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Since 1972



Yves St Laurent’s most recent . . .

American Rarities, Adolf Busch,

Pablo Casals, Marcel Grandjany . . .

Palaeophonics’ newest:

LADY, BE GOOD!, from 1926 . . .

and our regular 50% SALE continues . . .



  • LADY, BE GOOD! (George & Ira Gershwin), w.George Gershwin & Percival Mackay (Pfs.); Jacques Heuvel Cond. Orig. London Empire Theatre Cast: Fred & Adele Astaire, George Vollaire & William Kent; plus additional songs by Monty Woolf, Buddy Lee and the Gilt-Edged 4, etc. (England) Palaeophonics 122, recorded 1926, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure. (PE0231)

    LADY, BE GOOD! premièred on Broadway at the Liberty Theatre on 1 December, 1924 and closed on 12 September, 1925, after 330 performances. The musical was staged by Felix Edwardes with musical staging by Sammy Lee and scenic design by Norman Bel Geddes. It starred brother and sister performers Fred and Adele Astaire. It then opened in London’s West End at the Empire Theatre on 14 April, 1926, again starring Fred and Adele Astaire. It played strongly there, running for 326 performances. LADY, BE GOOD! embodies several milestones which make it memorable for more than just its foot-tapping entertainment value. It was the first full-length collaboration between George Gershwin and his lyricist brother, Ira Gershwin -- a partnership which gave birth to an unprecedented number of deftly crafted standards -- as well as the Gershwins' first collaboration with the already popular brother-and-sister dance team of Fred and Adele Astaire. It was around the Astaires' phenomenal talents that Guy Bolton and Fred Thompson crafted the fluffy situation comedy, full of snappy dialogue, that formed the basis for LADY, BE GOOD!, and it was for them that Gershwin developed a style of parlando song for non-singers - a sort of syncopated patter song - which threw his brother's smartly articulate lyrics into bold relief. Indeed, the Astaires became the visual incarnation of the score's visceral pull. Finally, in LADY, BE GOOD! jazz and blues-inflected melody melded with musical comedy with unprecedented expansiveness, richness, and rhythmic compulsion. ‘Fascinating Rhythm’, one may well say!

    As familiar as Gershwin's multi-faceted style has become, it is difficult to grasp just how electrifying its still-potent elements must have been in their time. Gershwin, after all, had just completed A RHAPSODY IN BLUE for Paul Whiteman's Aeolian Hall ‘experimental’ concert of jazz crossover compositions given on 12 February, 1924; he began putting LADY, BE GOOD! together for its Philadelphia tryout in October of that year.”


  • - Adrian Corleonis, allmusic.com


  • AMERICAN RARITIES, Vol.VI, incl. ROBERT LAWRENCE Cond.N.Y. City S.O., w.Alice Howland (MS): LA DAMNATION DE FAUST – Excerpts (Berlioz), Live Performance, 11 May, 1942, Brooklyn Museum; MAXIM SCHAPIRO & LUDWIG ALTMAN (Pfs.): Piano Concerto #2 (Bartók [Piano Reduction by Altman); BYRON STANLEY SCHIFFMAN (Pf.): Prisoner of War Rhapsody (Played by the Composer), c.1946. (Canada) St Laurent Studio YSL 78-224, (from rare existing copies, albeit with occasional technical flaws). Transfers by Yves St Laurent. (C1303)

    “Over the years Robert Lawrence conducted many revivals of rarely heard scores with the Friends of French Opera, especially operas by one of his favorite composers, Massenet. In 1939 he joined the music staff of The New York Herald Tribune, where he remained until he entered the Army in 1943. During his three years in the service, Mr. Lawrence conducted many opera and concert performances for American troops in Italy. After his discharge, Mr. Lawrence began a freelance conducting career that brought him engagements with the NBC Symphony, the Berlioz Society and the American Opera Society. With the last group, he led the complete Berlioz LES TROYENS in 1959 and 1960 when on both occasions the scheduled conductor, Sir Thomas Beecham, was indisposed. He also had served on the faculty of the Peabody Conservatory in Baltimore and as Adjunct Professor of Opera at Temple University.”


    - Peter G. Davis, THE NEW YORK TIMES, 11 Aug., 1981


    “[Alice Howland was] Almost everything one could wish for in a singer – an artist right off the top shelf….just plain perfect.”


    - Virgil Thomson, The Music Mart, NEWSWEEK, 29 Nov., 1948


    “…the indefatigable Maxim Schapiro…became, on 29 and 30 March, 1946, the first person other than the composer to play [Bartók’s Piano Concerto #2] in the United States….A frequent soloist with the [San Francisco] Orchestra over the years was the Russian-born pianist Maxim Schapiro. Schapiro’s name is mostly associated with Monteux’s as the pianist in the first recording of d’Indy’s Symphony on a French Mountain Air.”


  • - John Canarina, PIERRE MONTEUX, MAÎTRE, pp.167 & 144


  • ADOLF BUSCH: Partita #2 in d for Violin Unaccompanied; w.Busch Chamber Players: Concerto #2 in E (both Bach); Serenata Notturna in D, K.239 (Mozart). (Canada) St Laurent Studio YSL 78-228, recorded 1929-42. Transfers by Yves St Laurent. (S0628)

    “Adolf Georg Wilhelm Busch was born into a musical family that included his older brother, conductor Fritz Busch. Busch also organized a piano trio with his brother Hermann and pianist Rudolf Serkin, who also served as his accompanist and subsequently married Busch's daughter. Busch moved to the United States in 1939 and the Busch Quartet was re-formed by 1941. He remained active as a soloist, as well as a member of the chamber group for the remainder of his life, and he also conducted orchestras. In 1950, two years before his death, Busch founded the Marlboro School of Music.”


  • - Bruce Eder, Rovi


  • PABLO CASALS, Vol.VIII: Bach Recital; Le Carnaval des Animaux - Le Cygne (Saint-Saëns); w.Mieczslaw Horszowski: Cello Sonata #4 in C (Beethoven); w.Casals Cond.London S.O.: Coriolan Overture (Beethoven). (Canada) St Laurent Studio YSL 78-227, recorded 1915-36. Transfers by Yves St Laurent. (S0630)

  • PABLO CASALS, Vol.VII: Tartini, Popper, Campagnoli, Schumann & Elgar; w.Mieczslaw Horszowski: Cello Sonata #1 in F (Beethoven); w.Casals Cond.London S.O.: Variations on a Theme by Haydn (Brahms). (Canada) St Laurent Studio YSL 78-226, recorded 1915-39. Transfers by Yves St Laurent. (S0629)

    “Casals' impact on cello playing in the twentieth century cannot be overestimated. His radical approach to bow and finger technique produced a mechanical prowess far beyond any other cellist of the late nineteenth or early twentieth centuries. In addition, Casals was the first cellist to incorporate the kind of left-hand shifting techniques which had been employed for decades by violinists, thus allowing for far greater agility on the cello than had been previously thought possible. Always scornful of ‘flashy’, superficial virtuosi, Casals strove tirelessly to develop and maintain the kind of intense musical concentration which he considered to be the true artist's responsibility.”


  • - Blair Johnston, allmusic.com


  • MARCEL GRANDJANY (Harp): Francisque, Couperin, Kirchhoff, Debussy & Ravel; w.Jean Paul Morel Cond.RCA Victor Orch.: Harp Concerto in B-flat (Handel). (Canada) St Laurent Studio YSL 78-225. Transfers by Yves St Laurent. (S0631)

    “Born in Paris in 1891, the harpist Marcel Grandjany had his early musical training with a relative, Juliette Georges Grandjany, winning a scholarship at the age of eight to study the harp with Henriette Renié. A year later he started classes of solfège at the Conservatoire where, from 1902 until 1910, he was a pupil of Alphonse Hasselmans, winning the coveted Premier Prix at age thirteen. He made his Paris début with the Concerts Lamoureux Orchestra in 1909, and after a relatively brief period of military service was from 1915 to 1918 organist and choirmaster at the Sacré-Coeur Basilica.

    At seventeen he made his début with the Concerts Lamoureux Orchestra, and gave his first solo recital, winning immediate acclaim. He appeared with Maurice Ravel in Paris in 1913. His connection with America came with a period of fourteen years as a teacher at the American Conservatoire at Fontainebleau, and, after his London début in 1922, his first appearance in New York two years later. He appeared as soloist with major orchestras under the direction of Gabriel Pierné, Alfred Cortot, Walter Damrosch, Serge Koussevitzky, George Szell, Fritz Reiner and Vladimir Golschmann, among others. He toured widely in Europe and North America and was co-founder of the Quintette Instrumental de Paris, for which composers such as Vincent d’Indy and Albert Roussel wrote works.

    From 1921 to 1926, he headed the Harp Department of the Fontainebleau Summer School. He moved to the United States in 1926 and was appointed head of the Harp Department at the Juilliard School in 1938, where he taught until his death in 1975, with the exception of several years during the 1940s when he was on the faculty of the Conservatoire de musique du Québec à Montréal. He also taught at the Manhattan School of Music from 1956 to 1967. Distinguished as a performer and as a teacher, he also wrote a quantity of music for the harp, all of it well suited to the instrument, including original compositions and transcriptions.

    At the First International Harp Contest in Israel in 1959, Pierre Jamet of France proposed the formation of an international association of harpists. Grandjany undertook to see what he could do in the United States and chaired a committee of leading harpists. Over the years, he was a member of the Board of Directors, Regional Director, Chapter Chairman and President of the New York Chapter. He generously performed at AHS conferences; in 1964 at the first conference and in 1967, a solo recital which was his last public performance. He supported the educational goals of the Society vigorously and delighted in the American Harp Society's growth and community.”


  • . . . and repeated from recent weeks . . .

  • 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)

  • 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. (P1123)

  • 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)

  • ROSL 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), recorded 16 April, 1958, Bamberg. (Germany) Meloclassic 1013. (P1121)

  • 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. (P1120)

  • ANNIE FISCHER: Handel, Mozart, Beethoven, Schubert & Bartók Recital. (Germany) Meloclassic 1016, recorded 1957 (Frankfurt) & 1959 (Paris). (P1124)

  • 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)

  • 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)

  • 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)



    . . . 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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  • Lady, Be Good   (Gershwin, Astaire)   (Palaeophonics 122)
    PE0231. LADY, BE GOOD (George & Ira Gershwin), w.George Gershwin & Percival Mackay (Pfs.); Jacques Heuvel Cond. Orig. London Empire Theatre Cast: Fred & Adele Astaire, George Vollaire & William Kent; plus additional songs by Monty Woolf, Buddy Lee and the Gilt-Edged 4, etc. (England) Palaeophonics 122, recorded 1926, Complete, as Recorded, w.Elaborate ‘The Play’ 20pp. Brochure replete w.photos from the London production & facsimile of original brochure.
    $19.90
    Robert Lawrence, Maxim Schapiro    (YSL 78-224)
    C1303. AMERICAN RARITIES, Vol.VI, incl. ROBERT LAWRENCE Cond.N.Y. City S.O., w.Alice Howland (MS): LA DAMNATION DE FAUST – Excerpts (Berlioz), Live Performance, 11 May, 1942, Brooklyn Museum; MAXIM SCHAPIRO & LUDWIG ALTMAN (Pfs.): Piano Concerto #2 (Bartók [Piano Reduction by Altman); BYRON STANLEY SCHIFFMAN (Pf.): Prisoner of War Rhapsody (Played by the Composer), c.1946. (Canada) St Laurent Studio YSL 78-224, (from rare existing copies, albeit with occasional technical flaws). Transfers by Yves St Laurent.
    $19.90
    Adolf Busch, Vol. III;   Busch Chamber Players    (YSL 78-228)
    S0628. ADOLF BUSCH: Partita #2 in d for Violin Unaccompanied; w.Busch Chamber Players: Concerto #2 in E (both Bach); Serenata Notturna in D, K.239 (Mozart). (Canada) St Laurent Studio YSL 78-228, recorded 1929-42. Transfers by Yves St Laurent.
    $19.90
    Pablo Casals, Vol. VIII     (St Laurent Studio YSL 78-227)
    S0630. PABLO CASALS, Vol.VIII: Bach Recital; Le Carnaval des Animaux - Le Cygne (Saint-Saëns); w.Mieczslaw Horszowski: Cello Sonata #4 in C (Beethoven); w.Casals Cond.London S.O.: Coriolan Overture (Beethoven). (Canada) St Laurent Studio YSL 78-227, recorded 1915-36. Transfers by Yves St Laurent.
    $19.90
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