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again from Yves St Laurent . . .
DERVAUX, SARGENT, BENGTSSON,
Calig’s MEISTERSINGER . . .
and our regular 50% SALE continues
is again offered after his Carnegie Hall Marathon Concert (P1185)
, in another Yves St Laurent historical issue:WILLIAM MASSELOS, w.Pierre Monteux Cond. NYPO: Concerto #2 in g (Saint-Saëns), Live Performance, 8 March, 1959, Carnegie Hall; WILLIAM MASSELOS, w.Guarneri Quartet: Piano Quartet #2 in E-flat (Dvoràk), Live Performance, 4 March, 1972, Metropolitan Museum, New York. (Canada) St Laurent Studio YSL T-294. [Never previously issued.] Transfers by Yves St Laurent. (P1190)
“Masselos was born in 1920 and died in 1992. His main teacher was Carl Friedburg, a pupil of Clara Schumann, and he was thus steeped in the German tradition, but advocacy for new music was a huge part of his artistry and career. Norbeck, Peters, and Ford (www.norpete.com), which sells this label, indicates that the recording came from Masselos’ own collection.
Yves St. Laurent (no relationship with the designer) is a company dedicated to finding performances that really merit public exposure and preservation, and to doing it with the highest possible audio quality. They accomplish this successfully.”
- Henry Fogel, FANFAREWILLIAM MASSELOS: Granites (Dane Rudhyar), Sonata #1 (Charles Ives), Variations, Op.27 (Anton Webern), Piano Variations (Aaron Copland), Fantasia Variations (Ben Weber), Davidsbündlertänze (Schumann); w.VIRGIL THOMSON (narrator): Sports et divertissements (Satie); w.MAX WILCOX Cond.: Concerto #2 in f (Chopin); Spoken Critique on this marathon recital by Harold C. Schonberg. (Canada) 2-St Laurent Studio YSL T-293, Live Performance, 11 Dec., 1969, Carnegie Hall - [in the Carnegie Hall acoustic, this has an absolutely glorious sound quality! Never previously issued.] Transfers by Yves St Laurent. (P1185)
"Reviewer Harris Goldsmith described the [above] marathon as being ‘of heavenly length’, and his review continued: ‘Until his recent Carnegie Hall triumph, greeted by a chorus of kudos from both critics and audience, Masselos could have been described as dwelling in a self-imposed exile from a fame easily within his reach. As his performance of the Chopin Concerto at the concert's end clearly showed, he could have followed the path of the Cliburns, the Brownings, or the Ashkenazys through the potboilers of Liszt, Tchaikovsky, and Rachmaninoff in order to court public adulation. He has more than enough tone, technique, and flair to have gone that route, and to have come out, indeed at the summit. Only an artistic conscience that would not be denied has kept him to his lonely course as a crusader for the forgotten, the neglected, the strange, and the new’.”
- International Piano Archives at MarylandPIERRE DERVAUX Cond.: Encore Program, incl. Saint-Saëns, Dukas, Hérold, Boildieu, Suppé, Nicolai, Weber, Brahms, Wagner, Glinka, Rossini & Johann Strauss. (England) 2-Guild 2416/17, recorded 1957-61. (C1383)
“Guild restores a series of popular overtures and orchestral pieces inscribed for various labels, 1957-1961, by French maestro Pierre Dervaux….The French repertoire, by nature, belonged to Dervaux, whom my old teacher Jean Casadeus often praised for the work in Ravel they inscribed for French HMV….A dramatic surprise comes in the form of Weber’s EURYANTHE Overture from the Orchestra of the Paris National Opera, which enjoys a streamlined beauty. Again, a surprise in the way of German repertory, the Brahms Academic Festival Overture, conveys a lithe, brisk power and directness of execution we might have attributed to George Szell. Dervaux openly cherishes his Wagner: witness the three selections, of which the TRISTAN diptych bears up well to those realizations we know from Münch and Prêtre. The French National Opera cello line warrants the price of admission – I found it as compelling as that which Knappertsbusch elicits in Vienna.
After a thoroughly rousing FLYING DUTCHMAN from Paris, Dervaux proceeds to an absolutely mesmerizing Overture to THE BARBER OF SEVILLE with the Colonne Orchestra, with enough of ‘Monsieur Crescendo’ to last a boatload of Arturo Toscanini. While Dervaux does not quite achieve the Mendelssohnian lightness and diaphanous verve of Beecham in Nicolai’s Overture to THE MERRY WIVES OF WINDSOR, it has facility and brio to spare, and the trumpet work is first rate. The Weber INVITATION TO THE DANCE in the Berlioz arrangement receives as luxurious reading as anything from Reiner or Karajan. The strings, tympani, and wind definition achieves a clarity that reminds us what a fine trainer of future conductors Dervaux had been. The Dukas ‘Scherzo’ comes as second nature to Dervaux and the Concerts Colonne. The dramatic incarnation of the Goethe ballad canters, pulsates, swirls, and explodes in fluid colors, certainly competitive with my eternal references from Mitropoulos, Stokowski, Munch, and Markevitch. We must recall what sway Dervaux held over the French light opera and grand opera tradition, and I found myself wishing for his repertory in Offenbach and Poulenc.”
—Gary Lemco, Audiophile AuditionMALCOLM SARGENT Cond. London S.O.: Prelude in c-sharp; Sargent Cond. BBC S.O.: Symphony #3 in a; Sargent Cond. Liverpol S.O., w.Cyril Smith: Piano Concerto #2 in c (all Rachmaninoff). (England) Guild 2423, recorded 1931-53. (C1382)
"Earlier releases on the Guild Historic label featuring Sir Malcolm Sargent have earned much critical praise, and we present a new compilation of Sargent conducting Rachmaninoff, of which he was particularly noted an interpreter. Sargent's orchestration of the Prelude in C sharp minor dates from the early 1930s: this superb recording with the London Symphony Orchestra will come as a revelation to many. Cyril Smith was a great British pianist who knew Rachmaninoff - but a stroke in 1956 curtailed his career, yet this record of the Second Concerto shows him at the height of his career. Rachmaninoff's Third Symphony under Sargent is another fine performance."
- GuildERLING BLÖNDAL BENGTSSON, w.Koppel, Schioler & Vásárhelyi: The Complete HMV Solo Recordings, 1950-61, incl. Beethoven, Brahms, Grieg, Sibelius, Rubinstein, Vivaldi, Boccherini, Saint-Saëns, Popper, Koppel, Milhaud & Stravinsky. (Denmark) 2-Danacord 738, recorded 1950-61. (S0669)
"For the first time on CD we have the complete HMV solo recordings featuring the Danish cellist Erling Blöndal Bengtsson. The original recordings were all collectors items and the transfers, all done by Claus Byrith, are from his own collection. This 2-CD set was approved by the cellist just before he died and compiled by his widow, Merete Blöndal Bengtsson."
- Hans LickDIE MEISTERSINGER, recorded 1967, München, w.Kubelík Cond. Bayerischen Rundfunks Ensemble; Thomas Stewart, Sándor Kónya, Thomas Hemsley, Franz Crass, Gerhard Unger, Gundula Janowitz, Brigitte Fassbänder, etc. (Austria) 4-Calig Stereo 43020. [Superlative sound! Considered by many to be the greatest recorded DIE MEISTERSINGER. Finally returned to the active catalogue!] (OP0308)
“The version DG recorded and then suppressed, with Thomas Stewart unsurpassable as Sachs, the young Brigitte Fassbänder, Gundula Janowitz, Thomas Hemsley and a conductor who does not labour the jokes, is perhaps the best MEISTERSINGER recording of all time; this is a ’must’ for all MEISTERSINGER lovers.
- Norman Lebrecht, Wagneropera.net
“There could be no more fitting memorial to Kubelík than the appearance of this, probably the most all-round satisfying MEISTERSINGER in the era of stereo. It was recorded in 1967 by Bavarian Radio to mark the work’s centenary the following year. Kubelík conducts an unforced, loving interpretation, showing a gratifying grasp of overall structure. As a whole, the reading has an unobtrusive cohesion achieved within flexible tempi and dynamics. Everything proceeds at an even, well-judged pace with just the right surge of emotion at the climaxes. All this is conveyed unerringly to his own Bavarian Radio forces.
Stewart’s Sachs is certainly his most successful performance on disc. He offers a finely moulded, deeply considered reading that relies on firm, evenly produced, mostly warm tone to create a darkish, philosophical poet-cobbler. Kónya is simply the most winning Walther on any set, superseding Sawallisch’s excellent Heppner by virtue of a greater ardour in his delivery. Kónya pours out consistently warm, clear tone, his tenor hovering ideally between the lyric and the heroic. Nor are there many better Evas than the young Janowitz, certainly none with a lovelier voice. Franz Crass, a less pompous Pogner than some, sings his part effortlessly, with noble feeling. Hemsley, though singing his first Beckmesser, evinces a close affinity with the Town Clerk’s mean-mindedness, and his German is faultless. Unger is a paragon among Davids, so eager in his responses and finding just the right timbre for the role. His Magdalene, again perfect casting, is the young Fassbänder. With a characterful Kothner in Engen, the requirements for a near-ideal MEISTERSINGER ensemble are in place. As the recording doesn’t betray its age, this would undoubtedly be the first choice among stereo versions.”
. . . and repeated from last week . . .
JANET BAKER, w.Martin Isepp (Pf.): Songs by Handel, Purcell, Beethoven, Schubert, Gounod, Fauré, Debussy & Warlock; Arias from La Clemenza di Tito & La Cenerentola - Live Performance, 6 Feb., 1971, Hunter College Playhouse, New York; Songs by Monteverdi, Purcell, Pelham Humfrey & Mister Barringcloe - Live Performance, 13 Oct., 1971, Philharmonic Hall, New York. [Recorded independent of extraneous audience noise, this recording captures the spontaneity of the recital with no more than the occasional applause at appropriate moments, never within groups - it was a duly cultured audience!] (Canada) 2-St Laurent Studio YSL T-297. Transfers by Yves St Laurent. (V2446)
JANET BAKER, w.John Newmark (Pf.): Songs by Duparc, Gounod, Fauré, Quilter, Warlock, Mozart, Mahler, Schubert & Schumann (the latter's 'Frauenliebe und Leben') - Live Performance, 5 Feb., 1972, Hunter College Playhouse, New York. [Recorded independent of extraneous audience noise, this recording captures the spontaneity of the recital with no more than the occasional applause at appropriate moments, never within groups - it was a duly cultured audience!] (Canada) 2-St Laurent Studio YSL T-298. Transfers by Yves St Laurent. (V2447)
"Another deeply moving Baker recital from Hunter College . . . her 'Phidylé' and 'Frauenliebe und Leben' alone are worth the price of this memorable evening."
- J. R. PetersJANET BAKER, w.Martin Isepp (Pf.): Songs by Mozart, Fauré, Schubert, Wolf & Schumann (the latter's 'Liederkreis') - Live Performance, 1 Feb., 1969, Hunter College Assembly Hall, New York; Songs by Mozart, Brahms & Wagner (the latter's 'Wesendonck Lieder') - Live Performance, 20 Jan., 1970, Philharmonic Hall, New York; Janet Baker & Tom Krause, w.Steinberg Cond. Pittsburgh S.O.: Des Knaben Wunderhorn - excerpts (Mahler), Live Performance, 19 Feb., 1969, Carnegie Hall. (Canada) 2-St Laurent Studio YSL T-310. Transfers by Yves St Laurent. (V2448)
“It might have taken Baker some time to enjoy the fruits of her own career, but for everyone else she has long been regarded as one of the greatest-ever British singers. Emerging in the mid-1950s she was seen as the natural heir to the great contralto Kathleen Ferrier who had died aged just 41 in 1953. By the late ‘50s and early ‘60s Baker was a leading figure in the Baroque revival, singing Handel, Purcell and Monteverdi. In the ‘60s she became closely associated with Benjamin Britten and went on to have huge success on the opera and recital stages in both the UK and America.“
- Nicholas Wroe, THE GUARDIAN, 13 July, 2012STEFAN ASKENASE: Chopin, Mozart & Beethoven. (Germany) Meloclassic 1004, recorded 1955 & 1958, Frankfurt & Munich. (P1187)
“The playing of Stefan Askenase was once described as marvel of tender poetry, subtle rubato, and lucid clarity. He had a deep sense of musicianship, grasp of musical structure, elemental pianism and visceral yet intellectually-weighted emotionality. These rare German radio broadcast recordings span the period 1955-1958 and make their first appearance on CD. He was noted for his interpretations of Scarlatti, Bach, Beethoven, Chopin, Brahms Schubert, Schumann and Albéniz.”
- Michael WaiblingerELLY NEY: 18 German Dances (Schubert); w.Hoffmann String Quartet: Piano Quintet in E-flat (Schumann); w.Schrader Cond.Kammerorchester des Deutschen Opernhauses Berlin: Concerto #15 in B, K.450 (Mozart). (Germany) Meloclassic 1029, recorded 1944, Breslau & Berlin. (P1189)
“Ney’s first concert tour was in Holland, which became her home country for some years, as she married Willem Van Hoogstraaten, a well-known Dutch conductor, in 1911. In 1921 Ney and Hoogstraaten travelled to the United States where she made her American début on 15 October 1921 in a recital of Beethoven’s works at Carnegie Hall.
Because of her omnipresence on Germany’s concert stages during the Nazi period, because of her unconcealed if totally naïve admiration for Hitler, and because she was quite old even then, Elly Ney had been nicknamed ’Reichsklaviergrossmutter’ (official piano grandmother of the Reich). Ney’s post-war career was haunted by her Nazi past. Because of Ney’s celebrity as ‘the Nazi pianist’, the city of Bonn imposed an official ban on her performing there. Her career, which had flourished in the earlier years of the century, never recovered outside of Germany.”
- Michael Waiblinger
ARTURO BENEDETTI MICHELANGELI: Sonata in C, Op.7 (Clementi); Faschingsswank aus Wien (Schumann); Valses nobles et sentimentales; Gaspard de la nuit (both Ravel). (Canada) 2-St Laurent Studio YSL T-284, privately recorded Live Performance, 26 Nov., 1968, Carnegie Hall - [in stunning sound!]. Transfers by Yves St Laurent. (P1182)
“Although there are many live-performance ‘pirate’ recordings of concerts given by Michelangeli, this is a major discovery: a first release of his dazzling 1968 Carnegie Hall recital. I have never seen this material elsewhere.
The big news here is the combination of Ravel’s ‘Valses nobles et sentimentales’ and ‘Gaspard de la nuit’ on one program, something Michelangeli rarely did. ‘Gaspard’ was, of course, one of his specialties, and there are recordings of many performances by him. But the ‘Valses’ are much rarer. In both cases, we have Michelangeli at his best here—a complete master of the keyboard, and a master of color in Ravel’s music. Ravel and Debussy were the two composers the mercurial pianist most loved and seemed most at home with. His range of dynamic shading is unique, his sense for chordal balancing and color in this music is without parallel. Michelangeli draws us a picture of the water in ‘Ondine’, creates a desolate atmosphere in ‘Le Gibet’, and technical polish in what we know to be a live, unedited, ‘Scarbo’ in ‘Gaspard’ which is jaw-droppingly awesome.'
The quality of t St-Laurent Studios’ restoration work, however, is consistently high and this maintains that standard.”
- Henry Fogel, FANFAREALINE van BARENTZEN: Chopin, Beethoven, Debussy & Ravel. (Germany) Meloclassic 1021, recorded 1954-59, Frankfurt & Munich. Final sealed copy! (P1179)
“Aline van Barentzen still holds the record as the youngest pianist, at 11 years old, to have won the First Prize at the Paris Conservatory. Her first recital was at the age of four, after which her mother moved with her from Boston to Paris for further music studies. Practicing six hours a day, at the age of seven she performed Beethoven's First Piano Concerto with orchestra, and at nine was accepted into the Paris Conservatory. Her teachers there included Marguerite Long and Delaborde. Later she studied in Berlin with Heirich Barth and Ernst von Dohnanyi (among her fellow students were Arthur Rubinstein and Wilhelm Kempff), and in Vienna with Leschetizky.
With Paris as her home she became friends with many of the leading musicians and composers of the early twentieth century, including Enescu, Poulenc, Messaien, Roussel, and Villa Lobos, whose works she often premiered. She performed frequently throughout Europe with the leading conductors and recorded for His Master's Voice. She became a French citizen in the 1930's and spent the war in Paris, playing concerts as part of the effort to boost morale.
Aline absorbed scores quickly, learning all 24 Debussy Préludes during a vacation, and the Brahms ‘Paganini Variations’ in five days. At one time she had an active repertoire of over 500 works. Her extensive early training resulted in complete technical mastery, it being told that when she went to study with Leschetizky he declared himself satisfied with her technique and spent his time on interpretation. Even though French music was her specialty she also recorded all of Beethoven's 32 sonatas for French Radio, and included a wide range of repertoire in her programs.
Her early teaching assignments included the Philadelphia Musical Academy and the Buenos Aires Conservatory. In 1954 she became Professor of Piano at the Paris Conservatory and can count Jean-Philippe Collard and Cyprien Katsaris among her famous students.”
- Rose Eide-AltmanLEOPOLD GODOWSKY: Chopin Recital. (Canada) St Laurent Studio YSL 78-272, recorded 1921-28. [From inherently noisy Columbia pressings.] Transfers by Yves St Laurent. (P1184)
PIERRE FOURNIER, w.Kertész Cond. Swiss Festival Orch.: Concerto in b (Dvorák); w.Martinon Cond.RTF S.O.: Concerto #1 in a (Saint-Saëns); w.Bamert Cond. Festival Strings Lucerne: El cant dels ocells (Casals); Pierre Fournier’s Dedication announcement. (Germany) Audite 95.628, Live Performances, 1962-76, Lucerne. (S0667)
THE SCHNEIDER QUARTET: The 46 String Quartets, plus ‘The Seven Last Words of The Saviour on the Cross’ and two movements from Op.64, #1 (Haydn). 15-Music & Arts 1281, recorded 1951-54. Restored from the original Haydn Society master tapes and LP sources in 2013 by Lani Spahr. New liner notes by Tully Potter. Handsome Boxed Set. Specially priced, 15 CDs for the price of 8. (S0658)
BUSCH STRING QUARTET: Quartet in B-flat, Op.130 - recorded 1941; Quartet in F, Op.135 - recorded 1933 (both Beethoven). (Canada) St Laurent Studio YSL 78-278. Transfers by Yves St Laurent. (S0659)
BUSCH STRING QUARTET, w.Rudolf Serkin: Piano Quartet #2 in A - recorded 21 Sept, 1932; w.Reginald Kell: Clarinet Quintet in b - recorded 10 Oct., 1937 (both Brahms). (Canada) St Laurent Studio YSL 78-264. Transfers by Yves St Laurent. [These venerated performances are offered here in extraordinary sound quality having been copied from pristine ‘z’ shellac Victor Pressings which offer remarkably quiet surfaces.] (S0650)
PELLÉAS ET MÉLISANDE, Live Performance, 24 Nov., 1955, w.Inghelbrecht Cond. RTF Ensemble; Françoise Ogéas, Jean-Paul Jeannotte, Gérard Souzay, Roger Gosselin, Janine Collard, Jacques Mars, etc. (Canada) 2–St Laurent Studio YSL T-285. Transfers by Yves St Laurent. [Remarkably vibrant, atmospheric acoustic in this 1955 broadcast]. (OP3084)
AÏDA (in Russian), Live Performance, 29 December, 1952, w.Melik-Pashaev Cond. Bolshoi Theatre Ensemble; Nina Pokrovskaya, Georgi Nelepp, Veronika Borisenko, Pavel Lisitsian, Eugeny Ivanov, Antonina Ivanova, etc. (Russia) 2-Aquarius AQVR 392. (OP3042)
HERBERT von KARAJAN Cond. La Scala Ensemble, w.Leontyne Price, Fiorenza Cossotto, Carlo Bergonzi & Nicola Zaccaria: Manzoni Requiem (Verdi). (Austria) Relief CR 8004, Live Performance, 25 Oct.,1964, Moscow. [A sublime performance; Bergonzi's phrasing must be heard to be believed . . . in glorious sound!] (C1379)
CHARLES MÜNCH, Vol. II, Cond. Paris Conservatoire Orch: Symphony #2 in D; w.Odette Turba-Rabier, Charles Panzéra & Eliette Schenneberg: La Danse des morts (both Honegger), recorded 1941-44; Münch Cond. London Phil.: Suite in F (Roussel), recorded 2 June, 1947. (Canada) St Laurent Studio YSL 78-264. Transfers by Yves St Laurent. (C1353)
ERNEST ANSERMET Cond. Orchestre de la Suisse Romande, w.Maria Stader, Marga Höffgen, Josef Traxel, & Kim Borg: MISSA SOLEMNIS - Live Performance, 23 May, 1962; w.Gré Brouwenstijn, Elsa Cavelti, Josef Traxel & Heinz Rehfuss: Choral Symphony #9 in d - Live Performance, 27 Oct., 1957 (both Beethoven). (Canada) 2–St Laurent Studio YSL T-274. Transfers by Yves St Laurent, [taken from remarkably fine and clear broadcast-quality tapes]. (C1359)
LJUBOMIR ROMANSKY Cond. ORTF Ensemble, w.Agnes Giebel, Lore Fischer, Josef Traxel, Gerd Nienstedt & Ernst Wiemann: MATTHAEUS-PASSION (abridged) (Bach). (Canada) 2–St Laurent Studio YSL T-265, Live Performance, 8 April, 1957, Salle Playel, Paris. Transfers by Yves St Laurent. (C1354)
FELIX WEINGARTNER Cond. Vienna Phil.: Symphony #1 in C - recorded 19 Oct., 1937; Weingartner Cond. London S.O.: Symphony #2 in D - recorded 2 March,1938; Egmont - Larghetto; 11 Mödlinger Tänze - recorded 8 Oct., 1938 (all Beethoven). (Canada) St Laurent Studio YSL 78-279. Transfers by Yves St Laurent. (C1381)
“Weingartner does not use the familiar gestures of the modern 'dictator' conductors; he retains the old fashioned belief that an instrumentalist understands how to play his notes correctly, and does not need illumination in the form of arts that scarcely belong to a conductor - the arts of Terpsichore and declamation. His gestures are quiet; he is always dignified.... He belongs to the cultured epoch of music, the epoch of good manners, good taste and scholarship’.”
- Neville CardusRICHARD STRAUSS Cond. Berlin Staatsoper Orch.: Symphony #5 in c (Beethoven), recorded 1928; w.Josef Wolfsthal & Enrico Mainardi: Der Burger als Edelmann (Strauss), recorded 1930 (Cond. by the Composer). (Canada) St Laurent Studio YSL 78-271. Transfers by Yves St Laurent. (C1360)
MATTIA BATTISTINI: The Complete Recordings, 1902-24 - G & T, Gramophone Company & La Société Suisse des Disques Phonographiques d’Art, Zürich; GIUSEPPE BELLANTONI: 11 Fonotipia recordings, 1910-11. Transfers by Ward Marston. Program Notes by Michael Aspinall. (V2420)
“Any list of the most important vocal recordings ever made would have to include those by the great baritone Mattia Battistini, recordings made between 1902 and 1924. Including unpublished and alternate takes, there are 116 in all. In addition, Marston has published for the first time ever a fragment of Wagner’s ‘Evening Star’ aria from TANNHÄUSER made on a Berlin cylinder in 1898.
Everything about this set is a model of how to make available an important historic legacy. In addition to the superb notes and commentary, there is complete documentation about recording locations and dates, and accompaniments.”
- Henry Fogel, FANFARE. . . out-of-print books are continually added
at the beginning of each completely
revised book section . . .
more coming in the next months . . .
more out-of-print CDs are regularly added
throughout our listings,
in appropriate categories.
. . . and our 50% Discount
Sale continues . . .
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 . . .
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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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P1190. WILLIAM MASSELOS, w.Pierre Monteux Cond. NYPO: Concerto #2 in g (Saint-Saëns), Live Performance, 8 March, 1959, Carnegie Hall; WILLIAM MASSELOS, w.Guarneri Quartet: Piano Quartet #2 in E-flat (Dvoràk), Live Performance, 4 March, 1972, Metropolitan Museum, New York. (Canada) St Laurent Studio YSL T-294. [Never previously issued.] Transfers by Yves St Laurent.
C1383. PIERRE DERVAUX Cond.: Encore Program, incl. Saint-Saëns, Dukas, Hérold, Boildieu, Suppé, Nicolai, Weber, Brahms, Wagner, Glinka, Rossini & Johann Strauss. (England) 2-Guild 2416/17, recorded 1957-61. - 795754241723
C1382. MALCOLM SARGENT Cond. London S.O.: Prelude in c-sharp; Sargent Cond. BBC S.O.: Symphony #3 in a; Sargent Cond. Liverpol S.O., w.Cyril Smith: Piano Concerto #2 in c (all Rachmaninoff). (England) Guild 2423, recorded 1931-53. - 795754242324
S0669. ERLING BLÖNDAL BENGTSSON, w.Koppel, Schioler &
Vásárhelyi: The Complete HMV Solo Recordings, 1950-61, incl. Beethoven, Brahms, Grieg, Sibelius, Rubinstein, Vivaldi, Boccherini, Saint-Saëns, Popper, Koppel, Milhaud & Stravinsky. (Denmark) 2-Danacord 738, recorded 1950-61. - 5709499738009
The Artistry of Virginia Zeani (9-Musique Aria 7648401)
Tristan (Beecham; Melchior, Flagstad, Klose) 4-IPCD 1042
Richard Strauss - Sesquicentennial Edition (3-Marston 53017)
Vocal Record Collectors' Society - 2014 Issue (VRCS-2014)
Don Giovanni (Dooley, Gramm, Senechal, Sills) (3-YSL T-270)
Lady, Be Good (Gershwin, Astaire) (Palaeophonics 122)
Toscanini; Helen Traubel; Lauritz Melchior (3-IPCD 1043)
La Traviata (Zeani [debut], Prevedi, Merrill) (2-YSL T-267)
Mattia Battistini; Giuseppe Bellantoni (6-Marston 56002)
Tannhauser (Melchior, Tibbett, Flagstad) (4-IPCD 1039)
Pagliacci (Bellezza; Martinelli, Tibbett, Mario) (2-IPCD1047)
Fliegende Hollander (Reiner; Janssen, Flagstad) 2-IPCD 1051
Arturo Benedetti Michelangeli (2-St Laurent Studio YSL T-284)
Follow the Crowd (Hale, Coyne, Tomlin) (Palaeophonics 115)
Blue Kitten (Ethel Levey, Roy Royston) Palaeophonics 129
Jorge Bolet, Vol.II - Bolet Centennial (6-Marston 56003)
Elektra (Rodzinski; Rose Pauly, Huehn, Szantho) IPCD 1045
L’Opera de Paris (Palais Garnier History) (10-Malibran 215)
Janet Baker, Vol. I (2-St Laurent Studio YSL T-297)
BREAKING THE RECORD (Truesound Transfers 3083)
Zig-Zag (Shirley Kellogg, George Robey) (Palaeophonics 126)
Passing Show (Elsie Janis, Basil Hallam) Palaeophonics 127
La Sonnambula (Bernstein; Callas & Valletti) (Myto 89006)
Ballo (Callas, di Stefano, Bastianini, Simionato) (Myto 00131)
Macbeth (de Sabata; Mascherini, Callas, Tajo) (Myto 00310)
Toscanini; Casadesus, Bidu Sayao, Bampton (4-IPCD 1049)
Fonotipia Tenors, Vol. II - The Record Collector (2-TRC 41)
No No Nanette (Binnie Hale, Joe Coyne) (Palaeophonics 124)
Joy-Land (Shirley Kellogg, Harry Tate) (Palaeophonics 125)
Tito Schipa - Live Performances, 1939-59 (VAI 1280)
Il Trovatore (Callas, Stignani, Penno, Tagliabue) (Myto 00314)
Ernst Levy - Vol. IV (2-Marston 52072)
Les cylindres Edison, Vol.III (Malibran 773)
Meyerbeer on Record, Vol. II (3-Marston 53012)
Walkure - Flagstad, Lawrence, Melchior, Schorr 3-IPCD 1046
Prince Igor (Gorin, Christoff, Rubio, Poleri) (3-IPCD 1044-3)
Fonotipia Tenors, Vol. I - The Record Collector (2-TRC 39)
Leon Melchissedec / d'Andrade (Truesound Transfers 3084)
The Confessions of a Prima Donna - [Louise Della Rocca]