiency’, Noel Goodwin wrote in the NEW GROVE DICTIONARY OF MUSIC AND MUSICIANS. When Mr. Rostropovich first heard her play, he remarked that he had found somebody to carry on his work.
Miss du Pre met Daniel Barenboim at a party in London in 1966. ‘Instead of saying good evening’, she later recalled, ‘we sat down and played Brahms’. They were married in June 1967. Together, they helped begin the South Bank Summer Musical Festival in London the following year.
Mr. Barenboim was once asked what it was like to accompany his wife. ‘Difficult’, he replied. ‘It doesn't dawn on her sometimes that we mortals have difficulties in following her’. In the next few years, they performed throughout the world, both separately and as a duo. Reviewing a 1980 concert, John Rockwell wrote in THE NEW YORK TIMES: ‘The consistently high quality of these particular benefits can be traced to the close professional and social circle in which Miss du Pre and her husband move. They know the best, and the best play at their benefits’.''
- THE NEW YORK TIMES, 20 Oct., 1987ARTHUR GRUMIAUX, w. Szell Cond. Concertgebouw Orch.: Poeme (Chausson), Live Performance, 28 Nov., 1957; w.Bour Cond.Bavarian Radio S.O.: Violin Concerto in D (Stravinsky), Live Performance, 1961, Munich; ARTHUR GRUMIAUX & ANTONIO JANIGRO, w. Monteux Cond. RAI S.O., Milano: Double Concerto in a (Brahms), Live Performance, 12 April, 1964 (Monteux's final performance). [Chausson's 'Poeme' is the piece de resistance - a ravishing performance!] (Canada) St Laurent Studio YSL T-638. Transfers by Yves St Laurent. (S0724)
"Of the Franco-Belgian school, Artur Grumiaux is considered to have been one of the few truly great violin virtuosi of the twentieth century. In his relatively short life his achievements were superb. He brought to performances guaranteed technical command, faithfulness to the composer's intent, and sensitivity toward the intricate delineations of musical structure. His fame was built upon extraordinary violin concerto performances and chamber-music appearances with his own Grumiaux Trio.”
- Meredith Gailey, allmusic.comMAGDA TAGLIAFERRO: Debussy, Franck & Chopin. (Canada) 2-St Laurent Studio YSL 78-727, Life Performance, 19 June, 1983, Bloomington. Transfers by Yves St Laurent. (P1287)
“Brazilian-born, but of French extraction, Magda Tagliaferro became a distinguished exponent of French music. A disciple of pianist Alfred Cortot, she strove for the realization of the musical ideals exemplified by Cortot: clarity and tenderness, inner strength and emotion, and classical balance in shaping the works being performed. Tagliaferro played with convincing eloquence into her late years, undertaking at age 90 a demanding series of concerts in several major music centers….The capacity for beautifully crafted playing she retained at the age of 90 brought adulatory reviews in Europe, New York, and South America.”
- Erik Eriksson, allmusic.comKLAUS TENNSTEDT Cond. Boston Symphony Orchestra: 'La Reine' Symphony #85 in B-flat (Haydn); 'Titan" Symphony #1 in D (Mahler), Live Performance, 31 July, 1976, Tanglewood. (Canada) St Laurent Studio YSL T-717. Transfers by Yves St Laurent. (C1627)
JASCHA HORENSTEIN Cond. RTF S.O.: Symphony #1 in D (Prokofiev); Lied & Toccata (Tansman - World Premiere); Tod und Verklärung (Strauss); Symphony #3 in F (Brahms). (Canada) 2-St Laurent Studio YSL T-612, Live Performance, 11 May, 1953, Victoria Hall, Geneva. Transfers by Yves St Laurent. (C1626)
SIR JOHN BARBIROLLI Cond. Helsinki Phil.: Symphony #7 in C; Symphony #1 in e; w.HENRYK SZERYNG: Violin Concerto in d - Live Performance, 13 Sept., 1965, Royal Festival Hall, London; SIR JOHN BARBIROLLI Cond. Saarbrücken Rundfunk S.O., w.HENRYK SZERYNG: Violin Concerto in d - Live Performance, 28 Oct., 1984, Saarbrücken (all Sibelius). (Canada) 2-St Laurent Studio YSL T-656. Transfers by Yves St Laurent. (C1624)
HERMANN 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)
AARON COPLAND Cond. Philadelphia Orchestra: New England Triptych (William Schuman); The Tender Land – Suite; w. MARIAN ANDERSON (Narrator): A Lincoln Portrait (both Cond. by the Composer). (Canada) St Laurent Studio YSL T-581, Live Performance, 5 Aug., 1976, Saratoga Arts Festival. Transfers by Yves St Laurent. (C1619)
ARTUR RODZINSKI Cond. NYPO: Symphony #2 (Piston); Fete-Dieu à Séville (Albéniz): w. ROBERT CASADESUS: Piano Concerto #4 in G (Beethoven). (Canada) St Laurent Studio YSL 78-577, Live Performance, 18 Nov., 1945, Carnegie Hall. Transfers by Yves St Laurent. (C1620)
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)
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: Morceau symphonique de Redemption; Symphony in d; w.NICOLE HENRIOT-SCHWEITZER: Variations symphoniques (all Franck) , Live Performances, 1955-63, all Theatre des Champs Elysees, Paris. (Canada) St Laurent Studio YSL T-561. Transfers by Yves St Laurent. (C1628)
TRISTAN UND ISOLDE, Live Performance, 9 March, 1935, (replete with Milton Cross' commentary), w.Bodanzky Cond. Met Opera Ensemble; Kirsten Flagstad, Lauritz Melchior, Karin Branzell, Friedrich Schorr, Ludwig Hofmann, Hans Clemens, etc.; GERALDINE FARRAR: I love thee (Grieg); GERALDINE FARRAR & GIOVANNI MARTINELLI Interview - Live Broadcast from the Met. (Canada) 3-Immortal Performances IPCD 1078. Notes by Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & elaborate 50pp. booklet. (OP3271)
“A new Immortal Performances release allows the opportunity to hear [Flagstad’s] very first Met broadcast, from March 9, 1935. Flagstad was already 39 at the time of her Met debut, and entering the period of her career when the voice would soon become darker and weightier. All of Flagstad’s Met Isoldes are worth hearing, but it is the March 1935 broadcast that finds the soprano in her freshest voice….there is something very special about hearing Flagstad in her youthful vocal prime, sailing through Wagner’s demanding music with enthusiasm and passion, albeit of a somewhat generalized type. An exquisite ‘Liebestod’ rounds out a performance compelling both on its own terms and as a harbinger of what would become a cornerstone of the legacy of perhaps the finest Wagnerian soprano of the 20th century.
At long last, it is possible to hear and enjoy, rather than endure, a shining moment in the Met’s history.”
- Ken Meltzer, FANFARE, Sept. / Oct., 2017GOTTERDAMMERUNG, Live Performance, 29 July, 1976, w.Boulez Cond. Bayreuth Festival Ensemble; Gwyneth Jones, Jess Thomas, Jerker Arvidson, Karl Ridderbusch, Zoltan Kelemen, Irja Auroora, Yvonne Minton, etc. [The final day of the First Cycle - a far superior version than the later performance already available on Video, these CDs [not DVDs] are in breathtakingly brilliant stereo sound! This electrifying performance is unforgettable; with not one weak link in the superb cast, you'll never hear Jones and Thomas in more glorious form!] [Regarding this performance, note the fascinating BOULEZ IN BAYREUTH book, B0058] (Canada) 4-St Laurent Studio YSL T-723. Transfers by Yves St Laurent. (OP3270)
DON GIOVANNI, Live Performance, 2 Aug., 1937, Salzburg, w.Walter Cond. Vienna Staatsoper Ensemble; Ezio Pinza, Elisabeth Rethberg, Virgilio Lazzari, Dino Borgioli, Luise Helletsgruber, Herbert Alsen, etc.; DON GIOVANNI - Act II Excerpts (incomplete), Live Performance, 16 April, 1941, w.Laszlo Halasz Cond. St Louis Opera Ensemble; Pinza, Schipa, della Chiesa, Bokor, Alvary & Carlos Alexander; BRUNO WALTER Cond. NYPO: 'Haffner' Symphony #35 in D, K.385 (Mozart), Live Performance, 4 Jan., 1953, Carnegie Hall. (Canada) 3-Immortal Performances IPCD 1091. Notes by James Altena & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 42pp booklet. (OP3268)
“The sound quality might be the first thing that strikes you when listening to this transfer [which] presents a completely different sonic world. The orchestra and the voices have color, there is real dynamic range (painstakingly restored by Richard Caniell), and the sense of artificial compression hanging over all prior releases is gone. This comes close to what one might expect from a well-produced 1937 studio recording….This performance has long been available in transfers that did it little justice with their pinched, compressed sound resulting from heavy-handed noise suppression. In addition, many of those releases removed all applause in order to squeeze the performance onto two discs, thus removing some of the important atmosphere surrounding a live performance. Immortal Performances has opened up the sound remarkably well, and restored the applause. It also filled in the third disc with interesting material too.….For those of us who thought that this historic performance would never be available in listenable sound, this release is a miraculous gift.”
- Henry Fogel, FANFARE, Nov. /Dec., 2017LE NOZZE DI FIGARO, Live Performance, 7 Dec., 1940, (replete with Milton Cross' commentary), w.Panizza Cond. Met Opera Ensemble; Elisabeth Rethberg, Licia Albanese, Jarmila Novotna, Ezio Pinza, John Brownlee, Salvatore Baccaloni (debut), etc.; LE NOZZE DI FIGARO – Act II, Live Performance, 12 Oct., 1940, w.Leinsdorf Cond. San Francisco Opera Ensemble; Ezio Pinza, Elisabeth Rethberg, Bidu Sayao, Rise Stevens, John Brownlee, Irra Petina, etc. (Canada) 3-Immortal Performances IPCD 1094, taken from the NBC transcription line-checks. Notes by Henry Fogel & Richard Caniell. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & 38pp booklet. (OP3266)
“As in the 1937 Salzburg DON GIOVANNI, Pinza lavishes his glorious basso cantante, sublime Italian diction, and imaginative phrasing upon the role. The role of Figaro requires its interpreter to be able to make lightning-quick and chameleon-like changes of mood and expression. Pinza rises to each and every such occasion. Pinza is superb in ensemble, a true collaborator, and makes all of his solo moments highlights of the performance….Jarmila Novotna…sings with great beauty and eloquence, all the while fetchingly depicting Cherubino’s adolescent passion, energy, and angst….Conductor Ettore Panizza too belongs in this august company….Perhaps Panizza’s greatest achievements are in the ensembles that conclude the opera’s final three acts. Panizza’s Met broadcasts of such operas as AIDA, OTELLO, and LA GIOCONDA document a conductor who is a master of pacing such ensembles, building the tension to a breaking point, released only in the final measures. That is the case in this NOZZE as well, especially in the great ensemble that concludes Act II.
The CD booklet includes a superb, detailed appreciation of the performance by my colleague Henry Fogel, a plot synopsis, artist photos and bios, and Richard Caniell’s description of the recordings included on this release….Thanks to Immortal Performances for making the performance available to a broader audience, and in fine sound. Recommended.”
- Ken Meltzer, FANFARE, Nov. / Dec., 2017FRANCO CORELLI AND A REVOLUTION IN SINGING: FIFTY-FOUR TENORS SPANNING 200 YEARS, Vol. 3 (Stefan Zucker). New York, Bel Canto Society, 2018. 358 pp. Index; Bibliography; Exhaustive Chronology; Printed on top-quality paper and features 139 rare photographs, the majority provided by the Met Archives; DJ. This volume contains interviews with Corelli, Bergonzi, Kraus and Alagna, among others. (B1867)
“Stefan Zucker’s first two volumes were fascinating and informative, however Volume 3 can now be considered a ‘must’ and is compulsive reading….As with the first two volumes, this book is lavishly illustrated with many unusual photographs and is printed on superior paper, and surely…is the most comprehensive and illuminating survey of tenor singing technique ever published….it will be read for decades to come by devotees of operatic singing and of the most popular voice, that of the tenor.”
- Alan Bilgora, THE RECORD COLLECTOR, 2018FRANCO CORELLI AND A REVOLUTION IN SINGING: FIFTY-FOUR TENORS SPANNING 200 YEARS, Vol. 2 (Stefan Zucker). New York, Bel Canto Society, 2018. 352pp. Index; Bibliography; Exhaustive Chronology; Printed on top-quality paper and features 139 rare lithographs and photographs, the majority provided by the Met Archives; DJ. (B1866)
“Thankfully we now have in printed form more details of those highly individual and unconventional yet probing interviews that Stefan Zucker had with this singer. Stefan Zucker as an interviewer frequently walks where others might fear to tread and sometimes their directness might be likened to a political inquisition rather than an artistic one….There is one chapter where Zucker warns readers that if the subject offends them, they should go to the next one. It deals with various comments from other tenors about sex, and its possible effect on a singer before a performance, and Corelli’s own comments are revealing about his early behaviour and the sexual proclivities he had indulged in before singing. There are also many glowing comments about some of his leading ladies, including Maria Callas, Birgit Nilsson, and Magda Olivero and what he learned from them.
For the first time reams of correspondence that flowed between Roberto Bauer (Rudolph Bing’s Italian agent) and the Met management are now published in the book, and show the huge demands made by Corelli, once he had become established. Although Bing, in his biography 5000 NIGHTS AT THE OPERA, admits that Corelli was ‘what being a great tenor star was all about’ he realised his true value as a ‘crowd puller’, but in his correspondence he is very critical and shows his disappointment about some of Corelli’s behaviour as a human being. It becomes evident that it was often difficult to accommodate his demands, from either fees or from an artistic point or view. His firm refusals to accept a contract for any season that might contain performances by Del Monaco certainly show that Corelli’s intransigence on the matter seriously curtailed Del Monaco’s appearances in certain theatres.
The book is published in hard-back and printed on high quality paper and, like Volumes 1 & II, is lavishly illustrated with many rare photographs. I look forward to reading the final volume that promises to be even more informative about balancing Corelli’s and other top tenors’ contributions that raised them to a high place in the pantheon of great voices of the 20th Century.”
- Alan Bilgora, THE RECORD COLLECTOR, 2018
. . . 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.
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.
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.
C0069. NYPO - AN AMERICAN CELEBRATION, featuring The New York Philharmonic, Bernstein, Masur, Slatkin, Kostelanetz, Mehta, Wynton Marsalis, John Reardon, Jan DeGaetani, Julianne Baird, Joseph Alessi, Walter Hendl, Glenn Dicterow, Thomas Whittemore, Stanley Drucker, Irene Gubrud, Ensemble: Lincoln Center Jazz Orchestra. 10-NYP 9701/11, Slipcase Edition with 2 Elaborate Booklets, 141 & 146pp., resp. Privately Produced by the New York Philharmonic. Final ever-so-slightly used copy appears unplayed; inner boxes, booklets and slipcase appear as New! - 619054185320 619054185122 619054185221
Regular price: $299.90
Sale price: $149.95
C1630. LOVRO von MATACIC Cond. Berlin Radio S.O.: Johann Strauss Waltzes & Polkas. (Canada) St Laurent Studio YSL T-644, Broadcast Performances, 1958. [A positively enchanting program . . . in stellar sound!] Transfers by Yves St Laurent.
Pelleas et Melisande (Haitink - Boston; Lorraine Hunt Lieberson, Keenlyside, Finley) (3-St Laurent Studio YSL T-521)
William Steinberg, Vol. V; Tristan und Isolde (Eileen Farrell, James King, Nell Rankin) (St Laurent Studio YSL T-544)
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)
Klaus Tennstedt, Vol. I (Bruckner 8th - Boston) (St Laurent Studio YSL T-332)
Salome - Two Performances (Reiner; Welitsch; Krauss; Cebotari) (4-Immortal Performances IPCD 1089)
Carmen - 9 Jan., 1937 (Papi; Ponselle, Rayner, Bodanya, Huehn) (2-St Laurent Studio YSL T-649)
Medea (Gui) / Lucia di Lammermoor (Cleva) - TWO Maria Callas Performances (4-Immortal Performances IPCD 1076)
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)
Istvan Kertesz; Birgit Finnila & Simone Mangelsdorff (Mahler) (St Laurent Studio YSL T-451)
Ariadne auf Naxos (Scherman; Eileen Farrell, Mattiwilda Dobbs, Jon Crain) (St Laurent Studio YSL T-517)
Klaus Tennstedt, Vol. II (2-St Laurent Studio YSL T-542)
William Kapell - 3 First Releases; Rodzinski, Richard Burgin, Ormandy (JSP684)
Mark Reizen - Live Recital, 15 March, 1958 (Aquarius AQVR 408)
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)
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)
Otello (1940 Performance) (Panizza; Martinelli, Rethberg, Tibbett) (2-Immortal Performances IPCD 1070)
Arturo Toscanini (Beethoven 9th); Bovy, Thorborg, Peerce, Pinza (2-Immortal Performances IPCD 1079)
Der Fliegende Hollander (Steiner; Janssen, Bohme, Friedrich, Andersen) (2-Immortal Performances IPCD 1080)
I Vespri Siciliani (Levine; Renata Scotto, Elvira, Ochman, Raimondi) (2-St Laurent Studio YSL T-677)
Zinka Milanov - Final Recital, plus Interview with William H. Wells (2-St Laurent Studio YSL T-648)
Rheingold (Boulez; Donald McIntyre, Zoltan Kelemen, Bengt Rundgren, Matti Salminen) (2-St Laurent Studio YSL T-590)
Gianna Pederzini; Renato Zanelli (2-St. Laurent Studio 78-522)
Klaus Tennstedt, Vol. III (St Laurent Studio YSL T-543)
Die Fledermaus (Kozma; Steber, Kullman, Munsel, Hayward, Novotna, Brownlee) (2-St Laurent Studio T-647)
Das Lied von der Erde (Rodzinski; Thorborg & Kullman) (3-Immortal Performances IPCD-1090)
Falstaff (Levine; Taddei, Neblett, Cossotto, Blegen, Monk, Ahlstedt, Tajo) (2-St Laurent Studio YSL T-653)
Alexis Weissenberg, Vol. V; Kondrashin, Rowicki (St Laurent Studio YSL T-485)
Erich Leinsdorf, Vol. VI; Sills, Wolff, Domingo, Berberian) (St Laurent Studio YSL T-453)
Nozze (Panizza; Rethberg, Albanese, Stevens, Pinza, Brownlee, Baccaloni) (3-Immortal Performances IPCD 1094)
Arturo Toscanini - Victor Records Restored (3-Immortal Performances IPCD 1087)
Siegfried (Boulez; McIntyre, Jones, Kollo, Kelemen, Zednik, Rundgren) (3-St Laurent Studio YSL T-670)
Gotterdammerung (Boulez; Jones, Thomas, Kelemen, Ridderbusch) (4-St Laurent Studio YSL T-723)
La Fanciulla del West (Behr; Steber, Corelli / Bardini, Colzani) (2-St Laurent Studio YSL T-519)
Madama Butterfly (Patane; Scotto, Aragall, Edwards) (2-St Laurent Studio YSL T-658)
Cosi Fan Tutte (Cantelli; Schwarzkopf, Merriman, Sciutti, Alva, Panerai) (2-Immortal Performances IPCD 1083)
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)
Walkure (Boulez; McIntyre, Hofmann, Jones, Bode, Salminen, Randova) (3-St Laurent Studio YSL T-645)
Tosca (Adler; Leontyne Price, Franco Corelli, Cornell MacNeil) (2-St Laurent Studio T-681)
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)