Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Auction Number 145 - AUCTION Closing Date: Friday, 20 December, 2013
Regarding AUCTION #145
(Closing Date: Sunday, 22 December, 2013
), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.
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Nos. 1716 - 1756 are Choice Instrumental 78s:
1716. ANJA IGNATIUS
, w.Järnefelt Cond. Städtisches Orch., Berlin: Concerto in d (Sibelius), 8s.
4-EL 12” DGG 69154/57, POM-25/26 Jan., 1943. M-A, appears unplayed. MB 45, the Set.
“Ignatius’ Sibelius is unusually intimate. She doesn’t make a big sound, doesn’t dig frantically into the strings or indulge in luscious finger position changes. Her opening paragraphs are cool with one notably cool slide (though she’s a fairly clean player when it comes to portamenti). There is nothing here of the barbed wire intensity of Heifetz or the muscularity of Stern or even Ginette Neveu’s concentratedly profound drama. What Ignatius develops instead is a compelling sense of narrative. She shapes and unfurls, muses and drives with a sure sense of weight and structural acuity; these are long-term architectural ambitions and can leave colourists and exploiters of incidental felicity seeming lesser musicians in the light of her surer understanding. How well Järnefelt supports her, as well, underscoring those recurrent running orchestral pizzicati and providing her with the elasticity of tempo to inflect. She sways with the first movement double stops, has a strong affinity with Sibelian rubati, and is introspective and frequently musing in tone. The orchestral tuttis aren’t as hammered and forceful as they often can be and that is consonant with their interpretation as a whole. She isn’t out to impress in the cadenza; doesn’t engage in colouristic effect but instead demonstrates the value of subtly holding back the rhetoric thereby implying far more. It is a performance that forces one to reassess the work, even in the light of so many performances heard and admired.”
- Jonathan Woolf
1717. YOVANOVITCH BRATZA
: Aquarelles - Légende naďve (Jongen) / Concerto #2 in d - Romance (Wieniawski).
12” EL dark blue Eng. Col. 9358, POM-15 March, 1927. M-A, appears unplayed. MB 15
“Yovanovitch Bratza, properly Milan Yovanovitch Bratza, was an eminent Serbian violinist, born in Novisad, 1904. He performed in concert with singers such as Tetrazzini, John Charles Thomas and Charles Hackett. His career was long-lasting: an article about the composer Walther Thomas Gaze Cooper notes that Bratza was a regular player of the Violin concerto of 1945, and that he played in the premiere of Gaze Cooper’s Horn Trio in January 1958.”
1718. ADOLF BUSCH
: Partita in d for Violin Unaccompanied (Bach), 6s.
3-12” EL PW HMV DB 1422/24, POM-8 Nov., 1929. M-A, a gleaming copy. MB 150, the Set.1719. ADOLF BUSCH & RUDOLF SERKIN
: Kreutzer Sonata in A (Beethoven), 8s.
4-EL 12” PW Col. 71348/51, POM-12 Dec., 1941, in Orig. Album MM-496. M-A MB 45, the Set.1720. ADOLF BUSCH & RUDOLF SERKIN
: Sonata #1 in a (Schumann), 4s.
2-EL 12” PW V 15393/94, POM-9 Oct., 1937, in Orig. Album M-551. M-A, appears unplayed. MB 35, the Set.1721. ADOLF BUSCH & RUDOLF SERKIN
: Sonata #1 in G (Brahms), 6s.
3-12” EL Orth Vla 7487/89, POM 4 May, 1931, in Orig. Album M-121. M-A, appears unplayed. MB 35, the Set1722. ADOLF BUSCH & RUDOLF SERKIN
: Sonata #2 in A (Brahms), 4s.
2-12” EL PW V 8359/60, partially on ‘Z’ shellac, POM 20 Sept., 1932. M-A MB 351723. ADOLF BUSCH & ARTUR BALSAM
: Sonata in e (Bach), 2s.
12” EL Col. 71582-D, only form of issue, 21 May, 1942. M-A, appears unplayed. MB 201724. ADOLF BUSCH & FRANCES MAGNES
, w.Busch Chamber Players: Concerto in d for Two Violins (Bach), 4s.
2–12” EL Col. 71676/77-D, only form of issue, 26 April, 1945. M-A, appears unplayed, albeit faintest pap.rub, Sd.2. MB 201725. ADOLF & HERMANN BUSCH & RUDOLF SERKIN
: Trio #2 in Eb (Schubert), 10s.
5-EL PW V 14469/73, POM-23 Oct., 1935, in Orig. Album AM-374, w.Brochure. M-A, appears unplayed. MB 45, the Set.1726. ADOLF BUSCH
, w.Busch Chamber Players: Concerto #2 in E (Bach), 5s. /
Sd.6 = Sonata #5 in g – Adagio (Corelli). 3–12” EL PW Col. 11914/16-D,
only form of issue, 27 May, 1942, in Orig. Album MM 530. M-A, appears unplayed. MB 45, the Set.1727. BUSCH QUARTET
: Quartet in B-flat (Schubert), 6s. 3-EL 12” PW V 16188/90, in Orig. Album AM-670, w.Brochure. M-A, choice copy has, Sd.3 only, tiny spindle hole mk, of no consequence. MB 35, the Set.
“Adolf Busch (1891-1952) was not only an all-round musician; he was also a moral beacon in troubled times. Now remembered as the first violin of the Busch String Quartet, which he founded in 1912, he was the greatest quartet-player of the last century and also the busiest solo violinist of the inter-War years, regularly performing the great concertos with such conductors as Toscanini, Walter, Furtwängler, Boult, Barbirolli and many others. He was, moreover, an outstanding composer whose works enjoyed performances both at home in Germany and further afield. But at the peak of his popularity his profound sense of decency and his simple human dignity brought about a dramatic reversal in his fortunes. His courageous decision to boycott his native country from April 1933 - despite Hitler's efforts to persuade 'our German violinist' to return - drastically reduced his income and damaged his career as soloist and composer. In 1938, because of Mussolini's race laws, he imposed a similar boycott on Italy, where he had been one of the most popular of classical performers. The following year he emigrated with his quartet colleagues to the United States.
1728. LIONEL TERTIS
: Partita #2 in d – Chaconne (Bach), 4s. 2-12” AC Eng. Col. L 1644/45, POM-25 Nov., 1924.
M-A, a gleaming copy. Rare 1924 late AC-era issue which enjoyed a brief Catalogue life. MB 45, the Pair.1729. LIONEL TERTIS
, w.Harriet Cohen (Pf.): Sonata #1 in f (Brahms), 6s. 3-12” EL Col. 68114/16-D,
on blue shellac, POM-17 Feb., 1933, in Orig. Album 183, w.Brochure. M-A, a gleaming copy. MB 45, the Set.1730. ANDRÉ PASCAL & ISIDOR PHILIPP
(Pf.): Sonata #1 in d (Saint-Saëns), 6s.
3-EL 12” PW Col. P-71214/16-D, POM-28 June, 1934, in Orig. Album MM-471, w.Brochure.
M-A, choice copy has, Sd.6 only, faintest pap.scuff, inaud. MB 150, the set.
"Fernando Laires said that Philipp insisted that the music and the tone should arise from deep within the piano, not pounded out at the keyboard, and by that he meant that he must come deep within one's soul, not at the fingertips. "The quality most desirable in piano playing is tone. Tone should be worked at from the first, and the pupil must listen attentively to it. To produce a beautiful tone, Thalberg said, 'one should in a way knead the keyboard with a hand of velvet, the key being rather felt than struck'. It is essential to maintain the utmost relaxation in the arms, wrists and hands."
- Isidor Philipp
Isidor Philipp studied piano under Georges Mathias (a pupil of Frédéric Chopin and Friedrich Kalkbrenner) at the Conservatoire de Paris and won First Prize in piano performance in 1883. Other teachers included Camille Saint-Saëns, Stephen Heller (a pupil of Carl Czerny, one of Beethoven's students) and Theodore Ritter (a pupil of Franz Liszt). At the Conservatoire, he met fellow student Claude Debussy. They remained lifelong friends, and Philipp often played his compositions. After Debussy's death, Philipp was regarded as the leading authority on his piano music.1731. HENRI MERCKEL
, w.Charles Münch Cond.: Sérénade Concertante, 5s. / Sd.6 =Cendrillon ou la pantoufle de vair – Danse de Nérillons (both Delannoy). 3–12” EL Disque Gram. DB 5184/86, only form of issue,21 July, 1916.
M-A, choice copy has very occasional infinitessimal dust scr, inaud. MB 65, the Set.
“Marcel Delannoy enjoyed some fame as a composer through the efforts of conductor Charles Münch, but his star has certainly faded. The twenty-minute Sérénade Concertante moves rather idiomatically for the violin, though its content remains strictly that of a light suite in three movements. A cabaret sensibility insinuates itself, with the solo serving as a commentator while the figures become more hectic. As a vehicle for Merckel’s suave style, the piece can be genially effective. To fill out the original shellac set, Munch chose two excerpts from Delannoy’s Cinderella ballet, the ‘Dance of the Little Negroes and Apotheosis’, the
former of which in a pseudo-Brazilian style provides lithe figures for Merckel’s easy grace.”
- Gary Lemco1732. HENRI & ALICE MERCKEL, MARCESINI & ZURFLUH-TENROC
: Quartet #1 in c (Fauré), 8s.
4-12” EL PW V 12481/84, in Orig. Album M-594, w.Brochure. M-A, eappears unplayed. MB 45, the Set.1733. MIGUEL CANDÉLA
, w.Joaquin Nin (Pf.): Cantos de espańa – Granadina (Acc. by the Composer) /
w.Joseph Benvenuti (Pf.) Hora staccato (Dinicu). 10 EL MasterWorks Col. 4194-M, POM-10 Nov.,1933.
M-A , a gleaming copy of preferred MasterWorks pressing. MB 25
“Mr. Candéla, a pioneer recording artist in the early days of electrical reproduction, is almost certain to have studied at Madrid Conservatory, perhaps with Quiroga's teacher, and later in Paris. He was the first to record the Saint-Saens b minor Concerto, with Gaubert conducting, and later the Glazanov a minor, the only recording of this anywhere, on the Columbia 78 label. Candéla must have given premieres of numerous new works in France and Spain and was well enough thought of to record the above work by Joachim Nin, with the composer at the piano.”
- Tom Clear
1734. BRONISLAW HUBERMAN: Partita #1 in b for Violin Unaccompanied – Sarabande & Double /
w.Siegfried Schultze (Pf.): Nun Komm’ der Heiden Heiland (both Bach). 12” EL Master Works Col. 68940-D,
POM-26 June, 1934 / 14 May, 1935. M-A, choice copy has, Sd.1 only, infinitessimal dust scr, inaud. MB 25
1735. GIOCONDA de VITO, w.Erede Cond. Philharmonia Orch.: Romance #2 in F (Beethoven), 2s.
12" EL HMV DB 6727, only form, of issue, 8 & 29 May, 1948. M-A, appears unplayed. MB 20
1736. SIEGFRIED BORRIES, w.Schüler Cond. Berlin Phil.: Romance #2 in F (Beethoven), 2s.
12” EL HMV DB 4661. M-A, pristine copy has, Sd.2 only, wee pressing bump. MB 12
“As early as 1933, at the age of only 21 years, Borries was named Concertmaster of the Berlin Philharmonic by Wilhelm Furtwängler. From 1941 to 1945 Borries was Concertmaster of the Philharmonic and director of
its Chamber Music Association.”
1737. JASCHA HEIFETZ, w.Beecham Cond. London Phil.: Concerto in d (Sibelius), 8s. 4-12" EL PW V 14016/19,
POM-26 Nov., 1935, in Orig.Album M 309, w.Brochure. Sd.1 Autographed by Heifetz. M A MB 35, the Set.
1738. JASCHA HEIFETZ, w.Sargent Cond. London S.O.: Concerto in b (Elgar), 10s.
5-12” El RCA 12–1235/39, POM-6 June, 1949, in Orig. Album DM 1385. M-A, beautiful bevelled-edge pressing
appears unplayed. Extremely rare in this 78rpm format, unknown as such in Creighton Discoopaedia. MB 65, the Set.
1739. JASCHA HEIFETZ, w.Steinberg Cond. RCA Orch.: Scottish Fantasy (Bruch), 6s.
3-12” El red vinyl RCA 18-0087/89, POM-12 Sept.,1947, in Orig. Album DV 11. M-A, appears unplayed. MB 25, the Set.
1740. MICHAEL ZADORA: Sonatina 'ad usum infantis Madeline M* Americanae (Busoni), 2s.
12” EL Friends of Recorded Music 23, only form of issue, 1940. A to M-A, lovely copy has faint rubs, inaud.;
Sd.1 only has few faint lams, endemic to these Columbia pressings. MB 20
“Michael von Zadora was born in America of Polish parents. He first learnt to play the piano from his father and then at the age of seventeen he enrolled at the Paris Conservatoire. From there he travelled to Vienna for lessons with Theodor Leschetizky before continuing his studies with Ferruccio Busoni in Berlin. Periods of teaching followed at institutions including the Hochschule für Musik and the Klindworth-Scharwenka Conservatory in Berlin, but as World War I approached Zadora returned to America and took a post at the Institute for Musical Art in New York, later to become the Juilliard School of Music. In 1940 he made some discs for the Friends of Recorded Music Society in America.”
1741. SHINICHI SUZUKI, w.Manfred Gurlitt (Pf.): Sonata in A (Franck), 8s. 4–12” EL gold Bruns.90397/90400,
POM-1929. M-A, choice copy has, Sd.4 only, faint pap.scuff, inaud.; Sd.5 only has wee pressing bump. MB 65, the Set.
“At the age of 26, Shin'ichi Suzuki studied in Germany, under Karl Klingler. While in Germany, he spent time under the guardianship of Albert Einstein. Upon his return to Japan, he formed a string quartet with his brothers and began teaching at the Imperial School of Music and at the Kunitachi Music School in Tokyo and started to take interest in developing the music education of young students in violin. Shin'ichi Suzuki was the inventor of the international Suzuki method of music education and developed a philosophy for educating people of all ages and abilities. Considered an influential pedagogue in music education of children, he often spoke of the ability of all children to learn things well, especially in the right environment, and of developing the heart and building the character of music students through their music education. Suzuki was also responsible for the early training of some of the earliest Japanese violinists to be successfully appointed to prominent western classical music organizations. During his lifetime, he received several honorary doctorates in music including from the New England Conservatory of Music (1956), and the Oberlin College Conservatory of Music, was proclaimed a Living National Treasure of Japan, and was nominated for the Nobel Peace prize.”
1742. ANTONIO BROSA, w.Goehr Cond.: Concerto in e - Andante (Mendelssohn), 2s.
12” EL plum HMV C 2928, only form of issue, 4 Oct., 1937. M-A, appears unplayed. MB 15
“Antonio Brosa was a Spanish violinist who was a great friend of Benjamin Britten who consulted him on the difficulties of Britten's concerto. He gave the first performance of Benjamin Britten's violin concerto Op. 15 at Carnegie Hall on 28 March, 1940, playing on his Vesuvius Stradivarius of 1727 with the New York Philharmonic Orchestra under John Barbirolli. This performance launched his career as a solo violinist.”
1743. EMIL TELMÁNYI, w.GERALD MOORE (Pf.): FANTASY PIECES - Romance (Nielsen) /
Danse champętre #2 in G (Sibelius). 12” EL PW Electrola DB 2503, POM-28 March, 1935.
M-A, choice copy has, Sd.2 only, infinitessimal pap.scr, inaud. MB 20
1744. EMIL TELMÁNYI, w.Georg von Vásárhelyi (Pf.): Sonata #2 in A (Brahms), 4s.
2–12”EL PW HMV DB 4640/41, only form of issue, 1939. M-A, appears unplayed. MB 25, the Pair.
“Emil Telmányi was a Hungarian violinist who invented the Bach bow, designed to play and sustain three or four notes on a violin for Bach's sonatas and partitas for solo violin. Telmányi was also an exponent of the composer Carl Nielsen, having recorded some of his violin sonatas and his violin concerto.”
1745. JOSEPH JOACHIM: Hungarian Dance #1 in g (Brahms) /
EDVARD GRIEG: Norwegian Bridal Procession (Played by the Composer).
12” AC vinyl Symposium 1014 Special vinyl Pressing of Berlin G & T 047907 (Mx.219Y) /
Paris G & T 35517 (Mx.2151F), POM 1903. MINT MB 25
1746. PABLO CASALS: Suite #1 in G, 6s; Suite #6 in D, 14s.
7-12” EL PW V 17658/64, POM 1938/’39, Paris, in Orig. Album M-742. M-A, appears unplayed. MB 175, the Set.
1747. PABLO CASALS: Suite #2 in d, 6s.; Suite #3 in C, 6s.
6-12” EL PW V 15677/82, POM-1936, London, in Orig. Album AM-611. M-A, appears unplayed. MB 175, the Set.
“Pablo Casals recorded J.S. Bach's 6 Cello Suites for EMI between 1936 and 1939 in London and Paris, and these legendary recordings have been in print for many decades without break. There is a mystique attached to these performances…. Since Casals' day, the Cello Suites have been played in many ways, including efforts to play them in an authentic Baroque manner, as well as more Romantic attempts at individual expression, but Casals still seems to be the standard against which other performances are measured, and these recordings are indispensable to any serious collector.”
- Blair Sanderson, allmusic.com
1748. HANS KINDLER (Cello) & HARSANYI (Pf.): Cello Sonata (Acc. by the Composer), 5s. /
TIBOR HARSANYI (Pf.): Cinq préludes brefs (Played by the Composer), 3s.
4-12” EL dark blue PW French Col. DFX 5/8. M-A, exceptional copy MB 45, the Set.
“Hans Kindler was born in Rotterdam, and at 18 Kindler appeared as cello soloist with the Berlin Philharmonic and was named first cellist with the Charlottenburg Opera; at 19, he was made a professor of cello at the Klindworth-Scharwenka Conservatory in Berlin. In April 1914, he performed the cello part in the world premiere of Schönberg's PIERROT LUNAIRE. On a concert tour of the United States that same year, Kindler was stranded by the outbreak of war in Europe and then accepted the first chair cello with the Philadelphia Orchestra under Leopold Stokowski, under the proviso that he could continue his solo career, and he first recorded for Victor in 1916, being one of the first famous cellists to make phonograph records. Kindler made his début as a conductor in 1927 with Philadelphia. In 1930 he held a pilot concert in Washington, D.C., with out-of-work musicians themselves stranded by the advent of talking pictures; this proved so successful that in 1931 he founded the National Symphony Orchestra there. Kindler's temperament as a conductor was very similar to Stokowski's, and he also favored the same divided arrangement of the string section that resulted in the ‘Stokowski Sound’."
- Uncle Dave Lewis, allmusic.com
“Tibor Harsányi was a Hungarian-born composer and pianist who studied at the Budapest Conservatory under Zoltán Kodály. He toured as a pianist around Europe and the Pacific, then settled in Holland in 1920 and worked there as a pianist, conductor and composer before relocating to Paris in 1923. There, he became involved with the group of composers in l'École de Paris, which included emigré composers such as Alexandre Tansman, Bohuslav Martinů, Alexander Tcherepnin and Marcel Mihalovici.”
1749. MR. BUSONY: Serenade (Toselly) / Servus you (Stolz).
10” AC black Symphony Concert Record 2771 [5301/02], POM-c.1914. Issued by the ‘Isi Works International Record Co.’, Saxony. A to M-A, bright copy has lt.rubs & occasional faint pap.scr, positively inaud. MB 15
1750. JACQUES THIBAUD & ALFRED CORTOT: Kreutzer Sonata in A (Beethoven), 8s.
4 12" EL vinyl pressings of Mx. Cs3716/23, POM-27/28 May, 1929. MINT MB 95, the Set.
1751. JACQUES THIBAUD & ALFRED CORTOT: Sonata in A (Franck), 8s.
4-12”EL Orth Vla 8179/82, on Z Shellac, POM-28 May, 1929. M-A, choice copy has minir spine split. MB 75, the Set.
1752. JACQUES THIBAUD, PABLO CASALS & ALFRED CORTOT: Archduke Trio in Bb, Op.97 (Beethoven), 10s.
5-12” EL Orth Vla 8196/8200, POM-19 Nov., 1928, on ‘Z’ shellac, Orig. Album M-92, w.Brochure. M-A MB 75, the Set.
“[Thibaud's] playing was imbued with his yearning for sensual pleasure, with an unchastity that was all the more seductive for its refinement....he struck us all as the exponent of a hitherto unknown style of violin playing...an eroticism that remained unadulterated even though he ennobled it. You could not compare him to any other violinist, and public opinion had already placed him in the ranks of the very greatest; he even seemed to be considered heir presumptive to Ysa˙e."
- Carl Flesch, MEMOIRS, p.197
1753. JACQUES THIBAUD, PABLO CASALS & ALFRED CORTOT: Trio #1 in Bb (Schubert), 8s.
4-12”EL Orth Vla 8070/73, on ‘Z’ shellac, POM-5-6 July, 1926, in Orig. Album, w.Brochure. M-A, as New. MB 35, the Set.
1754. JACQUES THIBAUD, PABLO CASALS & ALFRED CORTOT: Trio in d (Schumann), 8s.
4-12” EL Orth Vla 8130/33, POM-15 & 18 Nov.; 3 Dec., 1928, in Orig. Album M-52, w.Brochure.
M-A, appears unplayed. MB 45, the Set.
1755. JACQUES THIBAUD & PABLO CASALS; Alfred Cortot Cond. Barcelona S.O.:
Double Concerto in a (Brahms), 8s. 4-12” EL Scroll V 8208/11, POM-1 May, 1929, on ‘Z’ shellac,
in Orig. Album M-99, w.Brochure. M-A, choice copy has very occasional lt. pap. rub, inaud. MB 75, the Set.
1756. JACQUES THIBAUD & PABLO CASALS, w.Isnard, Vouifman, Blanpain & Eisenberg:
Concerto in D (Chausson), 9s. / Sd.10= JACQUES THIBAUD & PABLO CASALS: Berceuse (Fauré).
5-12” EL PW HMV DB 1649/..53, POM-1 /2 July, 1931, in Orig. HMV Album 159. M-A, certainly unplayed. MB 65, the Set
Nos. 1757 -1768 are Piano 78rpm disks:
1757. BENJAMIN BRITTEN & COLIN McPHEE (Pfs.); GEORGES BARRČRE (Flute):
The Music of Bali, 6s. 3-10” EL Schirmer 513/515, only form of issue, 1941, New York.
A to M-A, lovely copy has, Sds. 3 & 4 only, lt.rubs & superficial scrs; album spine is split. MB 25, the Set.
“In the early 1940s McPhee lived in a large brownstone in Brooklyn, shared with other artists and literary figures such as Leonard Bernstein and Benjamin Britten among many others. McPhee, Britten, and Bernstein are said to have fought all the time over who got to play the grand piano. Britten and McPhee participated in the first recording of McPhee's ‘Balinese Ceremonial Music for two pianos and flute’ in 1941. The strain of Balinese sounds that runs through Britten's music clearly originated with McPhee. While Canadian composer Colin McPhee lived in Bali for the decade of the 1930s, he was so enamored of the music of the island's local percussion orchestra, the gamelan, that it shaped his entire compositional style. While in Bali, McPhee made over 40 direct transcriptions of Balinese gamelan compositions. Back in New York in 1941, McPhee recorded these three. His partner was the young British expatriate composer, Benjamin Britten. The set of transcriptions comprises three works, arranged in a typically Western fast/slow/fast suite.”
- Joseph Stevenson, allmusic.com
1758. LEONARD BERNSTEIN: Seven Anniversaries, Nos. 4 & 5 (Played by the Composer);
LEONARD BERNSTEIN (Pianist & Conductor [Philharmonia Orch.]): Piano Concerto (1932) (Ravel), 5s.
3-12”EL red vinyl RCA 18-0115/17, POM 1946/'47, in Orig. Album DV 15, issued USA only. MINT MB 25, the Set
1759. LEONARD BERNSTEIN Cond. NYC S.O.,w.Robert Shaw (Narrator), Charles Holland (T) & Walter Scheff (Bar.):
The Airborne Symphony, 13s / Sd.14 = Walter Scheff, w.Leonard Bernstein (Pf.): Dusty Sun (both Blitzstein).
7-12" EL RCA 11-9531/37, only form of issue, 1946, in Orig. Album DM-1117, w.Brochure & Libretto. M-A MB 35, the Set.
1760. MARGUERITE de VALMALČTE: Le Tombeau de Couperin (Ravel), 6s.
2-10” EL red Eng.Decca-Polydor PO.5088/89 & 1-12” EL red Eng.Decca-Polydor LY 6079, POM-1932.
M-A, pristine copy has, 12” disk only, faintest pap.rubs, positively inaud. MB 45, the Set.
"This is another kind of playing altogether – a luminous, dazzling pianism, full of delicacy, passion, polish, exquisitely shaped, with hushed, shaded pianissimos….[This is] the first Ravel 'Tombeau de Couperin' ever recorded….[a] marvelous performance."
– David Mulbury, AMERICAN RECORD GUIDE, Nov./Dec., 2005
1761. VERA FRANCESCHI: Early Italian Piano Music, incl. Cimarosa, Galuppi & Scarlatti, 4s.
2-12”EL dark blue Cetra CB 20373/74, only form of issue, 20/21 May, 1948, in Orig. Album 13. M-A, Exemplary! MB 20
“Vera Franceschi studied with Carlo Zecchi, Alfredo Casella, and Germano Arnaldi at the Santa Cecilia Accademia at Rome, graduating in 1939. She then attended the Manhattan School of Music in New York studying with Harold Bauer and Carl Friedberg. Franceschi made her Paris début in 1939, her Milan début in 1940, and first appeared with the San Francisco Symphony Orchestra under the direction of Pierre Monteux in 1948. So impressed with her pianistic abilities was Monteux that he took her on as his protégée and conducted her performances in Chicago and New York. Her performances showed an ease of execution, a musicality, and interpretative playfulness rarely heard from young performers.”
1762. FANNY DAVIES: Kinderszenen (Schumann), 4s. 2-12” EL PW Eng. Col. L 2321/22,
POM-2 Feb., 1929, issued UK & Australia only. M-A, a glorious copy. MB 45, the Set.
1763. FANNY DAVIES: DAVIDSBÜNDLERTÄNZE (Schumann), 6s. 3 12” EL Viva Tonal Col.67797/99-D,
blue shellac pressings, POM-1930, in Orig. Album 142, w.Brochure. M-A, appears unplayed. MB 65, the Set.
1764. FANNY DAVIES, w.Ansermet Cond. Royal Phil.: Concerto in a (Schumann), 8s. 4-12” EL PW Eng. Col. 9616/19, POM-15-16 June, 1928, issued UK only, in Orig. Eng. Col. Album. M-A, appears unplayed. MB 75, the Set.
“On 8 June 1928 Davies gave a recital in London of Schubert and Schumann, and a week later made her first recordings for Columbia. With the Royal Philharmonic Orchestra and Ernest Ansermet she recorded Schumann’s Piano Concerto Op. 54. In February 1929 she returned to record Schumann’s ’Kinderszenen’ Op. 15 and in December 1930 the same composer’s ‘Davidsbündlertänze’ Op. 6. That was the extent of Davies’ published recording career; she died four years later.
The performance of Schumann’s Piano Concerto is so fresh and spontaneous that it is a surprise to learn that Davies was in her late sixties when she recorded it. If one reads the reminiscences of any of Clara Schumann’s pupils the same ideas of interpretation abound, and it is in this recording that they are preserved and demonstrated. As Davies remembered, Clara Schumann had said, ‘Schumann is nothing if he is not rhythmic. He is a poet, full of sentiment and fantasy, but he is never sentimental; you must never make his music sound sentimental.’ The performance style of this concerto has changed over the years, distorting the work into an overblown romantic warhorse, but listening to the simplicity and purity of Davies, one cannot help but imagine that this must be close to the way the work would have sounded in Schumann’s time.”
- Jonathan Summers, Naxos’ A–Z OF PIANISTS
1765. ADELINA de LARA: Clara Schumann and her Teachings; plus Robert Schumann Recital, 14s.
7-12” EL Clara Schumann Society 361/374, recorded early 1950s, in Orig. Clara Schumann Society Album.
M-A, Pristine Copy appears unplayed. MB 175, the Set.
"What you will hear, in good sound, is a wise and dedicated pupil of Clara Schumann, for whom those lessons were the greatest experience of her life, playing in a way virtually forgotten by the early 1950's - to say nothing of the middle 1980's - with heart and soul at the service of the music rather than the player's ego or instrument."
- Jerrold Northrop Moore
Adelina de Lara was educated at the Hoch Conservatory in Frankfurt under Iwan Knorr, and studied piano with Fanny Davies and Clara Schumann, whose work she championed for most of her life. She was close friends with Johannes Brahms through her studies. As an adult, Adelina de Lara performed in public for the first time following her studies in 1891 and continued for over seventy years, making her final appearance on 15 June 1954 at the Wigmore Hall London.
1766. CAMILLE SAINT-SAËNS & GABRIEL WILLAUME (Violin): Suite Algérienne – Ręverie ŕ Blidah /
Le Déluge - Prélude (both Played by the Composer). AC 12” Historic Catalogue #2 HMV DB 705 (03280/84v),
POM 24 Nov., 1919. M-A, a gleaming copy. Exceedingly Elusive! MB 50
1767. CONRAD ANSORGE: Romance #1 in B-flat (Schumann) / Glanes de Woronince [as ‘Mélodies polonaises’]
(Chopin-Liszt). 12” EL dark-blue Australian Parlophon A 4219 (20865-2/20869), POM-1928.
M-A, pristine copy of preferred Australian pressing. Contemporaneous Gisborne label sticker remains. MB 45
“Conrad Eduard Reinhold Ansorge was a German pianist, teacher and composer who studied at the Leipzig Conservatory between 1880 and 1882, and under Franz Liszt in Weimar in 1885 and 1886. He toured Europe and the United States. In 1920 he became head of the piano master class at the German Academy (Deutschen Akademie für Musik und Darstellende Kunst) in Prague. Conrad Ansorge's students included Selim Palmgren, Eduard Erdmann, James Simon, Alice Herz-Sommer and Wilhelm Furtwängler.”
1768. JOAN MASSIŔ & BLANCHE SELVA: Sonata in A (Franck), 8s. 4-12” EL PW French Col. LFX 100/103,
POM-1930. M-A, choice copy has 2 insignificant pap.rubs, certainly inaud. MB 95, the Set
“Joan Massiŕ (1890–1969) was a virtuoso violinist trained in Brussels by Alfred Marchot (himself a pupil of the legendary Eugčne Ysa˙e). In his youth, Massiŕ formed a magnificent duo with Blanche Selva – the French pianist who gave the premičre in Paris of Albéniz’s IBÉRIA – and for some years they undertook intensive and successful concert tours throughout Europe. Many of Massiŕ’s compositions were for the piano – he was a distinguished amateur pianist and a talented improviser. Blanche Selva, one of the most revered of French pianists of her generation, made pitifully few recordings and even those were compressed into a two-year period. Her discography in fact amounts to no more than a mere eleven works, three of them in collaboration with the Catalan violinist Joan Massiŕ. Trained at the Schola Cantorum, Selva was appointed by d’Indy himself as teacher at the early age of eighteen. In all she taught there for twenty years and was adventurous enough to add her own twist to the usual continental drift westwards of Czech musicians – Selva herself moving to Prague to teach (at around the time Martinů and so many others were off to Paris) and encountering Suk and Novák along the way. She was a front rank exponent of Albéniz and d’Indy himself. She gave the complete Bach keyboard works as a cycle (beginning in Paris in 1904 and a number of times afterward) as she subsequently gave the complete ‘32’ of Beethoven on several occasions.”
- Jonathan Woolf, MusicWeb International