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  • ARTUR SCHNABEL: Sonata #1 in f, Op.2, #1; Sonata #10 in G, Op. 14, #2; Sonata #28 in A, Op.101, #28 (all Beethoven), recorded 1934. (Canada) St Laurent Studio YSL 78-368. Transfers by Yves St Laurent. (P1229)

    “Schnabel was known for championing the then-neglected sonatas of Schubert and, even more so, Beethoven, including his more challenging late works. Schnabel did much to popularize Beethoven's piano music, making the first complete recording of the sonatas, completing the set for the British label HMV in 1935. This set of recordings has never been out of print, and is considered by many to be the touchstone of Beethoven sonata interpretations, though shortcomings in finger technique mar many performances of fast movements. (Sergei Rachmaninoff is supposed to have referred to him as ‘the great adagio pianist’). It has been said that he suffered greatly from nerves when recording; in a more private setting, his technique was impeccable. Claudio Arrau has said that Schnabel's live performances during the 1920s were technically ‘flawless’. He also recorded all the Beethoven piano concerti.”

  • ARTHUR RUBINSTEIN, w.John Barnett Cond. L.A. Standard S.O.: Rhapsody on a Theme of Paganini; John Barnett Cond. Standard S.O.: Delibes, Griffes, Chopin, Benjamin, Sowerby & Johann Strauss. (Canada) St Laurent Studio YSL 33-356, Broadcast Performance, 22 May, 1949. Transfers by Yves St Laurent. (P1228)

    “Rubinstein believed that a foremost danger for young pianists is to practice too much. Rubinstein regularly advised that young pianists should practice no more than three hours a day. ‘I was born very, very lazy and I don't always practice very long’, he said, ‘but I must say, in my defense, that it is not so good, in a musical way, to overpractice. When you do, the music seems to come out of your pocket. If you play with a feeling of 'Oh, I know this,' you play without that little drop of fresh blood that is necessary – and the audience feels it’. Of his own practice methods, he said, ‘At every concert I leave a lot to the moment. I must have the unexpected, the unforeseen. I want to risk, to dare. I want to be surprised by what comes out. I want to enjoy it more than the audience. That way the music can bloom anew. It's like making love. The act is always the same, but each time it's different’."

    “Warm, lyrical, and aristocratic in his interpretations, Arthur Rubinstein performed impressively into extremely old age, and he was a keyboard prodigy almost from the time he could climb onto a piano bench. He came from a mercantile rather than a musical family, but fixated on the piano as soon as he heard it. At age three he impressed Joseph Joachim, and by the age of seven he was playing Mozart, Schubert, and Mendelssohn at a charity concert in his hometown. In Warsaw, he had piano lessons with Alexander Róóycki; then in 1897 he was sent to Berlin to study piano with Heinrich Barth and theory with Robert Kahn and Max Bruch, all under Joachim's general supervision. In 1899 came his first notable concerto appearance in Potsdam. Soon thereafter, just barely a teenager, he began touring Germany and Poland.

    After brief studies with Paderewski in Switzerland in 1903, Rubinstein moved to Paris, where he met Ravel, Dukas, and Jacques Thibaud, and played Saint-Saëns' g minor Concerto to the composer's approval. That work would remain a flashy Rubinstein vehicle for six decades, and it was the concerto he offered in his American début with the Philadelphia Orchestra in Carnegie Hall in 1906. His under-prepared American tour was not especially well-received, though, so he withdrew to Europe for further study. Rubinstein became an adept and sensitive chamber musician and accompanist; his 1912 London début was accompanying Pablo Casals, and during World War I he toured with Eugène Ysaÿe.

    He gave several successful recitals in Spain during the 1916-1917 season, and soon toured Latin America. Along the way he developed a great flair for Hispanic music; Heitor Villa-Lobos went so far as to dedicate to Rubinstein his ‘Rudepoema’, one of the toughest works in the repertory. Although Rubinstein would later be somewhat typecast as a Chopin authority, his readings of de Falla, Granados and Albéniz would always be equally idiomatic.

    Rubinstein's international reputation grew quickly, although he was by his own account a sloppy technician. In the mid-1930s he withdrew again and drilled himself in technique. By 1937 he reemerged as a musician of great discipline, poise, and polish - qualities he would mostly retain until his farewell recital in London in 1976, at the age of 89. Rubinstein's temperament had sufficient fire for Beethoven but enough poetry for Chopin; his tempi and dynamics were always flexible, but never distorted. His 1960s recordings for RCA of nearly all Chopin's solo piano music have been considered basic to any record collection since their release, and his version of Falla's NIGHTS IN THE GARDENS OF SPAIN is another classic, as are his various late collaborations with the Guarneri Quartet.

    Rubinstein became a naturalized American citizen in 1946, but he maintained residences in California, New York, Paris, and Geneva; two of his children were born in the United States, one in Warsaw, and one in Buenos Aires. He had married Aniela Mlynarska in 1932, but womanizing remained integral to his reputation as an irrepressible bon vivant. He maintained that the slogan ‘wine, women, and song’ as applied to him meant 80 percent women and only 20 percent wine and song. Still, there was a serious side to his life. After World War II, he refused ever again to perform in Germany, in response to the Nazi extermination of his Polish family. Rubinstein became a strong supporter of Israel; in gratitude, an international piano competition in his name was instituted in Jerusalem in 1974. His honors included the Gold Medal of the Royal Philharmonic Society of London, the U.S. Medal of Freedom (1976), and membership in the French Legion of Honor.”

  • - James Reel,

  • NIKOLAI MALKO Cond. Danish National S.O.: March (Tcherepnin) [First Publication]; Capriccio italien (Tschaikowsky); Hjertesar; Varen (both Grieg); w.POUL ALLIN ERICHSEN: Clarinet Concerto (Cond. by the COMPOSER) - all recorded 1952-53 (the latter a Live Performance); NIKOLAI MALKO Cond. Philharmonia Orch.: Zampa – Overture (Hérold); Oberon – Overture (Weber) - recorded 1953. [First Publication of the latter]. (Canada) St Laurent Studio YSL 78-353. Transfers by Yves St Laurent. (C1443)

    "Malko completed his studies in history and philology at Saint Petersburg University in 1906. In 1909 he graduated from the Saint Petersburg Conservatory, where he had included Rimsky-Korsakov, Glazunov and Lyadov among his teachers. He published articles on music criticism in the Russian press and performed as a pianist and later as a conductor. In 1909 he became a conductor at the Mariinsky Theatre and, six years later, the head conductor there. From 1909 he studied conducting in Munich under Felix Mottl. In 1918 he became the director of the conservatory in Vitebsk and from 1921 taught at the Moscow Conservatory. From 1921 to 1924 he shuttled between Vitebsk, Moscow, Kiev and Kharkiv, conducting in each of these cities. In 1925 he became a professor of the Leningrad Conservatory. He became conductor of the Leningrad Philharmonic Orchestra in 1926 and conducted the world première of the Symphony #1 by his pupil Dmitri Shostakovich that same year, and the premiere of Shostakovitch's Symphony #2, dedicated to him, in 1927. Malko also conducted the premiere of Nikolai Myaskovsky's 5th Symphony. Myaskovsky's 9th Symphony was dedicated to Nikolai Malko.

    He was succeeded as director of the Leningrad Philharmonic by his pupil Yevgeny Mravinsky in 1938, and continued to teach at the Conservatory. In 1929, invited to appear in the West, he and his wife left the Soviet Union, and did not return for thirty years, until a U.S. State Department-sanctioned invitation from the Soviet Ministry of Culture brought him back to conduct in Moscow, Leningrad, and Kiev. Once in the West, Malko lived in Vienna, Prague and in Copenhagen, where he helped establish the Danish Radio Symphony Orchestra, with the title Permanent Guest Conductor.

    With the outbreak of World War II in 1940, Malko settled in the United States, where he also taught conducting. His thoughts on conducting technique were gathered together and published in a volume entitled, THE CONDUCTOR AND HIS BATON (1950).

    Malko recorded extensively for EMI in Copenhagen and then with the Philharmonia, in London. In 1951 he premiered Vagn Holmboe's 7th Symphony with the Danish Radio Symphony Orchestra. In 1954 he came to Britain as principal conductor of the Yorkshire Symphony Orchestra. In 1956 he moved to Australia, becoming chief conductor of the Sydney Symphony Orchestra following the hurried departure of Sir Eugene Goossens. In 1960, the Danish King Frederick IX named Malko a Knight of the Order of Dannebrog. Malko continued in his position as Chief Conductor of the Sydney Symphony Orchestra until his death in Sydney in 1961.”

  • - Ned Ludd

  • PIERRE BOULEZ (Vol. III) Cond. Cleveland S.O.: Symphony #26 in d (Haydn); Symphony #4 in c (Schubert), Live Performance, 2 Dec., 1972, Severance Hall; PIERRE BOULEZ Cond. NYPO: Gymnopédies Nos. 1 & 3 (Satie); w.GERARD SCHWARZ: Trumpet Concerto in E-flat (Haydn), Live Performances, 1975-76, Avery Fisher Hall. (Canada) St Laurent Studio YSL T-351. Transfers by Yves St Laurent. (C1447)

    “’Audacity, innovation, creativity — that is what Pierre Boulez was for French music, which he helped shine everywhere in the world’.

    Mr. Boulez belonged to an extraordinary generation of European composers who emerged in the postwar years while still in their 20s. They started a revolution in music, and Mr. Boulez was in the front ranks.

    But his influence was equally large on the podium. In time he began giving ever more attention to conducting, where his keen ear and rhythmic incisiveness could produce a startling clarity. (There are countless stories of him detecting faulty intonation, say, from the third oboe in a complex piece.) He reached his peak as a conductor in the 1960s, when he began to appear with some of the world’s great orchestras, like the Concertgebouw in Amsterdam, the Berlin Philharmonic and the Cleveland Orchestra. By the early ’70s, he had succeeded Leonard Bernstein as music director of the New York Philharmonic, an appointment that startled the music world and led to a fitful tenure. It was his reputation as an avant-garde composer and as a champion of new music that prompted his unexpected appointment in New York. After the initial shock at his arrival, there was hope that he might bring the orchestra into the 20th century and appeal to younger audiences. But his programming often met with hostility in New York, and he left quietly six years later. ‘I had to learn about that music, to find out how it was made’, he once told OPERA NEWS. ‘It was a revelation - a music for our time, a language with unlimited possibilities. No other language was possible. It was the most radical revolution since Monteverdi. Suddenly, all our familiar notions were abolished. Music moved out of the world of Newton and into the world of Einstein’. To start on this route, he took lessons in 1945-46 with René Leibowitz, a Schönbergian who had settled in Paris. Soon he was integrating what had been separate paths of development in the music of the previous 40 years: Schönberg’s serialism, Stravinsky’s rhythmic innovations and Messiaen’s enlarged notion of mode. As Mr. Boulez saw it, all these composers had failed to pursue their most radical impulses, and it fell to a new generation - specifically, to him - to pick up the torch. ‘He never ceased to think about subjects in relation to one another; he made painting, poetry, architecture, cinema and music communicate with each other, always in the service of a more humane society’, the office of President François Hollande said in a statement. Even so, the achievements embodied in his published works and recordings are formidable, and his influence was incalculable. The tasks he took on were heroic: to continue the great adventure of musical modernism, and to carry with him the great musical institutions and the widest possible audience.”

    - Paul Griffiths, THE NEW YORK TIMES, 6 Jan., 2016

    “Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”

  • - Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011

    . . . repeated from the recent past . . .

  • PIERRE BOULEZ (Vol. I) Cond. Cleveland S.O.: Symphony #3 in D (Schubert), Live Performance, 18 March, 1971, Severance Hall; Manfred - Overture; Symphony #3 in E-flat (both Schumann), Live Performance, 17 July, 1971, Blossom Music Festival. (Canada) St Laurent Studio YSL T-348. Transfers by Yves St Laurent. (C1437)

  • 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)

    "The Pro Arte Quartet was founded in 1911-12 by students at the Brussels Conservatory. Violinist Alphonse Onnou was the leader, and the other founding members included Laurent Halleux (violin), Germain Prévost (viola), and Fernand Auguste Lemaire (‘cello). The Quartet made its début in Brussels in 1913 and soon became known as an exponent of modern music. In 1918 Fernand Quinet became the cellist, but in 1921 he was replaced by Robert Maas. That year, with the aid of Paul Collaer and Arthur Prévost, the Pro Arte Concerts began, in which performances were given of new works by, among others, Bartók (whose Fourth Quartet is dedicated to the Pro Arte), Casella, Honegger, Martin, Milhaud and Rieti. The Quartet performed with great success at the 1923 ISCM Festival in Salzburg, and the same year played new works commissioned by Elizabeth Sprague Coolidge at a concert in Rome. After touring Europe the Quartet visited England for the first time in 1925; subsequent visits to England included annual series of a week’s performances in Cambridge (1932–8). In 1932 the quartet was granted the title Quatuor de la Cour de Belgique, in recognition of its services to Belgian music.

    The Pro Arte played their American début in 1926, performing at the inauguration of the Hall of Music in the Library of Congress, Washington, DC. They returned for thirty tours to the United States, as well as a tour of Canada, often under the auspices of the noted patron of chamber music, Mrs. Elizabeth Sprague Coolidge. Their first visit to Madison was in 1938 where, two years later, the musicians were stranded by Hitler’s invasion of Belgium and the outbreak of World War II. Following their concert on campus, the University of Wisconsin chancellor offered a permanent home to the Quartet – it was the first such residency ever in a major American university, and became the model on which many other similar arrangements were developed at other institutions. Onnou died in 1940, but the Quartet continued until 1947 as Quartet-in-Residence at Wisconsin University, led first by Antonio Brosa and from 1944 by Rudolf Kolisch. The Pro Arte became the faculty string quartet at UW-Madison in the late 1950s, an appointment that continues to the present day."

  • ARTHUR de GREEF: Grieg Recital - recorded 1929 & 1929; w.Landon Ronald Cond. London S.O.: Concerto in a (Grieg), recorded 18 Jan., 1927; Concerto #2 in A (Liszt), recorded 1930. (Canada) St Laurent Studio YSL 78-365. Transfers by Yves St Laurent. (P1230)

    “Arthur de Greef studied piano at the Brussels Conservatory with Louis Brassin, winningfirst 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.

    de Greef recorded for HMV from 1918, and because he made many discs in the early1920s by the acoustic process, he made them again after 1925 when this process was superseded by electrical recording. His most important recording is that of the Grieg Piano Concerto, which he recorded acoustically in an abridged version in 1921, and electrically in 1927. The same thing happened with Liszt’s Hungarian Fantasy, and also Saint-Saëns’ Piano Concerto #2 in g minor which he recorded in 1921 and 1928.

    Unfortunately he did not re-record Liszt’s Piano Concerto #1 in E flat, so this exists only in an acoustic version, but in 1930 he recorded the Piano Concerto #2. de Greef also made recordings with violinist Isolde Menges of Beethoven’s ‘Kreutzer’ Sonata and Schubert’s Sonatina D. 408.”

  • - Jonathan Summers, Naxos - A–Z of Pianists

  • BRUNO MADERNA (Vol. II) Cond. Boston S.O.: Symphony #1 in c (Brahms), Live Performance, 21 July, 1972, Tanglewood; Symphony #2 in B-flat (Schubert), Live Performance, 11 July, 1971, Tanglewood. (Canada) St Laurent Studio YSL T-360. [Among the most ecstatic, thrilling and emotive interpretations of the Brahms Symphony you'll ever hear, performed before a duly excited and committed audience!] Transfers by Yves St Laurent. (C1446)

  • BRUNO MADERNA (Vol. I) Cond. Cleveland S.O.: Symphony #2 in C (Schumann); w.EARL WILD (Pf.): Hungarian Fantasy (Liszt). (Canada) St Laurent Studio YSL T-359, Live Performance, 5 Aug., 1972, Blossom Music Festival; Interview with Bruno Maderna. [Among the most heartfelt and beautiful interpretations of the Schumann Symphony you'll ever hear!] Transfers by Yves St Laurent. (C1440)

    “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

  • 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)

  • SAMSON ET DALILA, Live Performance, 30 Jan., 1956, Palais Garnier, w. Fourestier Cond. l'Opéra Ensemble; Raoul Jobin, Denise Scharley, René Bianco, Henri Médus, Pierre Froumenty, etc.; DENISE SCHARLEY & RENÉ BIANCO: SAMSON ET DALILA - Excerpts, 1960 & 1956. (France) 2-Malibran 789. (OP3181)

    “Denise Scharley was a French contralto who débuted at the Opéra-Comique on 29 November, 1942, in the role of Geneviève in PELLÉAS ET MÉLISANDE, and then at the Paris Opéra, 23 Nov., 1953, as Maddalena in RIGOLETTO. On 21 June, 1957, she created the role of the Prioress in Poulenc’s DIALOGUES DES CARMÉLITES. Denise Scharley occupied a place in the forefront of French singers. Two key roles, however, have particularly distinguished her: that of Madame de Croissy, First Prioress (DIALOGUES DES CARMÉLITES) and Mme Flora in Menotti’s THE MEDIUM. In 1951 she appeared as Carmen at the Monnaie in Brussels. She is particularly remembered for performances of SAMSON ET DALILA at the Palais Garnier in 1960. With Crespin and Gorr, she was one of the Norns in GÖTTERDÄMMERUNG, Fricka in DIE WALKÜRE and Erda in SIEGFRIED in 1958, under Knappertsbusch. In Weber’s OBERON she became Puck, under the baton of André Cluytens (1954), and young David, at the stage presentation of Arthur Honegger's KING DAVID in October 1960. In 1972, she again sang Madame de Croissy in the new production of DIALOGUES DES CARMÉLITES. In Geneva, she also had the opportunity to perform the Russian repertoire in PIQUE DAME and KHOVANSHCHINA.

    Raoul Jobin made his début at the Paris Opéra on 3 July, 1930, as Tybalt in ROMÉO ET JULIETTE. He quickly sang principal tenor rôles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France: Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. With the outbreak of the war, he returned to North America. He made his début at the Metropolitan Opera on 19 February, 1940, as des Grieux in MANON. He remained with the company until 1950, where he sang many rôles alongside such singers as Lily Pons, Bidu Sayao, Licia Albanese, Risë Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires. After WW II, he returned to Paris in 1947, where he successfully sang his first major Wagnerian rôle, Lohengrin, earning him the nickname ‘Monsieur Lohengrin’. He later sang the role of Walther in >DIE MEISTERSINGER VON NÜRNBERG with equal success. He also created the rôle of Fabrice Del Dongo in LA CHARTREUSE DE PARME by Henri Sauguet. Subsequently, Jobin divided his time largely between Europe and America, maintaining his high standard in his accustomed rôles while adding new ones, until his retirement from the stage in 1958.

    René Bianco was a French baritone whose career began in 1942 in the major theaters of North Africa (Algiers, Tunis, Oran, etc.), then continued in France. From 1950, he regularly performed at the Opéra de Paris especially the works of Verdi, Gounod and Bizet . He then retired to teaching in the 1990s.”

  • - Z. D. Akron

  • 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."

  • - Marston

  • NIKOLAI MALKO Cond. CBS S.O.: Star Spangled Banner (Key); Fidelio – Overture (Beethoven); Tsar Saltan – Suite (Rimsky-Korsakov); w.BENNY GOODMAN: Clarinet Concerto (Cond. by the COMPOSER). (Canada) St Laurent Studio YSL 78-291, Live Performance, 28 Sept., 1941 - First Publication. (C1441)

  • 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)

    "...Pederzini [was] one of the best mezzos of my whole experience. Hers was not perhaps one of the greatest vocal organs, but she used it splendidly and had a beautiful vocal intensity onstage which made her performances riviting."

    - Tito Gobbi, MY LIFE, p.156

    “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

  • 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

  • ARTURO TOSCANINI Cond. BBC S.O., w.Zinka Milanov, Kerstin Thorborg, Helge Roswaenge & Nicola Moscona: MANZONI REQUIEM (Verdi); ARTURO TOSCANINI Cond. BBC S.O.: Symphony #4 in B-flat (Beethoven). (Canada) 2-Immortal Performances IPCD 1058, Live Performance, 27 May, 1938, Queens’ Hall, London, featuring BBC broadcast commentary and ovations, best sound over all previous editions. Extensive notes. Transfers by Richard Caniell. (C1433)

    “The Immortal Performances restoration of the 1938 Verdi Requiem BBC S.O. is startlingly better than Testament and shows what has been greatly missing until now - its fine presence and frequency range.”

  • - Christopher Dyment, author of TOSCANINI IN BRITAIN

  • 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)

    "Arrau is the complete pianist. He can revel in the keyboard for its own pianistic sake, representing to us the instrument's range and power, but he can also go beyond piano playing as we are led by his art to the secret chambers of the creative imagination."

  • - Sir Neville Cardus, THE GUARDIAN

  • SUZANNE GYR: Beethoven, Schumann, Albéniz, Chopin, Fauré, Debussy & Ravel. (Canada) 2-St Laurent Studio YSL 78-352, recorded 1944-46, for Swiss HMV - issued Switzerland only.. Transfers by Yves St Laurent. (P1226)

  • JON VICKERS MEMORIAL . . . includes . . .
  • AÏDA, Live Performance, 11 Oct., 1965, w. Zubin Mehta Cond. Opéra de Montréal Ensemble; Virginia Zeani, Jon Vickers, Lili Chookasian, Victor Braun, Thomas Paul, etc. [recorded by this production's stage manager, Irving Guttman, the sound is clear but rather shallow due to the lack of upstage mikes];

  • CARMEN, Live Performance, 5 July, 1968, w.Georges Prêtre Cond. Teatro Colón Ensemble; Grace Bumbry, Jon Vickers, Robert Merrill, Joan Carlyle, etc.; [well recorded by the Teatro Colón for broadcast];

  • JON VICKERS & GIULIETTA SIMIONATO: AÏDA - Judgment Scene (Act IV), Bell Telephone Hour, 5 May, 1964. (Canada) 4-Immortal Performances IPCD 1056, accompanied by elaborate 46pp. booklet. Transfers by Richard Caniell. Notes by Stanley Henig & Richard Caniell. (OP3177)

  • DER ROSENKAVALIER, Live Performance, 26 Dec., 1959, (replete with Milton Cross’ commentary), w.Leinsdorf Cond. Met Opera Ensemble; Christa Ludwig, Lisa Della Casa, Elisabeth Söderström, Oskar Czerwenka, Eugenio Fernandi, etc.; DER ROSENKAVALIER – Scenes, w.Basile Cond. Los Angeles Phil., Live Performance, 12 March, 1959; Lisa Della Casa, Mildred Miller & Dorothy Warenskjold; DOROTHY WARENSKJOLD, w.Pierre Monteux Cond. San Francisco Opera Orchestra: Arias by Debussy, Charpentier & Alfano from Standard Hour Concerts, 1949-49. (Canada) 4-Immortal Performances 1050. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos & booklet. (OP3171)

  • LA BELLE HÉLÈNE (Offenbach), Broadcast Performance, w. Cariven Cond. RTF Radio-Lyrique Ensemble; Maria Murano, Claude Devos, Marcelle Sansonetti, Gaston Rey, Lucien Huberty, André Balbon, etc.; MARIA MURANO: Chanson Gitane (Yvain); Arias from La Périchole, Frasquita, Le Petit Faust, La Mascotte, Colombe & Le Prince de Madrid - recorded during Live Performance. (France) 2-Malibran 793. (OP3179)

  • FRA DIAVOLO (in Russian), Live Performance, 29 March, 1955, w.Khaikin Cond. Bolshoi Opera Ensemble; Sergei Lemeshev, Nina Guselnikova, Pavel Volovov, Elena Gribova, Andrei Sokolov, etc. (Russia) 2-Aquarius AQVR 396. [Most appealing to hear Lemeshev & Guselnikova in this delightful French opera. The sound quality is vibrant, always conveying the sense of ‘occasion’, obviously recorded from the prompter's box.] (OP3175)

  • LES PÊCHEURS DE PERLES (in Russian), recorded 1950, w.Bron Cond. Moscow Radio Ensemble; Nadezhda Kazantseva, Sergei Lemeshev, Vladimir Zakharov, etc. (Russia) 2-Aquarius AQVR 394. (OP3176)

  • L'AIGLON (Honegger & Ibert), recorded 11 Jan., 1956, w.Dervaux Cond. Géori-Boué, Xavier Depraz, Roger Bourdin, Lucien Lovano, Joseph Peyron, Lillane Berton, erc. (France) Malibran 792. (OP3174)

  • TOSCA (in French), Broadcast Performance, w. Le Conte Cond. RTF Radio-Lyrique Ensemble; Christiane Castelli, Albert Lance, Jean Laffont, Lucien Lovano, Joseph Peyron, etc.; JEAN LAFFONT: Arias from Don Giovanni, Barbiere, Don Quichotte, Faust, Les Contes d'Hoffmann, Thaïs, Le Roi de Lahore & Le Chemineau. (France) 2-Malibran 791. (OP3173)

  • LES CONTES D’HOFFMANN, Live Performance, 26 Feb., 1944 (replete with Milton Cross’ commentary), w. Thomas Beecham, Cond. Met Opera Ensemble; Raoul Jobin, Patrice Munsel (Olympia), Lily Djanel (Giulietta; Muse), Jarmila Novotná (Antonia), Ezio Pinza (Coppélius; Miracle), Martial Singher (Dapertutto), Mack Harrell (Lindorf), Alessio de Paolis (Spalanzani, Pitichinaccio, and Frantz), Nicola Moscona (Crespel) & Lucille Browning (Nicklausse); LES CONTES D’HOFFMANN - Vous me quittez (in Russian), w. Zara Dolukhanova & Ivan Kozlovsky, recorded 1952. (Canada) 2-Immortal Performances IPCD 1060, accompanied by 34pp Booklet with notes by Dewey Faulkner. Transfers by Richard Caniell. (OP3172)

    - - - - - - - - A Met Opera Double Bill - - - - - - - -

  • IL TABARRO, Live Performance, 5 Jan., 1946, w.Busch Cond. Met Opera Ensemble; Licia Albanese, Lawrence Tibbett, Frederick Jagel, Margaret Harshaw, Virgilio Lazzari, Thomas Hayward, Alessio de Paolis, etc.;

  • DON PASQUALE, Live Performance, 5 Jan., 1946 (replete with Milton Cross’ commentaries) w.Sodero Cond. Met Opera Ensemble; Bidú Sayão, Salvatore Baccaloni, Nino Martini, John Brownlee & Alessio de Paolis; DON PASQUALE - Excerpts (in German) w.Steiner Cond. Berlin Reichsrundfunk Orch.; Erna Berger & Karl Schmitt-Walter; DON PASQUALE - Excerpts w. Schipa, dal Monte, Fregosi & Azzolini. (Canada) 3-Immortal Performances IPCD 1057, w.52pp Elaborate Booklet, w.Notes by Henry Fogel & Richard Caniell; Transfers by Richard Caniell. DON PASQUALE commemorates the 150th Anniversary of the birth of Fritz Busch. (OP3169)

    . . . 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 . . .

    more out-of-print CDs are regularly added throughout

    our listings, in appropriate categories.

    . . . 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, 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.

    Artur Schnabel, Vol. III      (St Laurent Studio YSL 78-368)
    P1229. ARTUR SCHNABEL: Sonata #1 in f, Op.2, #1; Sonata #10 in G, Op. 14, #2; Sonata #28 in A, Op.101, #28 (all Beethoven), recorded 1934. (Canada) St Laurent Studio YSL 78-368. Transfers by Yves St Laurent.
    Pierre Boulez, Vol. III;   Gerard Schwarz       (YSL T-351)
    C1447. PIERRE BOULEZ Cond. Cleveland S.O.: Symphony #26 in d (Haydn); Symphony #4 in c (Schubert), Live Performance, 2 Dec., 1972, Severance Hall; PIERRE BOULEZ Cond. NYPO: Gymnopédies Nos. 1 & 3 (Satie); w.Gerard Schwarz: Trumpet Concerto in E-flat (Haydn), Live Performances, 1975-76, Avery Fisher Hall. (Canada) St Laurent Studio YSL T-351. Transfers by Yves St Laurent.
    Nikolai Malko, Vol. XI;  Poul Allin Erichsen      (YSL 78-353)
    C1443. NIKOLAI MALKO Cond. Danish National S.O.: March (Tcherepnin) [First Publication]; Capriccio italien (Tschaikowsky); Hjertesar; Varen (both Grieg); w.POUL ALLIN ERICHSEN: Clarinet Concerto (Cond. by the COMPOSER) - all recorded 1952-53 (the latter a Live Performance); NIKOLAI MALKO Cond. Philharmonia Orch.: Zampa - Overture (Hérold); Oberon - Overture (Weber) - recorded 1953. [First Publication of the latter]. (Canada) St Laurent Studio YSL 78-353. Transfers by Yves St Laurent.
    Arthur Rubinstein, Vol. IV;  John Barnett      (YSL 33-356)
    P1228. ARTHUR RUBINSTEIN, w.John Barnett Cond. L.A. Standard S.O.: Rhapsody on a Theme of Paganini; John Barnett Cond. Standard S.O.: Delibes, Griffes, Chopin, Benjamin, Sowerby & Johann Strauss. (Canada) St Laurent Studio YSL 33-356, Broadcast Performance, 22 May, 1949. Transfers by Yves St Laurent.
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