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FANNY DAVIES: Kinderszenen; Davidsbündlertänze; w.Ansermet Cond. Royal Phil.: Concerto in a (all Schumann). (Canada) St Laurent Studio YSL 78-209, recorded 1928-30. Transfers by Yves St Laurent. (P1082)
From Yves St Laurent:
Fanny Davies & Blanche Selva;
From Caniell’s Immortal Performances:
Toscanini, Koussevitzky, Maria Kurenko &
Roland Hayes . . .
the regular 50% SALE continues . . .
“On 8 June 1928 Davies gave a recital in London of Schubert and Schumann, and a week later made her first recordings for Columbia. With the Royal Philharmonic Orchestra and Ernest Ansermet she recorded Schumann’s Piano Concerto Op. 54. In February 1929 she returned to record Schumann’s ’Kinderszenen’ Op. 15 and in December 1930 the same composer’s ‘Davidsbündlertänze’ Op. 6. That was the extent of Davies’ published recording career; she died four years later.
The performance of Schumann’s Piano Concerto is so fresh and spontaneous that it is a surprise to learn that Davies was in her late sixties when she recorded it. If one reads the reminiscences of any of Clara Schumann’s pupils the same ideas of interpretation abound, and it is in this recording that they are preserved and demonstrated. As Davies remembered, Clara Schumann had said, ‘Schumann is nothing if he is not rhythmic. He is a poet, full of sentiment and fantasy, but he is never sentimental; you must never make his music sound sentimental.’ The performance style of this concerto has changed over the years, distorting the work into an overblown romantic warhorse, but listening to the simplicity and purity of Davies, one cannot help but imagine that this must be close to the way the work would have sounded in Schumann’s time.”
- Jonathan Summers, Naxos’ A–Z OF PIANISTS
BLANCHE SELVA: Prélude, Chorale & Fugue; BLANCHE SELVA & JOAN MASSIA: Sonata in A (both Franck). (Canada) St Laurent Studio YSL 78-213, recorded 1930. Transfers by Yves St Laurent. (P1083)
BLANCHE SELVA: Partita #1 in B-flat (Bach); Vers le mas en fête; Les muletiers devant le Christ de Llivia; Baigneuses au soleil (all de Séverac); JOAN MASSIA: Adagio ma non troppo (Bach), all recorded 1929; BLANCHE SELVA & JOAN MASSIA: Spring Sonata #5 in F (Beethoven), recorded 1929-30. (Canada) St Laurent Studio YSL 78-103. Transfers by Yves St Laurent. (P0960)
“Blanche Selva, one of the most revered of French pianists of her generation, made pitifully few recordings and even those were compressed into a two-year period. Her discography in fact amounts to no more than a mere eleven works, three of them in collaboration with the Catalan violinist Joan Massia (two of which are here). Six of the eleven were of works by Déodat de Séverac – who still retains a tentative toe in current discographic waters – two were by Bach, two by Franck and one by Beethoven.
Trained at the Schola Cantorum, Selva was appointed by d’Indy himself as teacher at the early age of eighteen. In all she taught there for twenty years and was adventurous enough to add her own twist to the usual continental drift westwards of Czech musicians – Selva herself moving to Prague to teach; (while so many others were off to Paris) and encountering Suk and Novák along the way. She was a front rank exponent of Albéniz and d’Indy himself. She gave the complete Bach keyboard works as a cycle (beginning in Paris in 1904 and a number of times afterward) as she subsequently gave the complete ‘32’ of Beethoven on several occasions. She settled in Catalonia in the mid-twenties but suffered a stroke shortly after making some of the discs to be heard here and from then her concert-giving days were over. She left Barcelona – where she had taught – after the Civil War and died pretty much forgotten in France in 1942.
Her Bach Partita is a precious souvenir of her playing. The Prelude is limpidity itself and the clarity and pointing of the stylish and apt Allemande truly impressive. Her chordal weighting in the Courante and her rather cool undemonstrative musicality all point to a major Bach player of the most august French school. The dynamics of the concluding Fugue are splendidly controlled and her ‘throwaway’ ending insouciant in the extreme.
Selva was long a proponent of the music of the Languedoc-Provencal composer Déodat de Séverac and even wrote a biography of him. She revels in his fresh air impressionism – how elliptically she points the end of ‘Baigneuses au soleil’ and how charmingly she vests ‘Vers le mas en fête’ with such drama and such colour. To the mild exoticisms of ‘Les muletiers devant le Christ de Llivia’ can be added Selva’s own virtuosity and flair for colouristic potential – and she somehow ties the work to its Franckian antecedents with the simplest of inflexions.
- Jonathan Woolf, MusicWeb International
“Joan Massià (1890–1969) was a virtuoso violinist trained in Brussels by Alfred Marchot (himself a pupil of the legendary Eugène Ysaÿe). In his youth, Massià formed a magnificent duo with Blanche Selva – the French pianist who gave the première in Paris of Albéniz’s IBÉRIA – and for some years they undertook intensive and successful concert tours throughout Europe. Many of Massià’s compositions were for the piano – he was a distinguished amateur pianist and a talented improviser.”
SERGE KOUSSEVITZKY Cond. Boston S.O., w.Maria Kurenko, Roland Hayes, Dorothy Cornish & Robert Collins: MISSA OECUMENICA (Gretchaninoff), Live Performance, 26 Feb., 1944, w.broadcast commentary; MARIA KURENKO, w.Gretchaninoff (Pf.), recorded 25 April, 1941; NINA KOSHETZ, w.Gretchaninoff (Pf.), recorded 15 April, 1929: Gretchaninoff Songs. (Canada) Immortal Performances 1036. Transfers by Richard Caniell; Essay by Larry Friedman. (C1280)
“This broadcast is the first time music lovers outside Boston’s Symphony Hall heard this work, the premiere occuring two days previously with the composer and his wife in the audience. So far as we can determine, this is the first time the premiere of Gretchaninoff’s MISSA has ever been published in any form. The recording required only marginal dimensionalization — essentially what you hear is the broadcast sound as transmitted on 22 November, 1944.”
- Richard Caniell, Program Notes
ARTURO TOSCANINI Cond. NBC S.O.: The 20 April, 1940 Concert, incl. Introduction and Allegro for Strings (Elgar); Jupiter Symphony in C, K.551 (Mozart); Scherzo capriccioso (Dvorák); Pictures at an Exhibition (Mussorgsky-Ravel), w.Commentary by Gene Hamilton; Complete Concert of 9 April, 1944, incl. Parsifal - Prelude and Good Friday Spell; w.Jascha Heifetz: Violin Concerto in e (Mendelssohn); Bonus disk of rehearsal for 20 April, 1940 Concert. (Canada) 3-Immortal Performances 1038. Transfers & Essay by Richard Caniell; Program Notes by Robert Matthew-Walker; w.22-pp booklet. Specially priced at 3 CDs for the price of 2. (C1279)
“This concert of 20 April 1940 was recorded via landlines at the RCA
Victor Recordings Studios on East 24th Street. At the same time the concert was recorded on the Ninth Floor of Rockefeller Center in which building NBC also had its largest studio, 8H. The air checks are inferior in sound to the landline transmission. I was particularly happy to obtain a copy of the landline recording of this concert as the sound, remarkably good for an 8H Studio transmission, derived from using optimum microphone placements, reproducing the good sonics I heard sitting in the 8H audience during 1949 and 1950. I was amazed at the force, the stature, the tonal world that flooded out of the PICTURES AT AN EXHIBITION
. Toscanini conducted PICTURES
only four times for the NBC broadcasts.
We previously released the concert of 9 APRIL 1944 in 1998 through Naxos, but we were disappointed in the sound of the Wagner excerpt, and the Mendelssohn Violin Concerto was off-pitch by 1% to 1.3%, something that did not characterize our master. Ever since then, we have hoped for the opportunity to re-issue it with the PARSIFAL excerpts in its original sound and the Mendelssohn on-pitch. The concert of 20 April 1940 provided enough space to do so, offering, as well, in this restoration the final measures of the PARSIFAL Prélude
, previously missing. The PARSIFAL Prelude
and Good Friday Spell
were excerpts which many music lovers, devotees of the Toscanini broadcasts, hoped to hear him conduct. The Maestro had conducted the Prelude in his All-Wagner broadcast on 5 March 1938 and again on 23 March 1940, to which he added the Good Friday Spell and other orchestral music from Wagner’s sublime work. Though he conducted many excerpts from Wagner’s music dramas in the subsequent seasons, it wasn’t until the 9 April 1944 concert that he conducted once again this unforgettable music from PARSIFAL
. The concert marked the reappearance of Maestro Toscanini with Jascha Heifetz, who had previously been heard in the Beethoven Violin Concerto in the concluding New York Philharmonic concert (29 April 1936) with which the old Maestro left the Philharmonic directorship. This portion was not broadcast (Heifetz and Toscanini recorded the Beethoven Violin Concerto in 1940). Previously Heifetz had been heard with the Philharmonic in the Brahms Violin Concerto which Toscanini conducted as part of his Brahms Cycle in 1935. (See IPCD 1025-4; our number C1077
). And so, with this foreground, we present these concerts, sure that those who cherish what Toscanini accomplished will be delighted by the performance of the Mozart C Major Symphony (perhaps his best ever) and a performance of PICTURES
that stunned audiences with its cumulative power and immense stature.”
- Richard Caniell, Program Notes
. . . Popular titles available from last week:
DIE MEISTERSINGER, Live Performance, 22 Feb., 1936, w.Bodanzky Cond. Friedrich Schorr, René Maison, Emanuel List, Eduard Habich, Elisabeth Rethberg, Karin Branzell, etc. (Canada) 3-Immortal Performances IPCD 1035. (OP2902)
“Now, given a chance to re-approach this MEISTERSINGER broadcast with a new restoration process, I believe the tonal spectrum and vocal presence and range is now much improved over our previous [Guild] edition, sufficient to justify this re-issue. Given this, the performance values shine even more brightly, triumphing over the recording’s limitations. With a little faith and imagination, you may find yourself, as I did, traveling back in time, to sit before a radio in February 1936 listening to Friedrich Schorr and Elisabeth Rethberg sing in a realization of DIE MEISTERSINGER that will thereafter be lauded as ‘one of the great ones’, from the early history of broadcasts from the Old Met.”
- Richard Caniell, Program Notes
POLIFEMO (Bononcini), Broadcast Performance, 1944, w.Schönherr Cond. RAVAG Ensemble; Herbert Alsen, Anton Dermota, Alfred Poell, Jetty Topitz-Feiter, Emmy Funk, etc. (E.U.) Walhall 0381. (OP2903)
“Anton Dermota was one of the most musical tenors singing at his time. In Vienna, the highly-esteemed tenor was a leading representative of the lyric category. He was an outstanding figure in Austria’s musical life. It is a delight to hear his smooth line, his gleaming tone and his ‘slavic-elegiac’ vocalism. His smooth, honeyed mezza voce was marvellous. He had an imaginative way with Italian and French music. Today, he is best remembered as a Mozartian tenor…whatever he sang was superbly chiselled and presented as precious musical gems!”
- Andrea Shum-Binder, subito-cantabile
OBERST CHABERT (von Waltershausen), Live Performance, 14 March,1956, w.F. Charles Adler Cond. Niederösterrichches Ensemble; Julius Patzak, Otto Wiener, Gertraud Hopf, Franz Fuchs, etc. (E.U.) 2-Walhall 0379. (OP2904)
“Most collectors will prefer [Patzak’s] Mozart discs as the best representation of his voice….Patzak has left behind some beautiful performances, not to mention the many delightful operetta discs, and Heurigen songs. Also, in the field of oratorio and Lieder, he was ahead of his rivals, and probably the leading tenor of his epoch.”
- Dennis Brew, THE RECORD COLLECTOR, 1971
AÏDA, Live Performance, 22 June, 1937, Berlin, w.de Sabata Cond. La Scala Ensemble; Gina Cigna, Beniamino Gigli, Ebe Stignani, Ettore Nava, Tancredi Pasero, etc.; Act IV, Live Performance, 1939, w. Beecham Cond. Royal Opera House Ensemble; Gina Cigna, Beniamino Gigli, Ebe Stignani; LA GIOCONDA – Excerpts, Live Performance, 10 July, 1934, Cremona, w.Serafin Cond. Gina Cigna, Beniamino Gigli, Mario Basiola, Gianna Pederzini, etc.; BENIAMINO GIGLI, w.Ormandy Cond. Detroit Symphony Orchestra, Live Performance, 2 Oct., 1938: Arias from L’Elisir, Rigoletto, Martha & Pagliacci. (Canada) 3-Immortal Performances 1034. Transfers by Richard Caniell. Elaborate Edition features numerous lovely photos. (OP2901)
“This important performance of AÏDA, presented in Berlin on 22 June 1937, occurred in the course of a tour that the La Scala Opera Company was undertaking in Germany.
The bonus offerings are composed of two extremely rare recordings. The first is derived from a 1934 broadcast of a complete performance of Ponchielli’s GIOCONDA, alas preserved only in small portions. From these excerpts are heard: Gina Cigna (Gioconda), Beniamino Gigli (Enzo), Mario Basiola (Barnaba), Gianna Pederzini (Laura), Chorus and Orchestra conducted by Tullio Serafin; Broadcast, 10 July 1934, Cremona.
The second bonus broadcast represents the first occasion Gigli was heard following his return to America after many years absence. …Gigli sections are from a short 1927 Vitaphone movie soundtrack. The commercial records of Enzo’s aria are progressively more beautiful in vocal sound….In this Vitaphone version, the introductory words to the sailors, never otherwise recorded by Gigli, are delightfully conversational in the tenor’s way, and the aria is not only uncut but, since it was originally taken down on film and not on a 4-minute 78-rpm record, it is even more spacious than the commercial recordings. It lasts 4 and three-quarter minutes, and sounds as if Gigli’s Enzo is inventing the prayer-fantasy as he sings it — full of the most felicitous detail and beautifully shaped by him throughout: surely one summit of this vocalist’s technique. The Gigli conception of the complete aria here is thus the most profoundly moving and beautifully sung performance of this music on record’ – Dr. London Green]. The selections were previously released in inferior sonics by E.J. Smith on his private LP label.”
- Richard Caniell, Program Notes
MADAMA BUTTERFLY, Live Performance, 25 Jan., 1941 (replete with Milton Cross’ commentaries), w.Papi Cond. Licia Albanese, Armand Tokatyan, John Brownlee, etc.; LA TRAVIATA, Live Performance, 5 Dec., 1942, w.Sodero Cond. Licia Albanese, Charles Kullman, Lawrence Tibbett, etc.; LICIA ALBANESE, w.Merola Cond.San Francisco Opera Orch.: Arias from Otello, Pagliacci, La Wally & Andrea Chénier; w.Mario del Monaco:Otello – Act I Love Duet; w.Jan Peerce & Robert Weede: Faust – Final Scene, Live Performances, 1948-50; w.Charles Kullman; Pelletier Cond.: Carmen- Parle-moi de ma mère, Live Performance, 15 March, 1941; LICIA ALBANESE, w.St Leger Cond. NBC Concert Orch.: Carmen- Je dis que rien ne m’épouvante, Live Performance, 10 March, 1940. (Canada) 4-Immortal Performances 1037, w.30pp Elaborate Booklet – Madama Butterfly & 42pp Elaborate Booklet, La Traviata. Transfers by Richard Caniell. Booklet notes by Dr London Green. (OP2898)
MIREILLE - La vraie MIREILLE de Gounod, recorded 11 June, 1941, w.Reynaldo Hahn Cond. Géori Boué, Marguerite Pifteau, Jean Gulheim, etc.; Reynaldo Hahn speaks about 'la nouvelle MIREILLE', 1941; Géori Boué, Marguerite Pifteau, Adrien Legros: Hahn mélodies. (France) Malibran 137. (OP2889)
LA FAVORITE – Excerpts (Donizetti), recorded 1953, w.Allain Cond.Pasdeloup Ensemble; Guy Fouché, Simone Couderc, Charles Cambon, etc. (France) Malibran 766. A remarkable example of the now lost art of French style! A superb performance in all respects. (OP2899)
ALCESTE – Excerpts (Gluck), recorded 1962, w.Prêtre Cond.Paris l’Ópéra Ensemble; Consuelo Rubio, Nicolai Gedda, René Bianco, etc.; Alceste excerpts by Suzanne Balguerie, Georges Thill, Rose Bampton, Rita Gorr & Kirsten Flagstad. (France) Malibran 763. (OP2900)
EUGEN ONÉGIN, Live Performance, 28 Oct., 1954, w.Doniyakh Cond. Leningrad Maly Opera Ensemble; Sergei Shaposhnikov, Sergei Lemeshev, Vera Kudryavtseva, Olga Golovina, Alexandra Mescheryakova, Nikolai Y. Chesnokov, Xenia Fedorovna Komissarova, Valery Filaretovich Raikov, etc. (Russia) 2-Aquarius AQVR 380. (OP2892)
PRINCE IGOR (Borodin), Live Performance, 8 Nov., 1958, w.Svetlanov Cond. Alexei Ivanov, Alexei Krivchenya, Nina Pokrovskaya, Vitaly Orlenin, Nicolai Shchegolkov, Veronika Borisenko, etc. (Russia) 2-Aquarius AQVR 378. (OP2886)
"I am now reminded that patience is a virtue. My exciting items arrived yesterday so all is well. The PRINCE IGOR is very excitingly conducted by the great Svetlanov and the cast is the real old Bolshoi School."
- Leslie Austin, New Zealand
PIQUE DAME (Tschaikowsky), Live Performance, 20 Jan., 1957, w.Khaikin Cond. Dimiter Uzunov (singing in Bulgarian), Alexei Ivanov, Natalia Sokolova, Pyotr Selivanov, Eugenia Verbitskaya, Vera Firsova, etc. (Russia) 2-Aquarius AQVR 379. (OP2885)
DIE LUSTIGEN WEIBER VON WINDSOR – Excerpts (in Russian – w.delightful commentary) (Nicolai), recorded 1937, w.Orlov Cond. USSR Radio Ensemble; Georgi Abramov, Vladimir Zakharov, Zoya Muratova, Nikolai Ozerov, Nina Alexandriyskaya, Olga Amatova, Sergei Formichev, etc. (Russia) Aquarius AQVR 383. (OP2893)
KARL BÖHM Cond. Berlin Phil.: Symphony #40 in g, K.550 (Mozart); Also sprach Zarathustra (Strauss); w.Dietrich Fischer-Dieskau: Kindertotenlieder (Mahler). (England) 2–Testament SBT2 1489, Live Performance,1962, Salzburg Festival. (C1275)
RUDOLF KEMPE Cond. Berlin Phil.: Symphony #55 in E-flat (Haydn); Symphony #39 in E-flat, K.543 (Mozart); w.Nikita Magaloff: Piano Concerto #4 in G (Beethoven). (England) Testament SBT 1492, Live Performance,1962, Salzburg Festival. (C1274)
BENJAMIN BRITTEN Cond. City of Birmingham S.O. & Melos Ensemble, w.Heather Harper, Peter Pears & Dietrich Fischer-Dieskau: WAR REQUIEM (Cond. by the Composer). (England) Testament SBT 1490, Live Premiere Performance, 1962. (C1273)
CARLO MARIA GIULINI Cond. London S.O. & London Phil.: The London Years. (E.U.) 17-Warner 93739, in Boxed Set. (C1272)
EDUARD van BEINUM Cond. Concertgebouw Orch.: Variations and Fugue on a Theme by Mozart; Ballet suite; FRITZ LEHMANN Cond.Staatskapelle Berlin: Lustpielouvertüre; Romantische Suite; ROBERT HEGER Cond.Berlin Städisches Orch. Eine vatersländische Overture; EUGEN JOCHUM Cond.Berlin Phil.: Serenade in G; ANNI FRIND, w.Seidler-Winkler Cond. Waldeinsamkeit; Des Kindes Gebet; ELISABETH SCHUMANN: Mariä Wiegenlied; Zum Schlafen (all Reger). (England) 2-Guild 2400/01, recorded 1936-43. (C1278)
“The counterpoint of Bach meets the harmonies of Schönberg in the music of Max Reger. He was both a conservative and a visionary, looking back to the traditional forms of the 18th century and forward to the harmonic adventures of the 20th. The complex and seductive textures that resulted were to prove highly influential to composers like Zemlinsky and Franz Schmidt. But Reger was far more than just a link in the history of German music, and there are many fascinating discoveries to be made among his huge catalogue of works. Among his pupils were the composers Erwin Schulhoff and Othmar Schoeck. Performing at the piano was another important dimension of Reger's career. He established strong partnerships with many distinguished musicians. His most significant collaborator was the violinist Adolf Busch, for whom he wrote unaccompanied violin works near the end of his life.”
CLARA HASKIL, w.Schuricht Cond. Stuttgart Radio S.O.: Concerto #9 in E-flat, K.271; Concerto #19 in F, K.459 (both Mozart). (Germany) Philharmonie 06017, recorded 1952/’56, in Slipcase. (P1080)
. . . 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 . . .
Once again . . .
Welcome to our new bookshop & list of Original Cast LPs, www.norpete.com where you will see a vast array of excellent, used out-of-print books. You're sure to find many books of interest which may have long eluded you, so now is your opportunity to fill in missing gaps. Our online bookshop includes composer and performer autobiographies and biographies. Soon we will include musical criticism, theory and history, plus histories of symphony orchestras, opera houses and festivals. In addition, we shall offer quite an array of vocal scores, many of which are most rare and unusual.
Take a look at our exciting array of Broadway & Off-Broadway Original Cast and London Original Cast LPs, all in superb condition.
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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.
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C1280. SERGE KOUSSEVITZKY Cond. Boston S.O., w. Maria Kurenko, Roland Hayes, Dorothy Cornish & Robert Collins: Missa Oecumenica (Gretchaninoff), Live Performance, 26 Feb., 1944, w.broadcast commentary; MARIA KURENKO, w.Gretchaninoff (Pf.), recorded 25 April, 1941; NINA KOSHETZ, w.Gretchaninoff (Pf.), recorded 15 April, 1929: Gretchaninoff Songs. (Canada) Immortal Performances 1036. Transfers by Richard Caniell; Essay by Larry Friedman. - 748252900302
C1279. ARTURO TOSCANINI Cond. NBC S.O.: The 20 April, 1940 Concert, incl. Introduction and Allegro for Strings (Elgar); 'Jupiter' Symphony in C, K.551 (Mozart); Scherzo capriccioso (Dvorák); Pictures at an Exhibition (Mussorgsky-Ravel), w.Commentary by Gene Hamilton; Complete Concert of 9 April, 1944, incl. Parsifal - Prelude and Good Friday Spell; w.Jascha Heifetz: Violin Concerto in e (Mendelssohn); Bonus disk of rehearsal for 20 April, 1940 Concert. (Canada) 3-Immortal Performances 1038. Transfers & Essay by Richard Caniell; Program Notes by Robert Matthew-Walker. Specially priced at 3 CDs for the price of 2; w.22-pp booklet. - 748252900104
P1082. FANNY DAVIES: Kinderszenen; Davidsbündlertänze - Excerpts; w.Ansermet Cond. Royal Phil.: Concerto in a (all Schumann). (Canada) St Laurent Studio YSL 78-209, recorded 1928-30. Transfers by Yves St Laurent.
P1083. BLANCHE SELVA: Prélude, Chorale & Fugue; BLANCHE SELVA & JOAN MASSIA: Sonata in A (both Franck). (Canada) St Laurent Studio YSL 78-213, recorded 1929. Transfers by Yves St Laurent.
Gotterdammerung (Kempe; Nilsson, Hopf) (4-Myto 00326)
Walkure (Kempe; Varnay, Uhl, Frick) (3-Myto 00324)
Simon Boccanegra (Panizza; Tibbett, Pinza) (2-IPCD 1031)
Siegfried (Kempe; Nilsson, Hopf, Wiener) (3-Myto 00325)
Das Rheingold (Kempe; Wiener, Stolze) (2-Myto 00323)
Florence Quartararo (3–Immortal Performances 1030)
Fernando de Lucia (4-Marston 54004)
Frederic Lamond; Eduard van Beinum (2-Marston 52071)
Vocal Record Collectors' Society - 2013 Issue (VRCS-2013)
Lohengrin (Bodanzky; Lehmann, Lawrence) (3-IPCD 1032)
Guiomar Novaes; George Szell (Archipel 0558)
Ballo (Panizza; Milanov, Bjorling, Castagna) (2-IPCD 1033)
Arthur Endreze (5-Marston 55001)
Bubbly (Gerrard, Childs, Monkman) (Palaeophonics 108)
Madama Butterfly / La Traviata (Licia Albanese) (IPCD 1037)
Der Ring des Nibelungen (Furtwangler) (12-Archipel 0413-16)
The Edison Legacy, Vol. II (3-Marston 53014)
Tristan und Isolde (Bohm; Nilsson, Windgassen) (Myto 00328)
Betty in Mayfair (Evelyn Laye, Leigh) (Palaeophonics 110)
La Traviata (Callas, Kraus, Sereni) (2-Myto 00147)
Eugen Onegin (Shaposhnikov, Lemeshev) (AQVR 380)
Marian Anderson (VAI 1275)
Parsifal (Leinsdorf; Windgassen, Crespin) (3-Living Stage 1043)
Der Rosen der Madonna (Stolz; Janowitz) (Myto 00327)
Juan Luria (FLG 19051912)