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The Unknown -----------------------------------------
FERNANDO DE LUCIA has arrived
from The Record Collector . . .
Yves St Laurent offers
HORENSTEIN's 1928 Bruckner 7th,
the 1959 CARMEN of JEAN MADEIRA . . .
plus his 10th Volume of KOUSSEVITZKY . . .
and our 50% SALE Continues
This Week’s offerings:ADOLF WALLNÖFER: Songs by Rubinstein, Schumann, Mendelssohn & Wallnöfer; Arias from Le Prophète, Pagliacci, Meistersinger, Lohengrin & Siegfried - recorded 1905-33; Adolf Mennerich Cond. Lorenz Fehenberger & Anneliese Schosshauer in Wallnöfer compositions; 1944 Interview with Wallnöfer; HERMANN WINKELMANN: Liebesglück (Sucher); Arias from Le Prophète, Il Trovatore, Dalibor, Die Meistersinger, Lohengrin & Tannhäuser - recorded 1900-06. (Germany) 2-Truesound Transfers 4004. Transfers by Christian Zwarg. (V2511)
“Hermann Winkelmann made his début in 1875 as Manrico and went to Hamburg three years later. He created Parsifal at Bayreuth on 26 July 1882 and joined the Vienna Hofoper the following year. There he sang the local premières of DALIBOR, OTELLO, and TRISTAN UND ISOLDE and remained at the house singing all the Wagner rôles until May 1906. During the Mahler era, he sang 440 performances of 22 roles, the most frequent being Tannhäuser, which he sang 77 times.”
- Christopher Norton-Welsh, Program notes to Marston’s MAHLER’S DECADE IN VIENNA
“Franz Wallnöfer studied composition and piano with Otto Dessoff and Franz Krenn at the Conservatory of the Gesellschaft der Musikfreunde in Vienna, today's Viennese Music Academy. Influenced by his acquaintance with Mathilde Marchesi, he studied singing with Hans Rokitansky and became a member of the orchestra under the direction of Richard Wagner on the basis of his convincing achievements at the age of 18. After that time, he developed into a Wagner specialist, and from 1880 onwards he was also a singer in the opera group of the so-called ‘Wandering Wagner Theater’ under the direction of Angelo Neumann. With this traveling Wagner ensemble, which included a complete orchestra, an opera choir as well as stage equipment and stage technicians, he performed in the next few years at 135 RING performances and over 50 other Wagner concerts in several European cities, also at the Metropolitan Opera in New York. His repertoire included the roles of Tristan, Siegfried and Tannhäuser. These concert tours became Wallnöfer's great artistic breakthrough. During this period, he also belonged to the so-called ‘Nibelungen-Kanzlei’, a group with Felix Mottl, Hans Richter, Anton Seidl, Hermann Zumpe, and others who dealt with the interpretation and, above all, the marketing of the various Wagner operas.
Beginning in 1885 Wallnöfer was given a ten-year contract in Prague. He then took over several engagements both as a singer and as a conductor at various prestigious venues such as the Metropolitan Opera, New York (1895/96), Riga and Breslau (from 1897), Nuremberg and Vienna (from 1900) and Rostock (1905). From the turn of the century, Wallnöfer finally settled in Munich, where he continued to work as a composer, teacher, conductor and singer, but also as a theater director (1895-1907), especially for contemporary operas .
After 1907 and with increasing age, Wallnöfer was mainly concerned with the performance and composition of instrumental music. From 1 March 1933 Wallnöfer was a member of the Nazi Party, registered under the number 1.509.075. During the period of National Socialism he composed, among other things, a folk triumph for Volksschor and a large orchestra, 1934-1935 the music drama ILDICHO and 1938 a young girls' suite . In addition, he also appeared for a time as author of music criticism and music literature. He died on 9 June 1946 at the age of 92 years.
The focus of his artistic career was undoubtedly the singing. His voice developed over the years from an initial baritone to lyric tenor, then to a radiant heroic tenor. This was particularly beneficial to him in the great roles of Wagner's operas. Since his celebrated success with the ‘Triumphlied’ op. 55 by Johannes Brahms at the 53rd Niederrheinisches Musikfest in Aachen in 1876, he also showed his art in the performance of romantic songs, and he did not forgo any opportunity to put them into his repertoire, also to perform them during special Brahms or Liszt evenings.
In addition to his singing, Wallnöfer was an industrious and versatile composer, and until 1924, according to his autobiography, wrote about 50 instrumental and orchestral works, including at least one opera and six symphonies, more than 150 songs, duets and trios.”
“...an absolute revelation! Here, the voices come through with tonal sheen, passion and with more personality than any other transfers have been able to bring out. Dynamics and agility are in better relief, as is a sensitivity I had always found lacking. These transfers are absolutely miraculous, and I hope for more Truesound transfers.”
- Davyd Booth, GREAT SINGERS REMEMBERED, WHYY – NPRGEORGE SZELL Cond. Cleveland Orch.: Prélude à l'après-midi d'un faune (Debussy), Siegfried Idyll (Wagner), Till Eulenspiegel (Strauss), Live Performance, 26 Sept., 1969, Severance Hall. (Canada) St Laurent Studio YSL T-413. Transfers by Yves St Laurent. (C1502)
"It must be remembered that when George Szell came to prominence in the United States in the mid 1940s (and his mid-forties) he was a highly respected conductor and musician in Europe. He had a very solid grip on his repertoire which soon expanded to new works which he was debuting and championing. However, all that most music lovers around the world today know about Szell’s artistry they have divined from the recordings made by Columbia in Cleveland from the late 1940s on. In an interview with Szell as an intermission feature in one of the weekly broadcast concerts he stated that Columbia allowed him to record items that he requested only if they were not in conflict with Ormandy or Bernstein. Those he did make revealed meticulously prepared performances which could be misinterpreted as somewhat objective. The lean balances of those LPs and then CDs only reinforced that impression."
- Bruce SurteesJOHN NEWMARK, Vol. I, incl. Duchow, Barclay, Papineau-Couture, Pentland, Brassard, Coulthard, Bartley, Beckwith & Hurst - recorded 1955; ZARA NELSOVA & JOHN NEWMARK: Cello Sonata Op.11 (Hindemith), recorded 1963. (Canada) St Laurent Studio YSL 33-432. Transfers by Yves St Laurent. (P1255)
“The second generation of a distinguished Russian musical family, Ms. Nelsova was born in Canada, educated in England, and is a citizen of the USA. She made her début with the London Symphony at age 12, and since that time has regularly toured every continent, including her triumphant tour of the Soviet Union in 1966 as the first to be made by an American soloist.
Zara Nelsova has appeared with virtually every major orchestra in North America including those of New York, Boston, Chicago, and Philadelphia. She has appeared with numerous European orchestras including the Concertgebouw Orchestra of Amsterdam, Royal, Berlin, and London Philharmonics, the BBC and London symphony orchestras, and in Warsaw and Poznan with the Amadeus Chamber Orchestra. She has collaborated with such eminent conductors as Bernstein, Boulez, Barenboim, Mehta, Haitink, Solti, Böhm, Rostropovich, Ozawa, and Steinberg. Her many international festival appearances have included Tanglewood, Hollywood Bowl, Aspen, Caramoor, Ann Arbor, Lucerne, Casals, Prague, Gstaad, and Bergen.
She has collaborated with many well-known twentieth century composers. Samuel Barber chose her for the recording of his Cello Concerto, as did Ernest Bloch for his ‘Schelomo’. She performed Sir William Walton's Cello Concerto under the baton of the composer as well.
Ms. Nelsova is the recipient of Canada's Centennial Medal of the Confederation ‘in recognition of valuable service to the nation’, and the Jubilee Medal from Canada in honor of the Silver Anniversary of the accession to the throne of Her Royal Majesty Queen Elizabeth II. Ms. Nelsova is a fellow at the Royal Academy of Music, a member of the faculty of The Juilliard School, and chair on the Board of Governors as professor of music at Rutgers University. In 1992, she received an honorary degree from Smith College.”
- Tim Janof, Internet Cello SocietyJOHN NEWMARK, Vol. II, incl. Haydn, J. C. Bach, & Clementi- recorded 1953; IDA HAENDEL: Partita #2 in d – Chaconne (J. S.Bach); IDA HAENDEL & JOHN NEWMARK: Habanera (Claude Champagne); Violin Sonata #7 in c, Op.30. #2 (Beethoven), Live Performance, 1967, Montréal. (Canada) St Laurent Studio YSL 33-433. Transfers by Yves St Laurent. (P1256)
“John Newmark (Neumark) was a pianist, accompanist & chamber musician, born in Bremen, 12 Jun 1904, then naturalized as a Canadian in 1946. Newmark wanted to leave Germany, but it was not until 1939 that he was able to get to London. There he took part in concerts, notably with the soprano Emmy Heim and the violinist Max Rostal. In 1944 Newmark settled permanently in Montréal, where his services were soon in demand by eminent Canadian and foreign soloists. In 1949 he gave concerts in South America with Goldberg and accompanied Kathleen Ferrier on two extended tours of North America. With her, in 1950, he recorded song cycles of Schumann and Brahms for Decca-London; Brahms' ‘Vier Ernste Gesänge’ in 1952 won a Grand prix du disque de l'Académie Charles-Cros.
Newmark accompanied more than 80 foreign and at least 160 Canadian artists and has recorded with several of the most prominent. His long collaboration with Maureen Forrester began in 1953; with her he toured the world. After a Toronto recital by the team, John Kraglund wrote (GLOBE AND MAIL, 18 Jan 1960): 'Superb as Miss Forrester was, much of the credit for the exceptionally high quality of the recital must go to Mr. Newmark. Always a reliable accompanist, he gave inspired performances throughout the evening, providing an integral part of each song, without being guilty of either too much or too little'.”
- Gilles Potvin, HISTORICA CANADA
"Ida Haendel is one of the few instrumental prodigies to have achieved and then sustained a top-class international career lasting several decades. In a world dominated by male violinists, Haendel emerged on the scene playing with a scorching imperativeness and tonal opulence that rendered issues of gender a glorious irrelevance. A natural performer with a captivating stage presence, she filled even the largest of halls with waves of unbridled sound, enveloping her audiences in a sonic cocoon. When watching and listening to Haendel play, one is immediately struck by the naturalness and spontaneity of her musical thinking. In her hands the violin appears a natural extension of her being, a soulmate in which she confides and through which she projects her most intimate thoughts. Full bows speed through with a rapier’s thrust, articulated by an exceptionally strong left hand and finger-tip precision to enhance tonal clarity. The unmistakable impression created of someone born to play the instrument is no fanciful illusion. Even by prodigy standards, the rate at which Haendel mastered the violin - both technically and musically - borders on the miraculous.
Reflecting on her time with Flesch, Haendel felt that ‘he did not protect his students but spoke his mind, faults and all’. On the other hand ‘he was extremely kind to me and would kiss me on the forehead whenever I played well’. However, even that didn’t preclude a temporary falling-out between the two and during the hiatus that followed Ida headed for Paris seeking advice from Georges Enescu, a much gentler man and the polar opposite of Flesch being more preoccupied with the musical result than the means taken to achieve it. Another major milestone occurred in September 1935 when Haendel made her Proms début at the Queen’s Hall aged 9 - the first of 68 appearances at the British festival so far - playing the Beethoven Concerto under Sir Henry Wood. The DAILY TELEGRAPH reported that she possessed a command that most players achieve ‘only after long and industrious study’, while the OBSERVER commented that ‘no prodigy since Menuhin has shown such a sense of fitness, or played with such glow, such dignity’. Haendel spent the war years based in Britain, making the transition from prodigy to a maturing artist of the first rank while contributing to the war effort by performing to allied troops and appearing at Myra Hess’ famous National Gallery concerts. Following the war, she made her US début in 1946, and in 1948 became the first soloist to perform with the re-named Israel Philharmonic. She went on to establish a reputation second to none as a concerto soloist and became a notable champion of the Sibelius Concerto, then a comparative rarity. After hearing her give a radio broadcast of the work, the composer wrote to her personally congratulating her on what he felt was a defining interpretation.”
- Julian Haylock, Cremona Musica, 8 June, 2015
. . . REPEATED FROM THE RECENT PAST . . .
FERNANDO de LUCIA: The Unknown Fernando de Lucia - Rarely heard Phonotype Recordings. (England) 2-The Record Collector TRC 44, recorded 1917-21. The Elaborate Booklet offers full discographical information & extensive biographical notes by Michael Henstock. Transfers by Norman White. (V2510)
“With the great baritone, Battistini, De Lucia is supposed to be a link for us with the so called ‘Golden Age’, epitomising what is supposed to have been the accepted style and vocal method pertaining to male singers at that time.
What then is the fascination with De Lucia as a vocalist? Even for those listening to his recordings for the first time, he must certainly sound better practiced in singing florid music than many of his fellow tenors, and that, in a time when vocalising fioriture was supposed to be a facility de rigeur in all voice categories. It has been suggested that perhaps the vibrato inherent in his tone was an aid to producing the rapid ornamentation and roulades required by the early 19th century composers. However, without doubt his ability to mould and colour a phrase, and to float and extend the tone so that the listener is forced to wonder what is coming next (even in familiar music), makes many of his contributions on record unique. This not only applies to operatic excerpts but in particular also to his renditions of Neapolitan songs. In concerted items he seems to demonstrate an ability to blend perfectly with other singers, and to draw from them a mirror-like response to his particular way of dealing with the vocal line. Perhaps it was rehearsals, or a close association with those particular artists in live performances, that achieved those results, but it invariably strikes the listener as spontaneous.
Despite the revival of interest in late eighteenth and early nineteenth century works that require expert florid singing, and the current crop of talented tenors now on the international circuit singing those roles in the original keys, with, it must be granted, wonderful facility, expertise and dexterity, and a great deal of cultivated musicianship, the key factor missing is what Italians refer to as 'morbidezza'. This almost indefinable element of 'tenderness' is to be found essentially in the Latin voice, where it is underlined not only by tonal emission, but also seems to be a physical manifestation of the artist's very soul. That is where, with his unmistakable delicacy of utterance and pointed musical nuance, Fernando De Lucia has made his most significant contribution to the art of singing on record.”
- Alan Bilgora, 1994JASCHA HORENSTEIN Cond. Berlin Phil.: Symphony #7 in E (Bruckner). (Canada) St Laurent Studio YSL 78-420, recorded 1928, Polydor. Transfers by Yves St Laurent. (C1500)
“A champion of modern music and an intellectual and philosophical conductor of a sort not much encountered any more, Horenstein learned from Furtwängler the importance in searching for the metaphysical rather than theoretical meaning of music, and that outlook coincided with his own interest in Eastern philosophy. As a conductor, Horenstein greatly admired Stokowski for his broad repertoire and the sense of occasion he brought to every performance. He was intolerant of routine performances, even from the greatest orchestras, and in rehearsal, he would run through large sections of a work to establish coherence and continuity before proceeding to finer details of interpretation. In the words of his assistant Lazar, ‘[t]he exceptional unity and cohesion that characterized his performances arose from the way he controlled rhythm, harmony, dynamics and tempo so that each individual moment might achieve the most vivid characterization, but the overall line and cumulative effect would not be lost’. Horenstein was widely known for his recordings of the Viennese masters, particularly Mahler and Bruckner, and derived inspiration from the interpretations of his idols, Nikisch, Walter, and Furtwängler."
- Roy Brewer, allmusic.com
CARMEN, Live Performance, 19 Nov., 1959, w. Paray Cond. Detroit S.O. & Rockham Symphony Choir; Jean Madeira, Brian Sullivan, Marjorie Gordon & Donald Gramm. (Canada) 2–St Laurent Studio YSL T-396. [Remarkably 'alive' broadcast sound quality in this concert version]. Transfers by Yves St Laurent. (OP3203)
“The fall of 1955 brought Madeira's début at the Vienna Staatsoper in the rôle of Carmen, a triumph resulting in 45 curtain calls. When she sang Carmen at the Metropolitan in 1956, critic Irving Kolodin, writing in the Saturday Review, described her as ‘an intelligent artist who gives thought to what she undertakes’ and noted her effective use of her striking height. He also praised her portrayal by commenting, ‘Mostly it was done with a suggestion of youthful suppleness not often seen’.
In addition to her almost 300 Metropolitan performances in some 41 rôles, Madeira continued to appear elsewhere in America and Europe, offering her Carmen at Chicago, where critic Claudia Cassidy praised her as ‘svelte, darkly beautiful, with a mezzo soprano streaked in burnt umber and edged with a threat’, and at Aix-en-Provence. Her authoritative Erda was heard at Munich, London, and Bayreuth.”
- Erik Eriksson, allmusic.comSAMSON ET DALILA (in English), Live Performance, 7 Dec., 1961, w. Paray Cond. Detroit S.O. & Rockham Symphony Choir; Jean Madeira, Albert da Costa & Chester Ludgin. (Canada) 2–St Laurent Studio YSL T-403. [Remarkably 'alive' broadcast sound quality in this concert version]. Transfers by Yves St Laurent. (OP3202)
PÉNÉLOPE (Fauré), Live Performance, 9 March, 1974, Théâtre des Champs Élysées, w. Paray Cond. ORTF Ensemble; Liliane Gitton, Guy Chauvet, Ernest Blanc, Robert Massard, Jocelyn Taillon, etc. (Canada) 2–St Laurent Studio YSL T-416. Transfers by Yves St Laurent. (OP3206)
“PÉNÉLOPE is an opera in three acts by the French composer Gabriel Fauré. The libretto, by René Fauchois, is based on Homer's ODYSSEY. The Opéra-Comique took PÉNÉLOPE into its repertoire on 20 January, 1919, with a cast including Germaine Lubin in the title role and Charles Rousselière as Ulysse and Félix Vieuille as Eumée, conducted by François Ruhlmann. Later revivals were conducted by Albert Wolff (1922), Désiré-Émile Inghelbrecht (1924, with Claire Croiza in the title role), and Wolff again in 1927 and 1931, totaling 63 performances. On 14 March, 1943 the Paris Opera staged PÉNÉLOPE, conducted by Ruhlmann, with Lubin in the title role.”
- Z. D. Akron
ANDREA CHÉNIER, Live Performance, 2 March, 1963 (replete with Milton Cross’ closing commentary, stating that this broadcast is dedicated to Mme Milanov on the occasion of her 25th Anniversary with the Met), w.Cleva Cond. Met Opera Ensemble; Richard Tucker, Zinka Milanov, Anselmo Colzani, Mignon Dunn, Lili Chookasian, Norman Scott, etc. (Canada) 2-Yves St Laurent T-434. Transfers by Yves St Laurent. [This broadcast performance is Milanov's final Met Opera Broadcast, dedicated to her in honor of her 25th Anniversary with the Met.] (OP3205)
“[In 1963] CHÉNIER was still very much in Milanov’s current repertory. Perhaps there was balm for the soul in her gaining that opera for her final broadcast on 2 March, 1963. The faithful [Milton] Cross…expresses ‘special pleasure’ in dedicating the CHÉNIER broadcast as an anniversary offering to Milanov, ‘this great artist and beloved friend.’ Though not planned as a tribute, the performance as a whole is worthy of the soprano….Even when the gloss if off the fabric of her tone, it retains a measure of succulence quite individual and reassuring….Now, when the opulence is diminished but the style remains majestic, the phrasing can sometimes seem a bit ostentatious, since its grand expanse is not filled to the fullest with comparably sumptuous tone….Everything about her performance on this afternoon reveals the diligence of the dedicated artist. We, who are in her debt, can applaud not only her success on this afternoon, but join Cross at her final bow in saluting her forty-seven [Met] broadcasts….”
- Paul Jackson, SIGN-OFF FOR THER OLD MET, pp.492-494LÉOPOLD SIMONEAU, w.Janine Lachance (Pf.): Songs by Haydn, Mozart, Schubert, Dela & Fauré (the latter's La Bonne Chanson). (Canada) St Laurent Studio YSL 33-441, Live Performances, 1965 & 1967, Montréal, from Private Collection of Denis Alarie. [Another jewel, this time of two recitals, beautifully recorded!] Transfers by Yves St Laurent. (V2508)
"Léopold Simoneau was the epitome of the French tenor, meaning that he had a light voice, beautiful diction and a mastery of musical nuance….By the time he made his Met début as Don Ottavio in Mozart’s DON GIOVANNI, in 1963, Mr Simoneau was acknowledged as one of the world’s leading performers of the role….After initial voice studies in Québec City, he moved to Montréal…where he met Ms Alarie….they were married in 1946…."
- Anne Midgette, THE NEW YORK TIMES, 29 Aug., 2006MELANIE KURT: Herber Abschied (Silcher); Arias & Duets (w.Matzenauer, Metzger, Urlus, Jörn, Kraus, Feinhals, Knüpfer & Schorr) from Le Prophète, Aïda, Ballo, Cavalleria, Faust, Mignon, Fidelio, Tannhäuser, Der Fliegende Höllander, Tristan, Parsifal, Die Walküre, Siegfried & Götterdämmerung. (Germany) 2-Truesound Transfers 4005, recorded 1910-22, Berlin & New York. Transfers by Christian Zwarg. (V2504)
“Melanie Kurt manages to impress in a wide variety of music. Amelia’s arias from Verdi’s UN BALLO IN MASCHERA are delivered with her usual sense of drama and lovely legato. She swells to the higher reaches of the music with no difficulty. Also from her Verdi repertoire, Kurt’s Aïda in confrontation with Ottilie Metzger’s Amneris is a classic interpretation.”
- Andrea Shum-Binder, subito-cantabileBETTY FISCHER ‘Lercherl von Hernals’: Operetta Arias & Duets (w.Max Willenz, Ernst Tautenhayn, Fritz Steiner & Carl Friedrich Sadofsky) by Lehár, Ascher, Bittner, Benatzky, Steininger, Meyer-Helmund, Kutschera, Stolz, Ziehrer, Kálmán, Gruber, Lorens, Oscar Straus & Leo Fall; 1949 Interview with Betty Fischer. (Germany) Truesound Transfers 5001, recorded 1912-31, plus one Leo Fall title from 1953! Transfers by Christian Zwarg. (V2505)
“Betty Fischer contributed significantly to bringing the ‘Silver Age’ to the operetta succession undertaking leisurely travels to numerous European cities. She became a star and during 20 years she often appeared with Hubert Marischka and toured all over Europe. In 1933 she emigrated because of the Nazi threat and it wasn't until 1947 before she returned to Vienna. During her career she was known as ‘Lercherl von Hernals’.”
- wien.gv.atISTVÁN KERTÉSZ Cond. Cleveland Orch.: PICTURES AT AN EXHIBITION (Mussorgsky-Ravel), Live Performance, 25 Jan., 1973; RAFAEL KUBELIK Cond. Cleveland Orch.: Symphony #8 in c (Bruckner), [in memory of István Kertész], Live Performance, 19 April, 1973 (both Severance Hall). (Canada) 2-St Laurent Studio YSL T-427. Transfers by Yves St Laurent. (C1499)
SERGE KOUSSEVITZKY Cond. Boston S.O.: 'Classical' Symphony #1 in D; The Love for Three Oranges - Scherzo; Marche (both Prokofiev); Symphony #2 in D (Sibelius); Gymnopédie, Nos. 1 & 3 (Satie). (Canada) St Laurent Studio YSL 78-419, recorded 1929-49. Transfers by Yves St Laurent. (C1501)
BRUNO WALTER Cond. Vienna Phil.: Symphony #100 in G (Haydn); 'Pastorale' Symphony #6 in F (Beethoven). (Japan) Opus Kura 2116, recorded 1938 & 1936, resp. (C1497)
FERRUCCIO BUSONI (Busoni’s complete recorded discography), ARTHUR FRIEDHEIM, FRANK LA FORGE: Legendary 78rpm Recordings. (Canada) St Laurent Studio YSL 78-424, recorded 1911-22. Transfers by Yves St Laurent. (P1253)
HORACIO GUTIÉRREZ: 24 Préludes, Op.28 (Chopin); Fantasie, Op.17 (Schumann). Bridge 9479, recorded 2015, American Academy Of Arts And Letters, New York. [Since our previous Bridge titles are now at half-price, we offer this new one as well at discount.] (P1254)
NINETEENTH CENTURY ITALIAN TENORS, incl. Fiorello Giraud, Giovanni de Negri, Francesco Signorini, Leopoldo Signoretti, Eduardo Garbin, Alfonso Garulli, Fernando Valero, etc. 3-Marston 53018, recorded 1901-17. Transfers by Ward Marston. Elaborate 51pp Booklet has notes by Michael Aspinall. Dedicated to the memory of the late Richard Warren, Jr., Curator of Historical Sound Recordings, Yale University. (V2484)
“The original discs have been borrowed from the holdings of a number of noted sources….The superb accompanying booklet, which also contains a number of unusual photographs, has been prepared by Michael Aspinall, who is not only a former singer but vocal art historian and admired singing teacher….He then gives a wonderfully detailed account of the career each of the featured artists, where they sang, their repertoire and, where applicable, the roles they created, putting them firmly into artistic and performing perspective. From a professional standpoint he carefully analyses their recordings and their technique, and any Italian technical terms used when discussing singing are explained for the benefit of the reader….Allowing for the date of these recordings, the results of these transfers will, I am sure, be a revelation, as they display vocal characteristics in timbre and style that have not always been easy to ascertain from some of the previously limited issues of this rare material. I have no doubt that this is one of the most important and informative issues of recordings from those early years of capturing a voice on disc, and should be warmly welcomed, not only by those collectors who favour the tenor voice, but by all who are interested in ‘recorded vocal art’.”
- Alan Bilgora, THE RECORD COLLECTOR, 2017numerous out-of-print CDs & LPs,[many sealed copies
of numerous out-of-print additions: Issues of
Symposium’s Harold Wayne series, Romophone,
The Record Collector, VRCS, GOP & many Met Opera
broadcasts, plus Operas by Mercadante, Marais,
Coccia, Vivaldi, Cherubini, Spontini, Ricci, Vaccaj,
Fioravanti, Paisiello, Scarlatti, de Majo, Generali,
Cavalli, Rameau, Lully, Pergolesi, Cimarosa,
Anfossi, Pietri, Musinelli, Rossini, Charpentier,
Gluck, Handel, Vivaldi, Monteverdi, Rossini, Cagnoni,
Myslivecek, Mayr, Hasse, Meyerbeer, Weckerlin, Nicolai,
Marschner, Gurlitt, Schreker, etc.] have been added
throughout our listings, in appropriate categories . . .
out-of-print books many biographies,
Record Catalogue-Discographies . . .
more are added each week . . .
our 50% Discount Sale continues,
with numerous additions . . .
------------------ ANNOUNCEMENT -----------------
Norbeck, Peters & Ford's Annual 78rpm Has Now Closed!
This auction featured an entire section of which is dedicated to 7" discs, plus many wonderful instrumental and vocal rarities, many of which we're offering for the first time in our 45 years of operation.
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Archipel, Myto, Walhall, Gebhardt &
Living Stage titles on sale,
simply visit our
sale section of our website . . .
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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.
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V2511. ADOLF WALLNÖFER: Songs by Rubinstein, Schumann, Mendelssohn & Wallnöfer; Arias from Le Prophète, Pagliacci, Meistersinger, Lohengrin & Siegfried - recorded 1905-33; Adolf Mennerich Cond. Lorenz Fehenberger & Anneliese Schosshauer in Wallnöfer compositions; 1944 Interview with Wallnöfer; HERMANN WINKELMANN: Liebesglück (Sucher); Arias from Le Prophète, Il Trovatore, Dalibor, Die Meistersinger, Lohengrin & Tannhäuser - recorded 1900-06. (Germany) 2-Truesound Transfers 4004. Transfers by Christian Zwarg.
C1502. GEORGE SZELL Cond. Cleveland Orch.: Prélude à l'après-midi d'un faune (Debussy), Siegfried Idyll (Wagner), Till Eulenspiegel (Strauss), Live Performance, 26 Sept., 1969, Severance Hall. (Canada) St Laurent Studio YSL T-413. Transfers by Yves St Laurent.
P1255. JOHN NEWMARK, Vol. I, incl. Duchow, Barclay, Papineau-Couture, Pentland, Brassard, Coulthard, Bartley, Beckwith & Hurst - recorded 1955; ZARA NELSOVA & JOHN NEWMARK: Cello Sonata Op.11 (Hindemith), recorded 1963. (Canada) St Laurent Studio YSL 33-432. Transfers by Yves St Laurent.
P1256. JOHN NEWMARK, Vol. II, incl. Haydn, J. C. Bach, & Clementi- recorded 1953; IDA HAENDEL: Partita #2 in d - Chaconne (J. S.Bach); IDA HAENDEL & JOHN NEWMARK: Habanera (Claude Champagne); Violin Sonata #7 in c, Op.30. #2 (Beethoven), Live Performance, 1967, Montréal. (Canada) St Laurent Studio YSL 33-433. Transfers by Yves St Laurent.
Klaus Tennstedt (Bruckner 8th, Boston) (St Laurent Studio YSL T-332)
Jussi Bjorling; Bertil Bokstedt - Copenhagen Recital (JSP 682)
Marian Anderson - Copenhagen & Lincoln Memorial Recitals (JSP 683)
Meistersinger (Toscanini; Noort, Nissen, Alsen, Reining, Thorborg, Wiedemann) (5-Immortal Performances IPCD 1069)
Vocal Record Collectors' Society - 2016 Issue (VRCS-2016)
Norma (Bonynge; Joan Sutherland, Marilyn Horne, John Alexander, Richard Cross) (3-Immortal Performances IPCD 1055)
Verdi Requiem - Toscanini; Milanov, Roswaenge, Thorborg (2-Immortal Performances IPCD 1058)
Verdi Requiem - Toscanini; Milanov, Bjorling, Castagna (2-Immortal Performances IPCD 1073)
Aida / Carmen (Mehta / Pretre; Vickers, Zeani, Bumbry, Merrill) (4-Immortal Performances IPCD 1056)
Artur Rodzinski, Vol. XXXVI; Arthur Rubinstein (St Laurent Studio YSL 78-404)
Le Trille un Art Perdu (The Lost Art of the Trill) (Malibran AMR 123)
Lotte Lehmann: The Complete Acoustic Recordings, 1914-26 (4-Marston 54006)
Margarethe Siems; Aranyi, Forstel, etc. (2-Truesound Transfers 4001)
The 1902 London 'Reds' (2-Truesound Transfers 4002)
The Bing Girls are There (Nat D. Ayer) (Palaeophonics 136)
Arturo Toscanini; Rethberg, Schorr; Horowitz (2-Immortal Performances IPCD 1068)
Eugen Onegin (Khaikin; Alekseyev, Kozlovsky, Kashevarova, Preobrazhenskaya, Konstantinov) (2-Aquarius AQVR 398)
Hullo America! (Janis, Chevalier, Lupino) (Palaeophonics 112)
The Shop Girl (Alfred Lester, Evelyn Laye, Bates) (Palaeophonics 132)
Bric-a-Brac (Millar, Jeffries, Gerard, Johnson) (Palaeophonics 123)
Ivan Kozlovsky (Aquarius AQVR 395)
Marian Anderson; Rupp; Mitropoulos (St Laurent Studio YSL T-384)
Nineteenth Century Italian Tenors (3-Marston 53018)
Contes d'Hoffmann (Beecham; Jobin, Singher, Pinza, Djanel, Novotna) (2-Immortal Performances IPCD 1060)
As You Were (Alice Delysia) (Palaeophonics 139)
Karel Ancerl - Ma Vlast (St Laurent Studio YSL T-340)
Rosenkavalier (Leinsdorf; Ludwig, Della Casa, Soderstrom, Czerwenka, Fernandi) (4-Immortal Performances IPCD 1050)
Andrea Chenier (Cleva; Richard Tucker, Zinka Milanov, Anselmo Colzani) (2-Yves St Laurent T-434)
Ignacy Jan Paderewski - Complete Victor Recordings (5-APR 7505)
Irene Jordan, Vol. II; MEDEAD (Giannini) - Paray (2-Yves St Laurent YSL T-343)
Toscanini; Horowitz (Immortal Performances IPCD 1054)
Leopold Stokowski; Sutherland, Corelli, Starr (Testament SBT 1513)
Zara Dolukhanova; Nina Svetlanova (Yves St Laurent YSL T-421)
William Kapell - Broadcasts, Concert Performances 3-Marston 53021
Erich Leinsdorf, Vol. V; Gina Bachauer; Beverly Sills (2-St Laurent Studio YSL T-412)
Vocal Record Collectors' Society - 2015 Issue (VRCS-2015)
Bruno Maderna, Vol. III (St Laurent Studio YSL T-373)
Samson et Dalila (Fourestier; Raoul Jobin, Denise Scharley, Rene Bianco, Henri Mrdus, Froumenty) (2-Malibran 789)
Vocal Record Collectors' Society - 2009 Issue (2-VRCS 2009)
K.K. Hofoper Wien, 1904 Recordings - Hesch, Weidemann, Kittel, Elizza, Pacal, Slezak, etc. (2-Truesound Transfers 4003)
Melanie Kurt; Matzenauer, Metzger, Urlus, Jorn, Kraus, Feinhals, Knupfer & Schorr (2-Truesound Transfers 4005)
Charles Munch, Vol.XII; Valletti, Kopleff, Souzay (2-St Laurent Studio YSL T-336)
Bruno Maderna, Vol. II; Boston S .O. (St Laurent Studio YSL T-360)
George Szell, Vol. IV (St Laurent Studio YSL T-405)
Meistersinger (Bohnen, Lotte Lehmann, Oehmann, Bettendorf, List) (2-Gebhardt 0035)
The Artistry of Virginia Zeani (9-Musique Aria 7648401)
Der Rosenkavalier (Bodanzky; Stevens, Lehmann, List, Schorr) (3-Immortal Performances IPCD 1023)
Mignon - TWO Performances (Tourel, Stevens, Crooks, Tokatyan, Rothier) (4-Immortal Performances IPCD 1061)
Arturo Toscanini - First NBC Broadcast (2-Immortal Performances IPCD 1072)
The Unknown Fernando de Lucia - Phonotype Recordings, 1917-21 (The Record Collector TRC 44)
Early 20th Century Singers (Nicholas E. Limansky) (YBK Publishers)