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Palaeophonics’ newest . . .
this time WHO’S HOOPER? from 1919 . . .
Meloclassics now offers Cziffra, Malcuzynski,
Schmid, Arrau & Annie Fischer . . .
Celebrating Licia Albanese . . .
and our regular 50% SALE continues . . .
“Licia Albanese, definitively the very last of the ‘Old Guard’ of legendary opera singers and the last singer of her generation to have been considered a prima donna assoluta, died last week at the age of 105! Words are insufficient to make abundantly clear that she never can be replaced. Aside from having been synonymous with the ‘Old’ Met in the middle of the last Century, her art was so refined that it was made possible solely by virtue of her acute imagination combined with a lifetime of observation and study of the intricacies of the human condition. She was, without question, the veritable queen of expressivity. Further to which was the period in which her active career prospered. Albanese is the perfect example of the artist whose performance style was in perfect correlation with the manner in which she lived. She is among the best examples of performing legends whose example is by now a virtually extinct art – Albanese worked just as she lived, with complete grace and dedication to her career. One can name but a very few conductors, instrumentalists and singers who, upon hearing their recordings today, are instantly recognizable – something which cannot be said for more than a handful of today’s crop of sensationalized personalities. In Albanese’s case, even if one were not seeing her, the mind’s ‘ear’ would instantly recognize her unique style, characterization and voice.WHO’S HOOPER? (Howard Talbot & Ivor Novello), w.Howard Talbot Cond. Orig. London Cast: Madeleine Seymour, Paul Plunkett, Cicely Debenham, Fred Winn, Marjorie Gordon, Robert Michaelis & Violet Blythe; plus additional songs by Alfred Beers, Violet Loraine, W. H. Berry, Ernest Pike, etc. (England) Palaeophonics 118, recorded 1919, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure. (PE0230)
Hers was an art which was absolutely impossible to replicate. How familiar we are with the recordings of Marcel Wittrisch who, consciously or otherwise, would hopefully be the next Richard Tauber, but there was only the great Tauber; any attempt to copy his unique style would be hopeless. Those who would have the temerity to fashion their style after Milanov would, without her glorious voice, become a travesty. Caruso imitators have, throughout the years, suffered aborted careers as a result of their arrogance, and they too have disappeared in the dust of time.
Licia Albanese,who studied with the great soprano Giuseppina Baldassarre-Tedeschi, a noted Madama Butterfly from the early part of the 20th Century, carried on the great tradition of one of the most glorious of verismo artists. Albanese was particularly noted for the title role in MADAMA BUTTERFLY, a part she sang more than 300 times.She learned and exhibited the importance of the slightest nuanced gesture in her recreation of an operatic character. Hers was never an ‘over the top’ style of performing. On the contrary, Albanese would draw the listener in as she trained her audiences to concentrate rather than to be overwhelmed. She was a dedicated artist throughout, even if she might have to occasionally sacrifice the beauty of the voice in her effort to place emphasis on words.
Another perfectionist, Arturo Toscanini, sought her out for a number of his operatic performances during the ‘40s. As one result, her recorded Violetta under his baton is one of the most vivid portrayals in her arsenal. Albanese is quoted from 1974: ‘I never pushed on the low notes, except for some dramatic moments. I was taught to do it with accent and not with the voice. It is important to keep the middle voice light, even when dramatic, or you lose the high notes. The drama comes in accenting the words and with diction’.
Albanese sang well over 400 performances with the Met, and among them was distinguished in having 41 broadcasts. In 1939, she emigrated from Italy and came to New York, via Montréal, where she débuted at the Met on 9 February, 1940, as Cio-Cio-San. She made her mark primarily via imaginative chiaroscuro rather than through overt actions. She thus became a celebrated star overnight.”
"Of Irish descent, Talbot was born in America in Yonkers, New York but moved to London at the age of four. There he studied under Sir Hubert Parry, Sir Frederick Bridge and Sir Walter Parratt. Talbot's first full professionally produced comic opera was WAPPING OLD STAIRS in 1894. The success of this production in King's Lynn led to a transfer of the show to the Vaudeville Theatre in London. At this time, Talbot earned the bulk of his living from conducting both in London and for provincial touring productions, such as THE LADY SLAVEY. Talbot's first blockbuster hit was A CHINESE HONEYMOON, which opened in Hanley in 1899 and toured extensively before it was finally presented in London in 1891. A CHINESE HONEYMOON went on to become the first work of musical theatre in history to run for over 1,000 consecutive performances and found large audiences around the world. Talbot continued to conduct at the Gaiety Theatre, Daly's Theatre and other West End theatres and went on to compose or collaborate on two dozen musicals. He commanded a technical proficiency rare among Edwardian musical theatre composers, and his music is reminiscent of Arthur Sullivan's. In addition to musicals, he produced a body of songs, piano pieces, orchestral works and a cantata.GYÖRGY CZIFFRA: Beethoven Schumann & Liszt Program. (Germany) Meloclassic 1014, Live Performance, 29 Jan., 1960, Paris. " A white-hot live performance! A wonder that the Théâtre des Champs-Élysées didn't collapse with all the cheers and stomping!!! In our work, we must listen to seemingly countless perfrormances, and while a few of them are occasionally extraordinary, a rare experience occurs when one is stopped in one’s work by a performance of great occasion. This magnificent Cziffra live recital from Paris is a prime example! Not to be missed!" (P1122)
In 1909, Talbot teamed up with Lionel Monckton to produce THE ARCADIANS, which went on to become one of the most successful Edwardian musical comedies and has been described as the masterpiece of the genre. In 1916 Talbot contributed to a reworking of an American musical, HIGH JINKS for the Adelphi Theatre, which adapted a Rudolph Friml score. At the same time, he had been composing music for short musical pieces for variety theatres. In 1917, Talbot and Monckton were hired to write the score for the musical THE BOY, based on Pinero's THE MAGISTRATE, a vehicle for American comedian Bill Berry, who had been the star of HIGH JINKS. THE BOY became one of the biggest hits of the wartime era, when audiences sought light, escapist musical comedy. It was also adapted successfully on Broadway as GOOD MORNING, JUDGE in 1919 and toured the English-speaking world. This was followed by another successful musical for Berry by Fred Thompson based on a Pinero play, composed with Ivor Novello, WHO'S HOOPER?."
Alfred Cortot wrote to Cziffra:
Listening to the radio yesterday afternoon, I heard your magnificent version of the “Carnival of Venice” and I cannot resist expressing to you my very sincerest admiration. Even though my personal conception is slightly different from yours, in certain details of expression, your interpretation was inspired, worthy of Schumann’s original intention, both hidden and openly revealed, and was consistently moving and picturesque. Bravo, dear friend, and thank you for the joy you have brought me on the highest levels of inspired interpretation.
Very Sincerely Yours, Alfred CortotWITOLD MALCUZYNSKI: Variations & Fugue on a Theme by Handel (Brahms); Sonata #7 in B-flat (Prokofiev), both recorded 21 May, 1959, Paris; Sonata #23 in f (Beethoven), recorded 20 Dec., 1959, Paris. (Germany) Meloclassic 1015. (P1123)
“Although Paderewski had always expressed an aversion to teaching and had accepted few pupils during his long career, he decided that Malcuczynski should be his personal pupil. The young Pole went to live at Paderewski’s villa in Morges on Lake Geneva, Switzerland for several months in 1936-37. There he worked daily with Paderewski. It was during that period that Paderewski was engaged in his preparation of the Monumental Centenary Edition of the works of Chopin, completed before his death in 1941, but not published until 1949, the 100th anniversary of Chopin’s death. Malcuczynski had the invaluable advantage of watching the Paderewski tone develop and of profiting from the profound scholarship and critical study that went into its preparation. Many times he had been compared to the musical immortal and his fellow countryman….Malcuczynski's concerts attracted the attention of Yehudi Menuhin, who helped arrange a début in the United States at Carnegie Hall. After his New York triumph, Malcuczynski did a protracted tour of North America for the three following years. He played with the greatest conductors (Koussevitzky, Monteux, Paray, Mitropoulos, Reiner and Szell among others) and orchestras, in the greatest halls and drawing thousands of listeners.”
- Michael WaiblingerROSL SCHMID, w.Joseph Keilberth Cond.: Concerto #2 in B-flat (Beethoven), recorded 2 Aug., 1943, Munich; Konzertstück in f (Weber), recorded 8 Jan., 1945, Prague; Burlesque in d (Strauss),i> recorded 16 April, 1958, Bamberg. (Germany) Meloclassic 1013. (P1121)
“Rosl ‘Rosina’ Schmid was born on 25 April, 1911 in Munich. She studied the piano at the Academy of Music in Munich where she was taught by Walter Lampe from 1928 onwards. At the age of 16, she became organist at the Theatinerkirche and received the Felix Mottle Prize upon graduating from the academy. She gave many concerts at home and abroad and received the Berlin Music Prize in 1937. She continued her studies with Robert Teichmüller in Leipzig between 1938 and 1939. After 1945, she mostly toured in Germany and was a frequent guest (1949, 1950, 1953 and 1966) with the Berlin Philharmonic Orchestra under the baton of Josef Keilberth, who was a close friend. Her concert activity, however, was somehow curtailed, and she continued mainly as a teacher. She was named professor at the State School of Music in Munich in 1948. Maria Joăo Pires was one of her students in 1960s. Schmid died 20 November, 1978 in Munich.”
- Michael WaiblingerCLAUDIO ARRAU: 'Les Adieux' Sonata #26 in E-flat (Beethoven); Fantaisie in C (Schumann); Pour le Piano (Debussy); Mefisto Waltz #1; Gnomenreigen (both Liszt). (Germany) Meloclassic 1010, Live Performance, 8 Jan., 1959, East Berlin. (P1120)
“Claudio Arrau, one of the commanding piano titans of our time, enjoyed a career which spanned both ends of the twentieth century. He played his first recital in his native Chile in 1908, while his last concerts there took place in his ninth decade, in 1984. Arrau was one of the most prolifically recorded pianists of all time, with the lion’s share of his discography dating from after World War Two, when his international reputation solidified.”
- Jed DistlerANNIE FISCHER: Handel, Mozart, Beethoven, Schubert & Bartók Recital. (Germany) Meloclassic 1016, recorded 1957 (Frankfurt) & 1959 (Paris). (P1124)
“Annie Fischer gave her international début in Zürich in 1926. By the age of 12 Fischer began to astound the rest of Europe, and again like Clara Schumann, her early promise matured and developed with every year of her life. Fischer made significant studio recordings in the 1950s with Otto Klemperer and Wolfgang Sawallisch, but she felt that any interpretation created in the absence of an audience would necessarily be artificially constricting, since no interpretation was ever ‘finished’. Her legacy today thus includes many live concert recordings that have been released on CD and DVD. Her interpretations of Mozart, Beethoven, Brahms, Schubert and Schumann, as well as Hungarian composers like Béla Bartók, continue to receive the highest praise from pianists and critics. Her greatest legacy is a studio-made integral set of the complete Beethoven piano sonatas. She worked on this set for 15 years beginning in 1977. A self-critical perfectionist, she did not allow the set to be released in her lifetime but, since her death, it has been released on compact disc and widely praised. Fischer died in Budapest on 10 April, 1995.”
- Michael Waiblinger
. . . and repeated from recent weeks . . .
A NIGHT OUT (Willie Redstone & Clifford Grey), w. Willie Redstone Cond. Orig. London Cast: Leslie Henson, Lily St John, Fred Leslie, David Burnaby, Fred Leslie, Joe Wilbur, Ernest Pike, etc. (England) Palaeophonics 117, recorded 1920, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure. (PE0229)
SALLY (Jerome Kern & Guy Bolton), w.John Ansell Cond. Orig. London Cast: Dorothy Dickinson, George Grossmith, Jr, Seymour Beard, Otis Hooper, Leslie Henson, Gregory Stroud, Rosalind Rafferty, Heather Thatcher, etc. (England) Palaeophonics 116, recorded 1921, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure. (PE0228)
ALEXANDER BRAILOWSKY: Debussy, Chopin, Borodin & Moussorgsky (the latter's 'Pictures at an Exhibition'). (Germany) Meloclassic 1008, recorded 16 Oct., 1949, Paris. (P1118)
ALEXANDER UNINSKY: Mozart, Debussy, Liszt, Prokofiev & Stravinsky. (Germany) Meloclassic 1009, recorded 16 Oct., 1949, Paris. (P1119)
WALTER GIESEKING, w.Kurt Schröder Cond.Hessischen Rundfunks S.O.: Concerto in a (Grieg), recorded 13 Oct., 1951; Concerto #2 in c (Rachmaninoff), recorded 20 July, 1953. (Germany) Meloclassic 1000. (P1114)
WILHELM KEMPFF: Rameau, Couperin, Mozart, Beethoven - Live Recital, 12 July, 1955, Aix-en-Provence; Sonata in G, D.894) Schubert), recorded 11 Feb., 1960, Paris. (Germany) Meloclassic 1001. (P1115)
HANS RICHTER-HAASER: Sonata in D, K.284; Sonata in F, K.533 (Mozart), both recorded 30 Dec., 1950, Frankfurt; Sonata #16 in G, Op.31, Op.1 (Beethoven); Sonata #59 in E-flat (Haydn), both recorded 7 Oct., 1959, Hamburg. (Germany) Meloclassic 1002. (P1116)
WILHELM BACKHAUS: Sonata #6 in F; Sonata #12 in A-Flat; 'Moonlight' Sonata #14 in c-sharp (all Beethoven), Live Performance, 19 May, 1953, Paris; w.AMADEUS QUARTET: Piano Quintet in f (Brahms), Live Performance, 14 Aug., 1953, Menton. (Germany) Meloclassic 1007. (P1117)
IDA HAENDEL, w.Holecek (Pf.); w.Ancerl & Smetacek Cond. Czech Phil. & Prague S.O.: Tartini, Paganini, Beethoven, Brahms, Mendelssohn, Wieniwski, Sibelius, Lalo, Glazunov, de Sarasate, Ravel, Szymanowski, Bartók, Stravinsky, Kreisler & Kroll. (Czech Republic) 5-Supraphon 4162, recorded 1957-65. (S0627)
ENRICO MAINARDI, w.Carlo Zecchi (Pf.): Bach, Beethoven & Brahms. (Germany) Meloclassic 3000, recorded 1956, Frankfurt. (S0626)
GASPAR CASSADÓ, w.Willy Hammer, Adrian Aeschbacher & Max Strub: Bach, Beethoven, Mozart, Schumann, Brahms, Granados & Cassadó. (Germany) Meloclassic 3001, recorded 1940 & 1944, Berlin. (S0625)
LUDWIG HOELSCHER: Cello Suite #3 in C for Cello Unaccompanied - Courante; Sarabande; Cello Suite #6 in D for Cello Unaccompanied - Sarabande (Bach); w.Ferdinand Leitner (Pf): Rondo in g (Dvorák); Suite (Valentini); w.Michael Raucheisen (Pf): Sonata in a (Grieg); Sonata in g (Chopin). (Germany) Meloclassic 3002, recorded 1943 & 1944, Berlin. (S0624)
ANDRÉ LÉVY: Cello Suite #3 in C for Cello Unaccompanied (Bach); w.Paul Loyonnet (Pf): Sonata #1 in e (Brahms), both recorded 5 Jan., 1961, Paris; w.Ina Marika (Pf): Sonata in F (Strauss),recorded 11 Feb., 1960, Paris. (Germany) Meloclassic 3007. ( S0623)
ANTONIO JANIGRO, w.Antonio Beltrami (Pf): Bach, Beethoven, Brahms & Debussy - recorded 16 Oct., 1958, Frankfurt; w.Günter Ludwig (Pf): Sonata #5 in D (Beethoven), recorded 28 Feb., 1962, Paris. (Germany) Meloclassic 3008. (S0621)
JANOS STARKER, w.György Sebök (Pf): Rhapsody #1 (Bartók); Sonata #3 in A (Beethoven) - recorded 10 April, 1962, Frankfurt; w.Günter Ludwig (Pf): Sonata #2 in g (Beethoven); Cello Sonata (Kodály), recorded 16 Jan., 1959, Frankfurt. (Germany) Meloclassic 3009. (S0622)
SAMSON FRANÇOIS: Chopin & Liszt - Live Performance, 1954, RTF; Debussy & Ravel, recorded 5 Oct., 1953, RTF. (Germany) Meloclassic 1017. (P1110)
LEON FLEISHER: All the Things You Are, incl. Bach, Mompou, Perle, Kirchner, Koston, Gershwin & Jerome Kern (all transcriptions for the Left Hand). Bridge 9429, recorded 2013 & 2014, Curtis Institute of Music. A jewel of a recital, truly beguiling in its sensitivity and beauty. (P1109)
JANINE ANDRADE, w.Nicole Rolet de Castel & Tasso Janopoulo (Pfs): Franck, Fauré & Schubert Recital. (Germany) Meloclassic 2013, recorded 1958-60, Paris. (S0616)
ARTHUR GRUMIAUX & CLARA HASKIL (Pf): Mozart & Beethoven Recital. (Germany) Meloclassic 2000, Live Performance, 19 June, 1956, Strasbourg. (S0615)
ERICH RÖHN, w.Steinkopf Cond.Berlin Radio Orch.: Bruch, Beethoven & Schubert Recital; w.Rudolf Schultz & Georg Kniestädt: Concerto for 3 Violins in F (Vivaldi). (Germany) Meloclassic 2017, recorded 1942-44, Berlin. (S0617)
IGOR BEZRODNY, w.György Lehel Cond.DDR Rundfunk S.O.: Concerto in D (Beethoven), recorded 12 Jan., 1963, East Berlin; w.Kurt Masur Cond.DDR Rundfunk S.O.: Concerto #4 in D, K.218 (Mozart), recorded 16 Jan., 1960, East Berlin. (Germany) Meloclassic 2009. (S0619)
WILLI BOSKOVSKY, w.Weisbach Cond.Vienna S.O.: Concerto in a (Dvorák), recorded 7 April, 1944, Vienna; WOLFGANG SCHNEIDERHAN, w.Schmidt-Isserstedt Cond.Deutschen Opernhaus Orch.: Concerto #5 in A, K.219 (Mozart), Live Performance, 7 April, 1943, Berlin. (Germany) Meloclassic 2019, recorded 1942-44, Berlin. (S0618)
ERICK FRIEDMAN, w.Georges Prętre Cond.Paris Conservatoire Orch.: Concerto #1 in g (Bruch), Live Performance, 13 Jan., 1964; Symphonie espagnole in d (Lalo), Live Performance, 1 March, 1964. (Germany) Meloclassic 2008. (S0620)
VACLAV NEUMANN Cond. Czech Phil., Brno Phil., Prague S.O. & Film Symphony Orchestra, w.Loriod, Chuchro & Soukupova: Dvorák, Grieg, Tschaikowsky, Bořkovec, Sommer, Schubert, Mahler, Roussel & Messiaen. (Czech Republic) 6-Supraphon 4133, recorded 1953-68. (C1302)
. . . and our 50% Discount
Sale continues . . .
We continue Special 50% Discount Sale offerings. 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 . . .
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PE0230. WHO’S HOOPER? (Howard Talbot & Ivor Novello), w.Howard Talbot Cond. Orig. London Cast: Madeleine Seymour, Paul Plunkett, Cicely Debenham, Fred Winn, Marjorie Gordon, Robert Michaelis & Violet Blythe; plus additional songs by Alfred Beers, Violet Loraine, W. H. Berry, Ernest Pike, etc. (England) Palaeophonics 118, recorded 1919, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure.
P1122. GYÖRGY CZIFFRA: Beethoven Schumann & Liszt Program. (Germany) Meloclassic 1014, Live Performance, 29 Jan., 1960, Paris. A white-hot live performance! A wonder that the Théâtre des Champs-Élysées didn't collapse with all the cheers and stomping!!! In our work, we must listen to seemingly countless perfrormances, and while a few of them are occasionally extraordinary, a rare experience occurs when one is stopped in one’s work by a performance of great occasion. This magnificent Cziffra live recital from Paris is a prime example! Not to be missed! - 791154050149
P1123. WITOLD MALCUZYNSKI: Variations & Fugue on a Theme by Handel (Brahms); Sonata #7 in B-flat (Prokofiev), both recorded 21 May, 1959, Paris; Sonata #23 in f (Beethoven), recorded 20 Dec., 1959, Paris. (Germany) Meloclassic 1015. - 791154050156
P1120. CLAUDIO ARRAU: 'Les Adieux' Sonata #26 in E-flat (Beethoven); Fantaisie in C (Schumann); Pour le Piano (Debussy); Mefisto Waltz #1; Gnomenreigen (both Liszt). (Germany) Meloclassic 1010, Live Performance, 8 Jan., 1959, East Berlin. - 791154050101
Simon Boccanegra (Panizza; Tibbett, Pinza) (2-IPCD 1031)
Florence Quartararo (3–Immortal Performances 1030)
Vocal Record Collectors' Society - 2013 Issue (VRCS-2013)
Fernando de Lucia (4-Marston 54004)
Lohengrin (Bodanzky; Lehmann, Lawrence) (3-IPCD 1032)
Ballo (Panizza; Milanov, Bjorling, Castagna) (2-IPCD 1033)
Madama Butterfly / La Traviata (Licia Albanese) (IPCD 1037)
Sally (Dorothy Dickinson & Grossmith) (Palaeophonics 116)
Guiomar Novaes; George Szell (Archipel 0558)
Anna Bolena (Callas, Simionato, Raimondi) (2-Myto 00121)
Walkure (Munch; Harshaw, da Costa, Pease) (Memories 2292)
Aida (de Sabata, Cigna, Gigli, Stignani, Pasero) (IPCD 1034)
Eugen Onegin (Shaposhnikov, Lemeshev) (AQVR 380)
Betty in Mayfair (Evelyn Laye, Leigh) (Palaeophonics 110)
Watch Your Step (Coyne, Levey, Graves) (Palaeophonics 111)
Macbeth (de Sabata; Mascherini, Callas, Tajo) (Myto 00310)
La Traviata (Callas, Kraus, Sereni) (2-Myto 00147)
John McCormack - Complete Odeon (4-Marston 54005)
Arthur Endreze (5-Marston 55001)
Fonotipia Tenors - The Record Collector (TRC 39)
Frederic Lamond; Eduard van Beinum (2-Marston 52071)
Juan Luria (FLG 19051912)
Obukhova, Lisitsian, Richter, Oistrakh (Aquarius AQVR 386)
Marian Anderson (VAI 1275)
Gotterdammerung (Kempe; Nilsson, Hopf) (4-Myto 00326)