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Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Since 1972

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From JSP we present

Three First Releases of WILLIAM KAPELL . . .

Malibran’s newest is the 1931 FEDORA. . .

Yves St Laurent offers SCHNABEL, Vol. V

&

MADERNA, Vol. XII . . .

and our 50% SALE Continues,

NOW OFFERING MORE THAN 1700 TITLES . . .

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Bargain seekers will be pleased to note that we have just reduced prices on over 170 Preiser issues, plus numerous other titles as well, which will be found at the very top of our ‘sale’ department, - - - both in ‘Various Performances’ and in ‘Opera’. In most cases, we have only one copy remaining of each title.

  • WILLIAM KAPELL - Three First Releases: Nocturne in E-flat Major, Op. 55, No. 2 (Chopin) (unissued ‘test’ recording); w.Rodzinski Cond. NYPO: Rhapsody on a Theme of Paganini (Rachmaninoff), 28 Oct., 1945, Carnegie Hall; w.Richard Burgin Cond. Boston Symphony Orchestra (21 March, 1953, Symphony Hall) & Ormandy Cond. Philadelphia Orchestra (22 Feb., 1947, Academy of Music): Piano Concerto #3 in C (Prokofiev) (2 performances). (U.K.) JSP Records JSP684. (P1259)



    “Once more, restoration engineers John H. Haley and Seth B. Winner collaborate to restore rare recordings by America’s first home-spun piano virtuoso [who] had been trained by Rudolf Serkin and Artur Schnabel. William Kapell (1922-1953), was tragically taken from us in a plane crash as his flight approached San Francisco Airport 29 October 1953.

    A fabulous keyboard technique combined with a volcanic temperament made Kapell a natural exponent of the Romantic tradition [Kapell] championed, and his exploring, adventurous musicianship had embraced many works in the Classical and Contemporary traditions as well.

    The rendition of Rachmaninoff’s RHAPSODY ON A THEME OF PAGANINI (28 October 1945) with Artur Rodzinski proves fleet and dynamically driven, completely down-playing anything like sentimentality, even in the famous 18th Variation that has imprinted immortality on the work itself.

    The two readings of the Prokofiev Concerto #3 bring out diverse aspects of the music. Eugene Ormandy leads the work which he never commercially recorded in Philadelphia (22 February 1947, made for the Voice of America) with a degree of rhythmic gravitas in the opening movement and ensuing Theme and Variations calculated to emphasize the lyrical elements of Prokofiev’s instrumental bravura as much as the sheer technical velocity of all principals. In his comprehensive liner notes, Jon Samuels attests to five surviving incarnations of Kapell’s approach to this concerto. I know of the Dorati version made for commercial RCA; the Stokowski from New York appeared on Music & Arts; and now these two… so the last will be news to me.

    The muscularity of Kapell’s second movement proffers the musical character that often defines him in our collective image: robust, titanic, concentrated, lyrically alert, with no sag in his active bass lines. Typically, the dynamic thrust of Kapell’s changes in tempo exactly captures the ‘enfant terrible’ momentum Prokofiev exploited in his own virtuoso persona. Kapell’s concept for the Allegro non troppo finale remained incredibly consistent for the Ormandy performance (without audience) and for his appearance with Richard Burgin and the Boston Symphony (21 March 1953). The hard-driven, percussive propulsion suddenly softens for Prokofiev’s lyric outpouring, persuasively rendered by the winds and strings of both orchestras. The last pages with both Ormandy and Burgin become deliciously manic on a level I already know from the Stokowski version and various readings by other pianists who played the piece with Dimitri Mitropoulos.

    The collaboration with Richard Burgin sounds more streamlined than that with Ormandy, but within the savagely brisk first movement a degree of rhythmic flexibility reveals itself where Ormandy retarded the line….The sheer motor power of the runs and broken-chord phraseology proceeds seamlessly, with jaw-dropping accuracy and dynamic impact. Note, too, the crisp bowing from the BSO strings. Kapell’s entry in the second movement reaches a peak and dissolves into champagne bubbles. The trumpet part (Roger Voisin, likely) figures prominently in the early variations that mark some brilliant filigree in Kapell, in piercing, good sound. The last movement will blister your ears with its flamethrower effects.

    The ‘encore’ on this fine disc comes to us via a commercial test pressing by Kapell of Chopin’s E-flat Major Nocturne - date unknown - the very same made immortal on record by Ignaz Friedman. In ‘Lento sostenuto’, the work asks Kapell to maintain a consistent, flowing line that offers no contrasting section. Kapell seems to be actively searching through every bar for some relief from the work’s wiry melancholy. The inner voices and passing counterpoints, darkly hued, find solace in the top line and passing, bell-toned dissonances that ring with smiling regrets.”


    - Gary Lemco, AUDIOPHILE AUDITION, 29 July, 2017




    “William Kapell was one of the most promising American pianists of the postwar generation, producing a few recordings that have attained legendary status after his untimely death.

    He studied in New York with Dorothea Anderson la Follett, and then at the Philadelphia Conservatory with Olga Samaroff, and then went to the Juilliard School when she relocated there. He won the Philadelphia Orchestra's youth competition and the Naumberg Award in 1941. He débuted in New York through his prize from the Naumberg Foundation.

    A national recital career quickly developed, leading to a recording contract with RCA. One of his enthusiasms was for the recently composed Piano Concerto in D flat major by Soviet composer Aram Khachaturian, which he frequently played. Because it is an extroverted and flashy work, he gained a reputation as a specialist in such music. His recorded legacy shows that he performed in the appropriate style from graceful renditions of Mozart to powerful Prokofiev.

    After World War II, he expanded his touring to cover the world. It was on his return from a tour of Australia that his airplane crashed into King's Mountain near San Francisco.”


  • - Joseph Stevenson, allmusic.com






  • FEDORA, recorded 1931, w.Molajoli Cond. La Scala Ensemble; Gilda dalla Rizza, Antonio Melandri, Luba Mirella, Emilio Ghirardini, etc.; FEDORA – Excerpts: Bellincioni, de Lucia, Caruso, Ruffo, Bassi, de Rosa, Scaramberg, Anselmi, Lenzi, Chamoux, Carelli, Ventura, Bonci, Russ, Garbin, Rimini & Masini; SIBERIA - Excerpts, w.Molajoli Cond. La Scala Ensemble. 2-Malibran 816. (OP3219)



    FEDORA at this date seems unlikely to ever attain a firm place in the repertory, but heard here, it is possible to understand that at one time, it seemed to have earned that distinction. A short opera with a confusing, unconvincing libretto, it needs performers who truly believe in it. There is true ‘golden age’ glamour in the singing of Gilda dalla Rizza, the Fedora whose revenge for her fiance’s death leads to her own suicide when she realizes she has destroyed the loved ones of the killer she has come to love. A tight vibrato and crisp enunciation give her performance a conversational quality, although she certainly lets fly with some passionate outbursts. The heart of the opera, a long duet in act two, finds her well-matched with the Loris of Antonio Melandri. He gives out almost as many sobs as he does ringing high notes, but in the red-blooded context of this opera, his handsome voice can be excused some excess."


    - Chris Mullins, OPERA TODAY




    “Especially acclaimed in the verismo repertory, Gilda dalla Rizza was regarded as being Giacomo Puccini's favorite soprano, creating Magda in his LA RONDINE, in 1917. She also gave the first European performances of his SUOR ANGELICA and GIANNI SCHICCHI, at Rome in 1919. She also created roles in Mascagni's IL PICCOLO MARAT and Riccardo Zandonai's GIULIETTA E ROMEO. She was also an important interpreter of that composer's FRANCESCA DA RIMINI. One of dalla Rizza's unexpected successes at La Scala was in LA TRAVIATA, under Arturo Toscanini."


  • -Zillah Dorset Akron






  • ARTUR SCHNABEL: Sonata #11 in B-flat, Op.22; Sonata #20 in G, Op.49, #2; 'Appassionata' Sonata #23 in f, Op.57 (all Beethoven), recorded 1933. (Canada) St Laurent Studio YSL 78-528. Transfers by Yves St Laurent. (P1260)



    “The more I hear of Schnabel's Beethoven, the less I desire to hear other pianists in this literature. I know that this is a narrow-minded attitude, but I have never heard any other pianist who could approach this kind of vital and profound music-making. Much has been said about Schnabel's supremacy in the late Sonatas, but his mastery of these early works is also supreme. He brings to these works a sparkle and restless vitality in the fast movements that makes the music come alive as no one else can. And he has the courage to respect the extreme slow tempi of the slow movements. The Rondo a capricio ‘Rage over a Lost Penny’ is breathtaking in its drive, yet all the charm and wit of the piece is there. Once you hear Schnabel, no one else will do.”


  • - Ralph J. Steinberg






  • BRUNO MADERNA Cond. Vienna Phil: 'Song of the Night' Symphony #7 in e (Mahler). (Canada) St Laurent Studio YSL T-466, Live Performance, 27 May, 1967. Transfers by Yves St Laurent. (C1519)





    . . . REPEATED FROM THE RECENT PAST . . .






  • WILLIAM KAPELL: Broadcasts & Concert Performances, 1944-52, incl. Bach, Mozart, Chopin, Schubert, Schumann, Liszt, Mendelssohn, Debussy, de Falla, Granados, Chasins, Napolitano, Palmer, Rachmaninoff, Shostakovich, & Strauss; Interviews with Kapell. 3-Marston 53021, recorded 1944-52. Transfers by Ward Marston, J. Richard Harris, Raymond J. Edwards & Seth B. Winner. Booklet features photos & extensive notes by Bradford Gowen & Raymond Lewenthal. (P1247)





  • WILLIAM KAPELL: The William Kapell Edition, w. Jascha Heifetz, William Primrose & Edmund Kurtz. 9-RCA 09026-68422. Handsome Boxed Set. Long out-of-print, Final Sealed Copy! (P0028)





  • ARTURO TOSCANINI Cond. NYPO: Variations on a Theme of Haydn; Symphony #1 in c; w.Michel Piastro & Alfred Wallenstein: Double Concerto in a (all Brahms). (Canada) 2-Immortal Performances IPCD 1077, Live Performance, 17 Feb., 1935, plus intermission feature with Lawrence Gilman, the first Toscanini NYPO broadcast. Extensive Notes, photos & biographies. Includes the newly restored 10 April, 1936 Victor recording of Variations on a Theme of Haydn. [This is the long-missing first concert of the 1935 Brahms Cycle previously published by Immortal Performances (IPCD 1025), and is issued in association with the Toscanini Estate.] Restoration by Richard Caniell; an essay by Robert Matthew-Walker. (C1513)



    “Violinist Michel Piastro and cellist Alfred Wallenstein, New York Philharmonic principals during Toscanini’s tenure, are superb soloists in the Brahms Double Concerto. Once again, the combination of precision and flexibility of execution by all concerned is extraordinary….the soloists and orchestra emerge with a definition and tonal beauty that is striking, especially given the vintage and source of this recording….thanks to Richard Caniell and Immortal Performances, this treasure can be enjoyed by anyone who has even the slightest tolerance for historic recordings. It’s a bit early to assemble the 2017 ‘Want List’, but I am certain this Brahms concert will be at or near the top of mine.”


  • - Ken Meltzer, FANFARE, March/April, 2017






  • EDMOND CLÉMENT: Songs & Duets (w.Geraldine Farrar) by Lully, Weckerlin, Martini, Cavalli, Paer, Koechlin, Debussy, Hahn, Berlioz, Widor, Roubaud, Pessard, Dubois, Arcadet, Massenet, Bemberg, Fauré, J.B. Faure, Barbirolli, Grieg, Schubert & Schumann; Arias & Duets (w. Geraldine Farrar & Marcel Journet) from Amadis de Gaule, Roméo, Manon, Le Roi d’Ys, Jocelyn, La Basoche, Le Mage, La Dame Blanche, Robert le Diable, Les Pêcheurs de Perles, Werther, Dante, Cavalleria & Mefistofele. (France) 2-Malibran 563, recorded 1911-26, Pathé & Victor. [It is a wonderful experience to hear Clément's four rare electrical Pathé recordings; sheer enchantment in these marvelous displays of the now extinct French style.] (V2530)





  • SERGEI LEMESHEV: Arias from L’Africaine, Les Pêcheurs de Perles, Werther, Mignon, La Gioconda, Rigoletto, Marta, Dobrinya Nikitich, Iolanta, Snegoroutchka, Dubrovsky, May Night, Eugen Onégin & Rusalka (Dargomyzhsky). (Russia) Aquarius AQVR 281, recorded 1937-40. (V1096)



    “The Soviet Union had a remarkable crop of tenors during the 1940s, 50s, and into the 60s. Leaving aside artists who operated outside Russia and the Ukraine, and gifted performers such as Yelnikov who usually took secondary roles, there were still the likes of Orfenov, Kromchenko, Khanaev, Jadan, Ognovoi, Makhov, Nelepp, Alexandrovitch, Vinogradov, Ivanovsky, and Maslennikov: each an artist of international quality. Two I haven't mentioned, Kozlovsky and Lemeshev, led them all in popularity and engagements. Both began their careers in the 1920s, and they joined the Bolshoi within six years of one another - Kozlovsky in 1926, Lemeshev in 1931. They quickly became established as favorites right into the 1950s, each with his own wildly devoted female following, referred to respectively as ‘kozlovityanki’ and ‘lemeshistki’.

    Of the two, Kozlovsky excelled at in-depth interpretation and sheer size of voice, while Lemeshev had the more attractive timbre. Each was exceedingly well recorded - too well recorded, some of their competitors would (and did, quietly) say, since the Soviet official music publisher, Melodiya, tended to use the pair a great deal. Fortunately for us, many of these recordings still exist in reasonably good condition. Aquarius is currently engaged in releasing those of Lemeshev. Literally dozens of discs devoted to his art have appeared, including commercial, live, and radio performances.

    The particular collection under review, entitled ARIAS FROM OPERAS, focuses on the years 1937-1940. Some fanciers of the tenor consider it his best period, shortly before one of his lungs was collapsed due to tuberculosis and pleurisy. Arguably many of his post-war recordings, however, were just as fine: his Rodolfo in a 1954 LA BOHÈME [OP1824] (with the great Pavel Lisitisian as Marcello), FRA DIAVOLO [OP3175] of 1955, Levko in the 1951 recording of Rimsky-Korsakov's delightful MAY NIGHT [OP3154]. Be that as it may, if we take as our proposition that there can never be too much Lemeshev, there are many delights to be had on this disc.

    For example, his version of Lenski's aria from EUGEN ONÉGIN as heard here is splendid. In Kozlovsky's mature treatment, the inner poet takes the lead, making art out of his own suffering: a fascinating account . Lemeshev, by contrast, emphasizes the gentle but ardent lover, who knows he is about to be separated forever from his best friend. The repeated opening words are spun out slowly, the voice swelling slightly between the paired syllables of ‘Kuda, kuda’. Subsequent phrases are taken flexibly, almost conversationally, climaxing on a lengthy, melting diminuendo in ‘zlatiye dni’ before the main aria begins. ‘Zabudet’ gets treated to another diminuendo leading this time to a very delicate pianisimo, and then without a breath through to a slight swell on ‘mir menya’. If all this (and much of the same) sounds artificial, it isn't until it's analyzed; for as Lemeshev carefully sculpts each phrase, the effect is one of a natural progression in which all his effects are part of a continuum of character. The final blaze of passion, invoking Olga, is incandescent, but again, it doesn't stand out. It completes a portrait....

    As…you might guess from my comments, [his records] are a joy. Warts and all, these selections afford us 21 chances to hear one of the greatest tenors of the last century, in music he knew well and performed to perfection. With Preiser's album currently available only as a digital download, Aquarius' multitude of releases are the best way to hear Lemeshev in all his glory - and this is as good a place as any to start. Strongly recommended, and available from Norbeck, Peters & Ford (www.norpete.com).


  • - Barry Brenesal, FANFARE






  • MARIO FILIPPESCHI: Verdi Arias & Duets (w.Caterina Mancini, Gianna d'Angelo, Giulietta Simionato & Gian Giacomo Guelfi) from Simon Boccanegra, I Vespri Siciliani, Rigoletto, Il Trovatore, Forza, Aïda & Otello. (France) Malibran AMR 136, recorded 1946-56, Live Performances from Milano, Rome, Caracas, Naples & Mexico, plus 1 film excerpt. (V2531)





  • BIDÚ SAYÃO: Songs by Costa & Flotow; Arias from Il Guarany, Nozze, Don Giovanni, Carmen, Faust, Roméo, Manon, La Traviata, La Boheme, Manon Lescaut & Madama Butterfly. (France) Malibran AMR 138, recorded 1930-48, incl. several Live Performances [which include a most heavenly rendition of Micaëla’s ‘Je dis que rien ne m'épouvante’ from a live 1948 broadcast]. Lovely issue features an 8-face brochure of lovely photos & notes in French. (V2532)





  • ARIADNE AUF NAXOS (in English), Live Performance, 3 Jan., 1958, w.Scherman Cond. American Opera Society Ensemble; Eileen Farrell, Mattiwilda Dobbs, Jon Crain, etc. (Canada) St Laurent Studio YSL T-517. Transfers by Yves St Laurent. [This unique recording of Farrell's Ariadne and Dobbs' remarkable Zerbinetta was made from a recording from Town Hall's house system and has occasional irregularities, but the clear sound comes through beautifully.] (OP3218)





    “With Farrell…we are on the way back to look at American singing in the forties and fifties….In certain records she even achieves a Callas-like intensity….The touch of greatness in Farrell is sufficient to make one wonder why the evident goodness was not more extensively recorded and still more widely acclaimed.”


  • - J. B. Steane, THE GRAND TRADITION, p.421






  • JOSEPH KEILBERTH Cond. NHK S.O.: Symphony #4 in B-flat (Beethoven); Tannhäuser - Bacchanale Venusberg (Wagner). (Canada) St Laurent Studio YSL T-446, Live Performance, 9 / 2 Feb., 1966, Bunka Kaikan, Tokyo. Transfers by Yves St Laurent. (C1518)





  • PAUL PARAY Cond. Detroit S.O.: Berlioz, Saint-Saëns, Bizet, Chabrier, Fauré & Ravel (the latter's 'Boléro'). [This evening of 'chestnuts' is a true delight, performed before a most enthusiastic audience!] (Canada) St Laurent Studio YSL T-418, Live Performance, 16 Aug., 1975, Meadowbrook Music Festival. Transfers by Yves St Laurent. (C1517)





  • SIR JOHN BARBIROLLI Cond. Boston S.O.: Symphony #2 in E-flat (Elgar). (Canada) St Laurent Studio YSL T-415, Live Performance, 7 Nov., 1964, Symphony Hall, Boston; Interview with Barbirolli, 1959. Transfers by Yves St Laurent. (C1509)





  • ALFRED CORTOT, Vol. III: Études, Opp. 10 & 25 (Chopin). (Canada) St Laurent Studio YSL 78-364, recorded 4 July, 1933 & 18 June, 1934, resp. Transfers by Yves St Laurent. (P1258)





  • BERTHE MONMART: Arias by Gluck, Mozart, Beethoven, Schumann, Weber, d'Ollone, Berlioz, Dukas, Charpentier, Lalo, Berlioz, Dukas, Verdi, Puccini & Mascagni. (France) Malibran 810. (V2524)





  • ERNEST BLANC, w.Cloëz, Gressier, Cluytens, Prêtre, Dervaux, Cruchon, Pritchard & Gui Cond.: Arias from Thais, Mireille, Hérodiade, Les Pêcheurs de Perles, Rigoletto, Lohengrin, Tannhäuser & Die Walküre; ERNEST BLANC & RÉGINE CRESPIN: Hérodiade - Demande au prisionier. (France) Malibran AMR 139, recorded 1955-78, partially live performances. (V2526)





  • WOZZECK (Berg) (in French), Live Performance, 9 November, 1950, w. Horenstein Cond. Théâtre des Champs Elysées Ensemble; Lucienne Marée, Lucien Lovano, Joseph Peyron, André Vessieres, Gaston Rey, Irma Kolassi, etc.; MAVRA, w. Claudine Verneuil, Joseph Peyron, Yvon Le Marc-Hadour, etc.; RENARD, w. Joseph Peyron, Yvon Le Marc-Hadour, Maurice Prigent, etc. (both Stravinsky, Live Performance, 21 March, 1946, w.Manuel Rosenthal Cond. Théâtre des Champs Elysées Ensemble). (France) 2-Malibran 819. (OP3216)





  • L'ELISIR D'AMORE, Live Performance, 20 Feb., 1988, w.Weikert Cond. Met Opera Ensemble; Dawn Upshaw, Vinson Cole, Giuseppe Taddei, Brian Schexnayder, etc. [An exceptional and little-known latter-day broadcast from the Met featuring two young singers in the prime, plus the veteran Taddei at his most compelling! Of further note, Ralf Weikert appeared at the Met only briefly in a departure from the Salzburg Festival and the Mozarteum Orchestra Salzburg.] (Canada) 2-St Laurent Studio YSL T-516. Transfers by Yves St Laurent. (OP3215)





  • NORMA, Live Performance, 20 Feb., 1937 (replete with Milton Cross’ commentaries), w.Panizza Cond. Met Opera Ensemble; Gina Cigna, Bruna Castagna, Giovanni Martinelli, Ezio Pinza, Thelma Votipka & Giordano Paltrinieri. (Canada) 2-Immortal Performances IPCD 1063, accompanied by Elaborate Booklet with photos & notes by Dewey Faulkner & Richard Caniell. Transfers by Richard Caniell. (OP3214)





  • LA FANCIULLA DEL WEST, Live Performance, 17 Jan., 1966, w.Behr Cond. Met Opera Ensemble; Eleanor Steber, Franco Corelli / Gaetano Bardini, Anselmo Colzani, etc. (Canada) 2-Yves St Laurent T-519. Transfers by Yves St Laurent. [This unique recording of Steber's sensational last-minute Minnie was made from a 'pirate' recording from within the house, with the duly excited audience's spontaneous reactions - very occasionally intrusive, but the clear sound comes through beautifully.] (OP3217)



    “When I finally went down the steps to the stage before the opening curtain…the men of the chorus were waiting for me, and when I walked on they gave me an ovation. What a greeting! …. The door on the landing burst open and I charged out with my pistol blazing. It was only a split second before I heard the roar of the crowd. I remained frozen, gun in hand, watching and listening as the whole audience stood up and hollered. Through all the clapping and shouting, I heard one thing cutting through loud and clear – my name – ‘STEBER’! The whole Opera House went up in smoke. The orchestra had to stop and there was absolute pandemonium! It was great, and I felt fantastic, absolutely fantastic! … the ‘boys’ didn’t sing what was written. They were cheering and shouting and clapping with the audience – ‘Welcome home, Minnie! Welcome home, Steber!’ It was the greatest single moment of my life!”


  • - ELEANOR STEBER – AN AUTOBIOGRAPHY, pp.238-40






  • THE AMERICAN STAGE PERFORMERS DISCOGRAPHY, Vol. I (1891 – 1932) , Actors, Vaudevillians, and Musical Comedy Stars, by Allan Sutton. Denver, CO, Mainspring Press, 2007. 430pp. Detailed bio-discographies of more than 460 stars, from legitimate theater to vaudeville and burlesque. Covers over 10,000 cylinders, 78s, radio transcriptions, and synchronized soundtrack discs. Indices. Mint, sealed copy of this rare out-of-print book. (B0123)



    “Volume I (1891–1932) draws on original recording files, trade-press and newspaper articles, and other primary-source documents to provide the most comprehensive bio-discography of early stage stars to date. Features include: Listings of all known 78s and cylinders (including private issues, tests, and unissued masters); radio transcriptions; and synchronized soundtrack discs. Full discographic information, including recording dates and locations, matrix and take numbers, catalog numbers, accompanists, and pseudonyms. Detailed capsule biographies of all performers, listing show credits with theaters and opening dates; film and radio credits; career histories, and other significant facts."


  • - Mainspring Press






    -------------------------------------------------


    Numerous out-of-print CDs and LPs, [many sealed

    copies of numerous out-of-print additions: Issues of

    Symposium's Harold Wayne series, Romophone, The

    Record Collector,Naxos, VRCS, GOP & many Met Opera

    broadcasts, & operas from Moscow's Aquarius,

    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,

    now offering more than 1700 titles . . .


    ---------------------------------------------------




    - - - - - - - 78rpm collectors, please note auctions from: Dave Schmutz, www.78classicalgallery.com - or at: 818-242-6247



    ------------------ 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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    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.

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    William Kapell - 3 First Releases;  Rodzinski, Richard Burgin, Ormandy   (JSP684)
    P1259. WILLIAM KAPELL - Three First Releases: Nocturne in E-flat Major, Op. 55, No. 2 (Chopin) (unissued ‘test’ recording; w.Rodzinski Cond. NYPO: Rhapsody on a Theme of Paganini (Rachmaninoff), 28 Oct., 1945, Carnegie Hall; w.Richard Burgin Cond. Boston Symphony Orchestra (21 March, 1953, Symphony Hall) & Ormandy Cond. Philadelphia Orchestra (22 Feb., 1947, Academy of Music): Piano Concerto #3 in C (Prokofiev) (2 performances). (U.K.) JSP Records JSP684. - 788065608422
    $19.90
    Fedora / Siberia  (Molajoli;  Gilda dalla Rizza, Antonio Melandri, Emilio Ghirardini)   (2-Malibran 816)
    OP3219. FEDORA, recorded 1931, w.Molajoli Cond. La Scala Ensemble; Gilda dalla Rizza, Antonio Melandri, Luba Mirella, Emilio Ghirardini, etc.; FEDORA – Excerpts: Bellincioni, de Lucia, Caruso, Ruffo, Bassi, de Rosa, Scaramberg, Anselmi, Lenzi, Chamoux, Carelli, Ventura, Bonci, Russ, Garbin, Rimini & Masini; SIBERIA - Cena di Pasqua, w.Molajoli Cond. La Scala Ensemble. 2-Malibran 816. - 7600003778161
    $39.90
    Artur Schnabel, Vol. V         (St Laurent Studio YSL 78-528)
    P1260. ARTUR SCHNABEL: Sonata #11 in B-flat, Op.22; Sonata #20 in G, Op.49, #2; 'Appassionata' Sonata #23 in f, Op.57 (all Beethoven), recorded 1933. (Canada) St Laurent Studio YSL 78-528. Transfers by Yves St Laurent.
    $19.90
    Bruno Maderna, Vol. XII - Mahler #7 'Song of the Night'        (St Laurent Studio YSL T-466)
    C1519. BRUNO MADERNA Cond. Vienna Phil: 'Song of the Night' Symphony #7 in e (Mahler). (Canada) St Laurent Studio YSL T-466, Live Performance, 27 May, 1967. Transfers by Yves St Laurent.
    $19.90
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