Orchestral & Choral 78rpm records

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

Since 1972



Auction Number 150 ­-
AUCTION Closing Date: Friday, 17 May, 2019



Regarding AUCTION #150 (Closing Date: Friday, 17 May, 2019), 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.

If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Saturday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

Section VII - Orchestral & Choral 78rpm records Nos. M0474 – M0932



M0474. HENRI NOSCO Cond.Royale Chamber Orch.: Divertimento #11 in D, K.251 (Mozart), 4s. 2-12” Burgundy Royale 614/615, only form of issue, 1940. M-A MB 15, the Pair.

M0475. HENRI NOSCO Cond.Royale Chamber Orch.: Sextet for Two French Horns and String Quartet (Beethoven), 4s. 2-12” Burgundy Royale 622/623, only form of issue, 1940. M-A MB 20, the Pair.

“At the time of this recording, director (and probably first violin) Henri Nosco was also associate concertmaster of the NBC Symphony Orchestra and assistant conductor to Arturo Toscanini. From this it might inferred that the other players on the recording are also NBC musicians, perhaps including horn players Arthur and Jack Berv.

Henri Nosco was born in Paris on April 1, 1903. Before coming to the United States he had performed as violin soloist with the Pasdeloup Orchestra and under such distinquished conductors as Rhené-Baton and Camille Chevillard. In 1937 he was selected as associate concertmaster and assistant to Arturo Toscanini for the newly-formed NBC Symphony Orchestra. On March 5, 1939 the ‘Henri Nosco Orchestra’ performed on independent New York radio station WHN. For its 1939-40 season he conducted the four concerts of the WPA New Jersey Symphony Orchestra, in addition to his duties with the NBC Symphony. Throughout the decade he was heard frequently on the radio conducting both the NBC and ‘his own’ orchestra.”
- MUSICAL QUARTERLY, Vol. XXVI, #4, 1940


M0476. ANDRÉ KOSTELANETZ Cond.: Revenge With Music – Medley (Arthur Schwartz & Howard Dietz), 2s. 12” black Orth V 36142, POM-9 Nov., 1934. M-A MB 20

“REVENGE WITH MUSIC is a musical comedy that opened on Broadway in 1934. This was the first ‘book’ musical by Dietz and Schwartz. The Broadway production opened on November 28, 1934 at the New Amsterdam Theatre for a total of 158 performances. A ‘Revenge with Music’ medley was the subject of the first recording session by André Kostelanetz and his orchestra on Victor Records, in 1934.”
- The Online 78rpm Discographical Project: Victor Records, 36000 Series


M0477. NATHANIEL SHILKRET Cond. Victor Light Opera Co.: THE STUDENT PRINCE - Excerpts (Romberg), 2s. 12” V 11794, POM-11 May, 1935. Sd.1 label Autographed in white ink by Romberg. M-A, lovely copy has mended ‘edge bite’ in initial grooves. MB 10

M0478. NATHANIEL SHILKRET Cond. Victor S.O.: NEW YEAR’S EVE IN NEW YORK (Hans-Werner Janssen), 2s. [an almost 13-minute immersion in Hans-Werner Janssen's award-winning tone poem for large orchestra ‘New Year's Eve in New York’] 12” black Orth V 35986, POM-17 & 31 July, 1929. M-A MB 20

M0479. SIGMUND ROMBERG Cond. London Theatre Orch.: The New Moon – Selection (Cond. by the Composer), 2s. 12” black PW Eng. Col. 9712. M-A MB 12

M0480. LEONARD JOY Cond. Victor Orch. & Chorus: Sigmund Romberg Presents ‘Forbidden Melody’, 2s. 12” black Scroll V 36189, POM-13 Oct., 1936. M-A MB 20

“Nathaniel ‘Nat’ Shilkret (1889-1982) was a multi-talented instrumentalist and arranger who came up through the ranks of the Sousa, Pryor and Goldman bands. From 1919 to 1935 he was director of light music at the Victor Talking Machine Company. Shilkret was responsible for booking hundreds of recording sessions involving various bands, and for recording material under his own direction that Victor’s contract artists didn’t care to handle. Nat Shilkret had considerable clout at Victor, and brought it to bear on a series of Symphonic Jazz recordings made in the period 1928-1932….the ballet SKYSCRAPERS (1926) by Chicago composer John Alden Carpenter, is big city music, modern in style and meant to reflect the excitement of urban life in the 1920s. Carpenter is credited with being the first American composer in a concert milieu to incorporate the sounds of jazz in a short portion of his ballet Krazy Kat (1921), but Skyscrapers has its own rhythms, and is more jazz-inflected than ‘jazzy’.”


M0481. NATHANIEL SHILKRET Cond. Victor S.O.: SKYSCRAPERS - A Ballet Of Modern American Life (John Alden Carpenter), 6s. 3-12” EL Orth Vla 11250/52, on ‘Z’ shellac, only form of issue, 1 May, 1932, Orig. Album M-130. M-A, as unplayed! MB 45, the Set.

M0482. EUGENE ORMANDY Cond. Minneapolis S.O.: ADVENTURES IN A PERAMBULATOR (John Alden Carpenter), 7s / Sd.8 = Nozze – Overture. 4-12” PW V 8455/58, on ‘Z’ shellac, POM-17-23 Jan., 1934, in Orig. Album M-238. M-A MB 25, the Set.

M0483. ROBERT SHAW Cond. Victor Chorale: Petits voix (Poulenc), 2s. 10” RCA 10-1409, only form of issue, 1947. M-A, as unplayed! MB 6

M0484. ROBERT SHAW Cond. Victor Chorale: Six Chansons (Hindemith), 2s. 12” V 11-8868, only form of issue, 1945. M-A, as unplayed! MB 8

M0485. ROBERT SHAW Cond. Victor Chorale: The Bells of St. Mary’s (Adams) / The Lord’s Prayer (Malotte). 12” V 11-9155, only form of issue, 1947. M-A, as unplayed, yet faint ipc, not to edge nor center, appears Sd.2, inaud. MB 8

M0486. ROBERT SHAW Cond. Victor Chorale: Lohengrin – Bridal chorus (Wagner) / Il Trovatore – Anvil chorus (Verdi). 12” V 11-9294, only form of issue, 1947. M-A, as unplayed! MB 8

M0487. ROBERT SHAW Cond. Robert Shaw Chorale: Ave Maria (Schubert) / w.Shirlee Eammons & Raymond Keast: The Rosary (Nevin). 10” RCA 10-3448, only form of issue, 1952. M-A, beveled-edge pressing has faintest rubs, inaud. MB 12

M0488. ROBERT SHAW Cond. RCA Victor Chorale: Christmas Hymns and Carols, 8s. 4-12” RCA 11-9313/16, only form of issue, 1946. M-A, as unplayed! MB 20, the Set.

M0489. HARL McDONALD Cond. Choral Society of University of Pennsylvania, unaccompanied: MISSA PRO DEFUNCTIS (Catalonian), 4s. 2-12” Scroll V 14277/78, only form of issue, 1937, on ‘Z’-type shellac, w.Brochure. [McDonald served as general manager of the Philadelphia Orchestra in from 1939 to 1955] M-A MB 25

M0490. NOBLE CAIN Cond. Chicago a Capella Choir, w.JOHN ALDEN CARPENTER (Narrator): SONG OF FAITH (Narrated by Composer), 4s. 2-10” Orth Vla 1559/60, only form of issue, 10 April, 1932. M-A MB 35, the Pair.

M0491. HOWARD HANSON Cond. Eastman-Rochester S.O.: COMES AUTUMN TIME – A Program Overture for Orchestra (Leo Sowerby), 2s. 10” PW V 2058, only form of issue, 11 May, 1939. M-A MB 10

M0492. DON GILLIS Cond. New Symphony of London: Saga of a Prairie School - Symphony #7 (Cond. by the Composer), 6s. 3-12” vinyl Texas Christian University TCU T-5694/96, POM-1948 (pressed by London Records), in Orig. TCU Album 1. M-A, lovely copy has faintest pap. rubs, inaud. MB 25, the Set.

“Gillis served as producer for Arturo Toscanini’s radio broadcasts with the NBC Symphony, and he must have sat in on any number of the Maestro’s sessions; certainly he learned his craft well, and he was a peerless interpreter of his own music – it fairly bursts out of the speakers, all bright-eyed and bushy-tailed. The London players are clearly enjoying themselves immensely…and the trumpets – essential to Gillis’ bright scoring – ring out crisp and clean.”
- Steven J.Haller, AMERICAN RECORD GUIDE, July/Aug., 2003


M0493. JOHN FINLEY WILLIAMSON Cond. Westminster Choir: Song of the Christmas Presents (Andalusian Christmas Carol); Serbian Crib Carol / Joseph Came Seeking a Resting Place. 10” PW Col. 17351-D, only form of issue, 1942. M-A, w.faintest rubs. MB 8

M0494. THE PIPERS' GUILD QUARTET (Dorothy Barnard, Gertrude Enoch, Kay Connel & Annie Z. Miller): La Volta (Byrd); Ayre (Rossiter); Tower Hill (Farnaby) / O you’re pretty; Butter’d please; Nancy wants her own share (all Folk). 10” dark-blue Eng. Col. DB 2282, only form of issue, 1938. M-A, beautiful copy has label stkr, Sd.1. MB 12

“The Guild was founded in Britain in 1932. Its main aim is the threefold craft of making, playing and decorating bamboo pipes. Pipes are made for personal use, and are not sold - i.e. if you want to play one, you'll have to make one!”
- The Pipers’ Guild


M0495. KRYL’s BOHEMIAN BAND: Sakuntala - Overture (Goldmark). 12” black Pat.’08 V 31832, only form of issue,16 May, 1911. M-A, spectacular copy! MB 20

M0496. VICTOR HERBERT Cond.: Suite Romantique – Canzone amorosa (Nevin). 10” purple Pat.’08 V 60056, ‘Take’ 1, only form of issue, 21 June, 1911, Orig. ‘A’ Plate Issue. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0497. VICTOR HERBERT Cond.: Badinage (Cond. by the Composer). 12 ” purple Pat.’08 V 70053, ‘Take’ 4, only form of issue, 19 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0498. VICTOR HERBERT Cond.: Badinage / Babes in Toyland – The military ball (both Cond. by the Composer). 12 ” blue V 55104, ‘Take’ 8, only form of issue, 30 April, 1919, Sd.1 / ‘Take’ 1, only form of issue, 13 Oct., 1911, Sd.2. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0499. VICTOR HERBERT Cond.: Liebesträum (‘Take’ 1) (Liszt). 12” purple Pat.’08 V 70046, ‘Take’ 1, only form of issue, 21 June, 1911. M-A MB 10

M0500. VICTOR HERBERT Cond.: Liebesträum (Take’ 7) (Liszt) / Madama Butterfly - Fantaisie (Puccini). 12” blue V 55094, POM-23 / 22 May, 1923, ‘Takes’ 7 / 13, resp. M-A, a pristine copy! MB 12

M0501. VICTOR HERBERT Cond.: Kamenoï-Ostrow – Rêve angelique (Rubinstein). 12” purple Pat.’12 V 70077, only form of issue, 28 June, 1912, ‘Take’ 3. A to M-A MB 12

M0502. VICTOR HERBERT Cond.: Kamenoï-Ostrow – Rêve angelique (Rubinstein) / La Gioconda – Dance of the Hours (Ponchielli). 12” blue V 55044, only form of issue, 1 May, 1919, ‘Takes’ 5 / 8, resp. M-A, beautiful copy has, Sd.2, faintest rubs, inaud. MB 10

M0503. VICTOR HERBERT Cond.: Kamenoï-Ostrow – Rêve angelique (Rubinstein) / La Gioconda – Dance of the Hours (Ponchielli). 12” blue V 55044, POM-28 June, 1912 / 21 May, 1913, ‘Takes’ 2 / 5, resp. M-A, beautiful copy has faintest rubs, inaud. MB 10

M0504. VICTOR HERBERT Cond.: Song without Words – Spring Song (Mendelssohn). 10” purple Pat.’08 V 60046, ‘Take’ 1, only form of issue, 12 Oct., 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0505. VICTOR HERBERT Cond.: At Dawning (Cadman) / Poupée valsante (Poldini). 10” blue V 45170, ‘Takes’ 1 / 2, only form of issue, 21 May, 1923. A to M-A MB 10

M0506. VICTOR HERBERT Cond.: At Dawning (Cadman) / Poupée valsante (Poldini). 10” blue V 45170, ‘Takes’ 5 / 4, only form of issue, 22 May / 7 June, 1923. A to M-A MB 10

M0507. VICTOR HERBERT Cond.: American Fantasie (Cond. by the Composer), 2s. 12” blue V 55093, ‘Take’ 6, Sd.1, only form of issue, 20 May, 1918. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0508. VICTOR HERBERT Cond.: Carmen – Suite (Bizet). 12” purple Pat.’08 V 70067, POM-11 Oct., 1911. M-A, a pristine copy! MB 12

M0509. VICTOR HERBERT Cond.: Carmen – Suite (Bizet), 2s. 12” blue V 55103, POM-12 / 11 Oct., 1911. A to M-A MB 10

M0510. VICTOR HERBERT Cond.: Angel’s serenade (Braga) / Xerxes – Ombra mai fu (Handel). 12” blue V 55040, only form of issue, 30 April, 1919 / 15 May, 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0511. VICTOR HERBERT Cond.: Marche slav (Tschaikowsky) / Suite #3 in D - Air on the G String (Bach). 12” blue V 55105, only form of issue, 22 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0512. VICTOR HERBERT Cond.: Woodland Sketches – At an old trysting place; To a wild rose (Macdowell). 10” purple Pat.’08 V 60053, ‘Take’ 1, only form of issue, 23 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0513. VICTOR HERBERT Cond.: Wesendonck Lieder – Träume / Tristan – Liebestod (Wagner). 12” blue V 55041, ‘Take’ 3, Sd.2, only form of issue, 21 May, 1913 / 26 April, 1919. M-A MB 10

M0514. VICTOR HERBERT Cond.: Wesendonck Lieder – Träume / Tristan – Liebestod (Wagner). 12” blue V 55041, ‘Take’ 5, Sd.2, only form of issue, 21 May, 1913 / 29 April, 1919. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0615. VICTOR HERBERT Cond.: L’Africaine – Marche indienne (Meyerbeer). 12” purple Pat.’08 V 70068, only form of issue, 13 Oct., 1911. A-, lt.rubs, inaud. MB 8

M0516. VICTOR HERBERT Cond.: Natoma – Dagger dance ‘Take’ 2 (Cond. by the Composer). 12” purple V 70049, POM-22 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0517. VICTOR HERBERT Cond.: Natoma – Dagger dance ‘Take’ 4 / Indian Summer (both Cond. by the Composer). 12” blue V 55200, only form of issue, 7 June / 3 May, 1923, Sd.2 is Herbert’s final recording. M-A, choice copy has wee pressing bump, Sd.2 . MB 15

M0518. VICTOR HERBERT Cond.: Babes in Toyland – March of the toys / Naughty Marietta – Intermezzo (both Cond. by the Composer). 12” blue V 55054, POM-22 June, 1911 / 1 May, 1919, only form of issue, Sd.2. A to M-A, lovely copy has faintest rubs, inaud.; Sd.2 has 2 minuscule scrs, inaud. MB 10

M0519. VICTOR HERBERT Cond.: Lady of the Slipper - Potpourri / Sweethearts - Potpourri (‘Take’ 4) (both Cond. by the Composer). 12” blue V 55039, POM-24 / 20 May, 1913, only form of issue, Sd.1. A to M-A, lovely copy has faintest rubs, inaud. MB 12

M0520. VICTOR HERBERT Cond.: Lohengrin – Bridal March (Wagner) / Midsummer Night’s Dream – Wedding March (Mendelssohn). 12” blue V 55048, only form of issue, 21 May, 1923, ‘Takes’ 5 / 5. M-A, a pristine copy! MB 12

M0521. VICTOR HERBERT Cond.: Suite #3 in g – Air on the G String (Bach). 12” purple V 70047, POM-22 June, 1911. A, lovely copy has faintest rubs, inaud. MB 8

M0522. PAUL WHITEMAN Cond.: Suite of Serenades (1924 Version) (Victor Herbert), 2s. 12” blue V 55226, POM-11 June, 1924. A-, very decent copy has superficial lt.rubs, inaud. This plays just beautifully! MB 20

M0523. PAUL WHITEMAN Cond.: Suite of Serenades (1928 Version) (Victor Herbert), 2s. 12” PW plum HMV C 1600, POM-1 March, 1928. A to M-A, lovely copy has occasional faintest pap. rub, inaud. MB 12

M0524. PAUL WHITEMAN Cond.: SLAUGHTER ON TENTH AVENUE (Richard Rodgers), 2s. 12” black Scroll V 36183, POM-26 June, 1936. A to M-A, lovely copy has lt.rubs, inaud. MB 12

M0525. PAUL WHITEMAN Cond.: GRAND CANYON SUITE (Grofé), 8s. 4-12” black Orth V 36052/55, POM-26-28 April, 1932, in Orig. Album C-18. M-A, appears unplayed! MB 25, the Set.

“George Gershwin sent RHAPSODY IN BLUE to Whiteman as a piano score in 1924. Whiteman asked Grofé to arrange it. It made both composer and arranger nationally famous. Later Grofé prepared the version for full orchestra that’s best known today. The success of RHAPSODY IN BLUE gave Whiteman a hunger for more works of symphonic jazz. It also gave Grofé the urge to try his hand at larger forms. Grofé was the first jazz arranger to use European orchestral techniques. Before his arrangements became well known, many Americans looked down on jazz as vulgar entertainment. Grofé’s skill and imagination as arranger helped make Whiteman’s band the most successful and respected jazz band in the country. Ferde Grofé’s GRAND CANYON SUITE remains one of the most popular of American orchestral pieces. He first wrote it for Paul Whiteman’s jazz band and devoted his entire career to popular music.”
- David Guion, 29 May, 2017


M0526. PAUL WHITEMAN Cond.: MISSISSIPPI SUITE (Grofé), 2s. 12” black Orth V 35859, POM-2 Sept., 1927. M-A, appears unplayed! MB 15

“Grofé [apparently] took inspiration from Gershwin but also Aaron Copland. Grofé admired Copland and his ‘American classical music’ style”
- Alex Burns, 7 Aug., 2016


M0527. PAUL WHITEMAN Cond. Roy Bargy, Bix Beiderbecke, Henry Busse, etc.: METROPOLIS – a blue fantasie (Grofé) [offering a kaleidoscope of wonderful gems inspired by Fritz Lang's landmark Silent movie METROPOLIS, and evocative of The Machine Age influence in music in which BIX is famously showcased], 4s. 2-12” black Orth V 35933/34, POM-13-17 March, 1928. M-A, choice copy has wee ‘heat’ mk, beg.each side, positively inaud. MB 45, the Pair.

M0528. PAUL WHITEMAN Cond. Roy Bargy, John Bowman, Bix Beiderbecke, Henry Busse, etc.: THREE SHADES OF BLUE (Grofé), 2s. 12” black Orth V 35952, POM-16 Feb., 1928. M-A MB 25

M0529. PAUL WHITEMAN Cond. Roy Bargy, Bix Beiderbecke, John Bowman, Henry Busse, etc.: Chloe (Neil Moret) / WARING’s Concert Orch: Naughty Marietta – Ah! Sweet Mystery of Life (Victor Herbert). 12” black V 35921, POM-27 Feb. / 17 April, 1928. M-A, choice copy w.wee ‘heat’ mk, beg.each side, positively inaud. MB 15

M0530. PAUL WHITEMAN Cond. GEORGE GERSHWIN (Pf.): RHAPSODY IN BLUE (1924 Version) (Played by the Composer), 2s. 12” blue V 55225, POM-10 June, 1924. M-A, as unplayed! MB 65

M0531. PAUL WHITEMAN Cond. GEORGE GERSHWIN (Pf.): RHAPSODY IN BLUE (1927 Version) (Played by the Composer), 2s. 12” black PW V 35822, POM-21 April, 1927. M-A, appears unplayed! MB 15

M0532. PAUL WHITEMAN Cond.: AN AMERICAN IN PARIS; w.Roy Bargy & Rosa Linda (Pfs.): RHAPSODY IN BLUE, SECOND RHAPSODY & CUBAN OVERTURE (all Gershwin), 10s. 5-12” black Decca 29088-92, POM-21 & 23 Oct., 1938, in Orig. Decca Album DA 31, w.Brochure. M-A, appears unplayed, albeit very occasional rub & superficial scr, inaud. MB 35, the Set.

“Roy Bargy gained his greatest fame as pianist with Paul Whiteman (1928-40), where his ‘legitimate’ technique allowed him to play both credible jazz and classical solos (such as RHAPSODY IN BLUE).
- Scott Yanow, allmusic.com


M0533. PAUL WHITEMAN Cond. Roy Bargy (Pf.): Piano Concerto in F (Gershwin), 6s. 3-12” Art Label (Potato Head) Viva-Tonal Col. 50139/41-D, POM-15 & 17 Sept., 1928. [Rare in this ‘Potato Head’ pressing!] A-, lovely copy has lt.rubs, inaud. MB 45, the Set.

M0534. PAUL WHITEMAN Cond. Roy Bargy, Ramona, Peggy Healy, Jane Vance, etc.: WHITEMAN MEDLEY, 2s [Exactly the same performance as M0535, below]. 12” black Scroll V 36199, POM-2 Dec., 1932. M-A, appears unplayed! MB 15

M0535. PAUL WHITEMAN Cond. Roy Bargy, Ramona, Peggy Healy, Jane Vance, etc.: A NIGHT WITH PAUL WHITEMAN AT THE BILTMORE, 2s. 12” Victor ‘Picture’ Record 39,000, POM-2 Dec., 1932. M-A, lovely copy has very occasional wee rub, inaud. MB 45

M0536. PAUL WHITEMAN Cond. Durelle Alexander, Ramona, Johnny Hauser & King’s Men: TOP HAT - medley (Irving Berlin), 2s. 12” black Orth V 35828, POM-28 Sept., 1935. A-, lovely copy has considerable rubs, inaud. MB 10

M0537. PAUL WHITEMAN Cond. Roy Bargy, Bix Beiderbecke, Henry Busse, etc.: A STUDY IN BLUE (Domenico Savino) / NATHANIEL SHILKRET Cond.: MANHATTAN MOONLIGHT (Louis Alter). 12” black Orth V 36067, POM-2 March, 1928 / 17 May, 1932. A-, lovely copy has considerable rubs, inaud. MB 15

M0538. PAUL WHITEMAN Cond.: The Merry Widow - Medley (Lehár) / The Chocolate Soldier - My Hero (Oscar Straus). 12” Art Label (Potato Head) Viva-Tonal Col. 50069-D, POM-12 / 13 May, 1928. B, decent copy has lt. rubs & few superficial lt. scrs, barely audible. This plays virtually as M-A. MB 25

M0539. PAUL WHITEMAN Cond. Bix Beiderbecke, Frank Trumbauer, Jack Fulton, etc.: Sweet Sue, just you (Harris) / Blackbirds of 1928 - I can’t give you anything but love (Fields). 12” Art Label (Potato Head) Viva-Tonal Col. 50103-D, POM-18 / 21 Sept., 1928. B, decent copy has lt. rubs & few lt. scrs, barely audible; Sd.2 only has 2 superficial light ipc, inaud. This plays virtually as M-A. MB 35

M0540. PAUL WHITEMAN Cond.: Sea Burial (Eastwood Lane, arr.: Grofé) / Caprice futuristic (Malneck-Signorelli). 12” black Orth V 36044, POM-29 / 18 Feb., 1928. M-A, lovely copy has faintest rubs, inaud. MB 12

“Eastwood Lane produced a few standalone pieces, of which the tone poem ‘Sea Burial’ (1925) remains the best known. Eastwood Lane may never gain [the fame of] Charles Ives, Carl Ruggles and Charles T. Griffes, etc
- Uncle Dave Lewis, allmusic.com


M0541. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: An orchestral rehearsal (Cella), 2s. 10” PW V 4537, only form of issue, 1 July, 1939. [An oddity featuring Fiedler’s speaking voice in a simulated live rehearsal] M-A MB 25

M0542. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: AMERICAN SALUTE - When Johnny comes marching home) / Yankee Doodle went to town (both arr. Morton Gould). 12” V 11-8762, POM-20 Nov., 1944. [During those trying times, such patriotism now surely appears dated and out of sync with the present!] A-, lovely copy has lt.rubs, inaud. MB 10

M0543. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Strike up the band (Gershwin) / LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal – Synthesis, Part 3 (Wagner). 12” yellow RCA special complimentary copy [for superb fidelity demonstration purposes] D-7, POM-3 July, 1935 / 7 April, 1934, A-, lovely copy has lt.rubs, inaud. MB 12

M544. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Medley from Walt Disney’s ALICE IN WONDERLAND (Sammy Fain; arr. Hugo Winterhalter), 2s. 10” RCA 10-3451, POM-10 June, 1951. M-A, choice beveled-edge pressing has faintest rubs, inaud. MB 12

M0545. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Pop goes the weasel (arr.Cailliet), 2s. 10” PW V 4397, POM-27 June, 1938. M-A, appears unplayed! MB 10

M0546. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Pavanne (Morton Gould) / w.Roger Voisin (Trumpet): The toy trumpet (Scott). 10” PW V 4456, POM-29 June, 1939. M-A, appears unplayed! MB 10

“Arthur Fiedler fled World War I in 1915, settling into the second-violin section of the BSO under Karl Muck. Fiedler later moved to the viola section, and doubled on celesta and other keyboard and percussion instruments. In 1929 Fiedler started a series of free outdoor summer concerts at the Esplanade on the banks of Boston's Charles River. Soon the concerts attracted audiences in the thousands. The BSO noticed, and in 1930 engaged Fiedler to conduct the Boston Pops, succeeding Alfredo Casella. He remained with the Pops until his death, gaining the distinction of holding the longest music directorship of an American orchestra.
- James Reel, allmusic.com


M0547. LAWRANCE COLLINGWOOD Cond. London S.O.: DER RING DES NIBELUNGEN - Motives (Wagner), 4s. 2-12” Scroll V 11215/16, POM-17 April & 23 May 1931, Kingsway Hall, w.Victor Brochure. M-A MB 35, the Pair.

“Collingwood is responsible for the delivery of the brief snippets of leitmotifs, each of which is preceded by an announcer giving a number, which refers the listener to the booklet where an explanation of each motif is given.”
- Paul Corfield Godfrey, MusicWebInternational


M0548. GEOFFREY TOYE Cond. London S.O.: On Hearing the First Cuckoo in Spring (Delius), 2s. 10” Scroll V 4270, POM-1928, on ‘Z’ shellac. M-A, appears unplayed, albeit 2 infinttessimal pap.scrs, inaud. & hardly worth mention. MB 10

M0549. GEOFFREY TOYE Cond. New S.O.: Summer Night on the River (Delius), 2s. 10” black PW Electrola EW 78, POM-1928. M-A, appears unplayed!

M0550. CLAUD POWELL Cond. Doris Vane & John Coates: BRONWEN – Excerpts (Joseph Holbrooke), 6s. 3-12” blue PW Eng. Col. LW 76/78, recorded in Central Hall, Westminster (in a gorgeous, spacious acoustic), POM-5 July, 1929, in hand-made album. A- / M-A, the first two disks only are rubbed, albeit inaud. MB 35, the Set.

“BRONWEN, a musical drama or opera by Joseph Holbrooke, was part of the opera trilogy of the composer entitled THE COULDRON OF ANNWN. It was premiered on February 1, 1929 in Huddersfield by the Carl Rosa Opera ensemble….a recording was made quite quickly of a suite by Doris Vane and John Coates, under the direction of Claud Powell.”
- Wikipedia


M0551. ROGER QUILTER Cond. Salon Orch.: Where the Rainbow Ends – Potpourri (Cond. by the Composer), 2s. 12” dark-blue Eng. Parl. E11175, POM-1930. M-A, appears unplayed! MB 12

M0552. RALPH VAUGHAN WILLIAMS Cond. BBC S.O.: Symphony #4 in f (Cond. by the Composer), 8s. 4-12” PW V 12182/85, in Orig. Album M 4340, w.Brochure. M-A, appears unplayed! MB 15, the Set.

M0553. RALPH VAUGHAN WILLIAMS Cond. National Folk Dance Orch.: Never love thee more / Geud man of Ballangigh (both Folk). 10” dark-blue Eng. Col. DB 2242, POM-12 May, 1930, Petty France, London. A-, lovely copy has, faintest rubs, inaud. MB 12

“Vaughan Williams' music expresses a deep regard for and fascination with folk tunes, the variations upon which can convey the listener from the down-to-earth (which Vaughan Williams always tried to remain in his daily life) to that which is ethereal. Simultaneously the music shows patriotism for England in the subtlest form.”
- New World Encyclopedia


M0554. ARMAS JÄRNEFELT Cond. Stor S.O.: Präludium / Berceuse (both Cond. by the Composer). [Armas Järnefelt was Sibelius' brother-in-law and a well known conductor in his day, spending most of his career in and about Stockholm. As a composer he's known now for his charming Berceuse for violin and orchestra] 10” dark-blue German Odeon A 162213, POM-1928. M-A MB 15

M0555. JOHN BARBIROLLI Cond.: Präludium / Berceuse (both Järnefelt). 10” Scroll V 4320, POM-4 May, 1933, on ‘Z’-type shellac. M-A, label stkr, Sd.1. MB 12

M0556. JOHN BARBIROLLI Cond.NYPO: Ancient Airs and Dances – Arie di Corte (Respighi), 2s. 12” white RCA Special Pressing of CS 018872/73, POM-9 Feb., 1938, Carnegie Hall. M-A, beautiful copy has faintest rubs, inaud. MB 12

M0557. JOHN BARBIROLLI Cond. NGS Chamber Orchestra: Summer Night on the River (Delius), 2s. 12” buff PW National Gramophonic Society 72, only form of issue, 1927. M-A MB 15

M0558. JOHN BARBIROLLI Cond. NGS Chamber Orchestra: Serenade for Strings for Delius’ 60th birthday (Warlock), 2s. 12” buff PW National Gramophonic Society 75, only form of issue, 1927. M-A, lovely copy has faintest rubs, inaud. MB 15

M0559. JOHN BARBIROLLI Cond. Strings of NGS Chamber Orchestra: Suite for Strings (Purcell-Barbirolli), 3½s / Sd.4 = Allegretto (Marcello-Barbirolli). 2-12” buff PW National Gramophonic Society 96/97, only form of issue, 1927. M-A, lovely copy has faintest rubs, inaud. MB 15

“The National Gramophonic Society was founded October 29, 1923, by Compton MacKenzie who was especially fond of chamber music, and especially outraged by what he perceived as its wilful neglect by commercial record companies. The Society was never well supported and few subscribers ever acquired the complete catalogue. The N.G.S. apparently pioneered the 'society' model of record production in 1924; no earlier instance is known of a publisher or society which financed recordings by subscription, and sold them solely or principally to subscribers and members. Barbirolli made his first records in 1911 as a boy cellist, and in 1927 he made several NGS recordings as conductor of a chamber orchestra which he had formed a few years previously.”
- - GRAMOPHONE


M0560. FRANK BRIDGE Cond. London S.O.: THE SEA – Excerpts (Cond. by the Composer), 2s. 2-12” blue PW Eng. Col. L 1500/01, POM-1924. A-, lovely copy has, faintest rubs, inaud. MB 45, the Pair.

“Not only was this aural seascape one of Frank Bridge's most successful works, but it was the piece that ‘knocked sideways’ the 10-year-old Benjamin Britten, who would go on to study with Bridge and champion his music. THE SEA, however, is a plush late Romantic score not really characteristic of Bridge's fully mature, more austere music. To a degree, it can be confused with such Arnold Bax oceanic tone poems as GARDEN OF FAND, TINTAGEL, and ON THE SEA-SHORE.”
- James Reel, allmusic.com


M0561. EDWARD GERMAN Cond.: TOM JONES– Dances - Introduction & Jig (Cond. by the Composer). 10” black HMV 2-579 (HO3826ae), POM-30 Nov., 1917. M-A, lovely copy has faintest rubs, inaud. MB 15

M0562. EDWARD GERMAN Cond. Bessie Jones, Edna Thornton, Charles Mott, Ernest Pike, Edward Halland, Joseph Reed, Violet Oppenshaw & Sarah Jones: MERRIE ENGLAND – (Cond. by the Composer), Complete, as recorded. 11-12” black HMV D-18-28 (HO 3100-17, 3169-95, 3203/08af), POM-1918, in Orig. HMV Album. M-A, beautiful copy w.occasional faintest rub, inaud. MB 95, the Set.

“Edward German wrote MERRIE ENGLAND after working on the score of THE EMERALD ISLE following Sullivan's premature death. He gained a lot of practical knowledge from Sullivan's sketches and style of orchestration and put this into practice with MERRIE ENGLAND the first of his large scale works for the stage. The show was produced at the Savoy Theatre where it played to packed houses.”
- musicweb-international


M0563. ALICK MACLEAN Cond. New Queen’s Hall Light Orch.: Nell Gwyn - Three Dances / Henry VIII - Three Dances (both Edward German). 3-12” blue PW Eng. Col. L1410/11; 1424, only form of issue, 26 April & 6 Dec., 1921. M-A MB 35, the Trio.

“Alick Maclean was an English composer and conductor, who won the Moody-Manners prize for the best one-act British opera in 1895 with PETRUCCIO, an early example of verismo in England. Maclean was the musical director of Wyndham’s theatres (1899–1912), subsequently conducting the Scarborough Spa Orchestra to great renown. In addition, he conducted the Chappell (initially Ballad) Concerts from 1916 to 1923 and in the winter months of these years the New Queen’s Hall Light Orchestra.”

“Eleanor Gwyn, more commonly known as Nell Gwyn, was a prolific celebrity figure of the Restoration period. Praised by Samuel Pepys for her comic performances as one of the first actresses on the English stage, she became best known for being a long-time mistress of King Charles II of England and Scotland. Called ‘pretty, witty Nell’ by Pepys, she has been regarded as a living embodiment of the spirit of Restoration England and has come to be considered a folk heroine, with a story echoing the rags-to-royalty tale of Cinderella.”
- Fluff on the Needle


M0564. KURT ATTERBERG Cond. Chamber Orch.: Suite Pastorale, Op.34 (Cond. by the Composer), 4s. 2-10” plum PW HMV X.4946/47, POM-21 Oct., 1937, Stockholm. M-A, albeit Sds. 3 & 4 appear slightly waxed. MB 25, the Pair.

M0565. KURT ATTERBERG Cond. Berlin Phil.: Symphony #6 in C (Cond. by the Composer), 6s. 3-12” blue PW German Polydor 95193/95, POM-1 Oct., 1928, in Orig. Polydor Album. M-A MB 95, the Set.

"The Symphony #6 brought [Atterberg] some international notoriety; it was awarded by a jury of composers the first prize in a competition held by the Columbia Phonograph Company in connection with the Schubert Centenary in 1928....Beecham [recorded it] with the Royal Philharmonic Orchestra (in 1928). The critic Ernest Newman questioned the work's originality, and Atterberg admitted it was a hoax and that he had deliberately imitated the styles of some of the composers on the jury, which included Glazunov, Alfano and Nielsen; he even wrote a pamphlet about the adventure entitled HOW I FOOLED THE WORLD."
- John L. Holmes, CONDUCTORS ON RECORD


M0566. HIDEMARO KONOYE Cond. Berlin Phil.: Symphony #91 in E-flat (Haydn), 6s. 2-10” DG 62892/93; 1-10” orange Eng. Decca-Polydor PO.5132, POM-1938. M-A; the first two disks appear unplayed! MB 35, the Trio.

"Konoye was the one and great conductor in the first age of the Japanese Classical Music world. He founded the 'New Symphony Orchestra of Tokyo' - later the NHK Symphony Orchestra. He made the first recording of Mahler's 4th Symphony in 1930 in Japan. He created friendships with Erich Kleiber, Leopold Stokowski and many other famous conductor’s chair in Europe and the USA. In the early days of NBC Symphony, he got the conductor’s chair with Rodzinski and Munch. His planned US tour was to be supervised by Stokowski, but due to the start of World War II, his plan never materialized. He then went to Germany and conducted the Berlin Philharmonic.”
- Braveheart


M0567. EDUARD van BEINUM Cond. Concertgebouw Orch.: Eine Ballettsuite (Reger), 6s. 3-12” DG 69424/26, POM-1943. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 25, the Set.

M0568. EDUARD van BEINUM Cond. Concertgebouw Orch.: Symphonie fantastique (Berlioz), 12s. 6-12” Eng. Decca AK.1626/31, POM-1941. M-A MB 25, the Set.

M0569. EDUARD van BEINUM Cond. London Phil., w.EUGENIA ZARESKA: Lieder eines fahrenden Gesellen (Mahler), 4s. 4-12” white Eng.Decca S/S shellac Test Pressings for London D.K.1624/25 (AR10891/94), POM-29 Nov., 1946. M-A MB 25, the Set.

M0570. FERENC FRICSAY Cond. RIAS S.O., Berlin: Kleine Abraxas – Suite (Egk), 2s. 12” Variable Micrograde DGG 72050, only form of issue, 12 Jan., 1951. M-A, beautiful copy has very fine hlc. Exceedingly Elusive late 78-era issue! MB 35, as is.

M0571. SELMAR MEYROWITZ Cond. Berlin Phil.: Fra Diavolo – Overture (Auber), 2s. 12” dark-blue German Telefunken E 1018, POM-1931. [Noteworthy that although we’ve seen the occasional copy of this disk with the Meyrowitz name printed on the labels, but on this copy there is no conductor mentioned!] M-A MB 12

M0572. SELMAR MEYROWITZ Cond. ‘Grand Orchestre Philharmonique’: A FAUST SYMPHONY (Liszt), 14s. 7-12” MasterWorks Col. 68747/53, POM-1935, in Orig. Col. silver-print Album 272, w.Brochure. M-A, appears unplayed! MB 45, the Set.

"The finest Faust Symphony ever recorded has sadly never been transferred to CD. That was the version by Selmar Meyrowitz (1875-1941) with the Paris Philharmonic. For passion and subtle nuance, Meyrowitz was simply in a class of his own. Those who have not heard of the conductor Selmar Meyrowitz here before are excused - he was killed during the Second World War whilst trying to escape the Nazis - a tragic end to a blossoming career....”
- Jeffrey Liscomb


M0573. EUGEN JOCHUM Cond. Berlin Phil.: ‘Eroica’ Symphony #3 in E-flat (Beethoven), 12s. 6-12” red French Telefunken RE 2311/16, POM-1937. M-A, splendid copy has occasional faintest rubs, inaud. MB 45, the Set.

M0574. EUGEN JOCHUM Cond. Berlin Phil.: ‘Leonore’ Overture #3 (Beethoven), 4s. 2-12” red Czech Ultraphon F18021/22, POM-1937, Telefunken. M-A, superlative copy has faintest rubs Sd.3 only, inaud. MB 25, the Pair.

M0575. EUGEN JOCHUM Cond. Berlin Phil.: Tristan – Prelude & Liebestod (Wagner), 4s. 2-12” dark-blue German Telefunken E 2715/16, POM-1938. M-A MB 20, the Pair.

M0576. EUGEN JOCHUM Cond. Berlin Städtische Opera Orch. Lohengrin – Prelude (Wagner), 2s. 12” dark-blue German Telefunken E 3175, POM-1942. M-A MB 12

M0577. EUGEN JOCHUM Cond. Berlin Städtische Opera Orch. Götterdämmerung – Trauermarsch (Wagner), 2s. 12” pale-blue German Telefunken E 3128, POM-1940. M-A MB 12

M0578. EUGEN JOCHUM Cond. Württemburg Staatstheater Orch. & Chorus: Nabucco – Va pensiero / w.GEORG HANN: Tu sul labbro (both in German) (Verdi). 12” DG 68451, POM-14 Oct., 1950. Exceedinly rare in this late 78rpm issue! A to M-A, lovely copy has faintest rubs, inaud. MB 15

M0579. EUGEN JOCHUM Cond. Württemburg Staatstheater Orch. & Chorus: Tannhäuser – Einzug der Gäste / Pilgerchor (Wagner). 12” DG 68448, POM-28 Oct., 1950. Exceedinly rare in this late 78rpm issue! M-A, lovely copy has faintest rubs, inaud. MB 15

M0580. EUGEN JOCHUM Cond. Hamburg Staatsoper Orch. & Chorus: Boris Godunov – Revolutionary Scene (abridged) (Mussorgsky), 2s. 12” pale-blue German Telefunken E 1934, POM-1935. A to M-A, Lovely copy has faintest rubs, inaud. MB 12

M0581. EUGEN JOCHUM Cond. Bavarian Radio S.O., w.Cunitz, Pitzinger, Fehenberger & Hann: TE DEUM (Bruckner), 4s. 2-12” Variable Micrograde DGG 92010, POM-22 Aug., 1950. Exceedinly rare in this late 78rpm issue! MINT MB 25, the Pair.

M0582. OSWALD KABASTA Cond. Münchener Philharmoniker: Legende vom Prinzen Eugen (Theodor Berger), 2s. 12” red Electrola DB 7652, only form of issue, 1942, [World Premiere Recording, the rarest Kabasta 78rpm disk, virtually impossible to find. Kabasta conducted the world premiere a few months earlier, 30 Nov., 1941, Münchener Phil.]. A to M-A, beautiful copy has faintest rubs, inaud.; Sd.1 only has sev.microscopic pap.scrs, only occasionally ever-so-faintly audible. MB 150

“Berger returned to this folkloric air at a time when the Austrian state no longer existed. Thus this choice of theme can be interpreted as a protest against the Nazi regime in Germany which assimilated Austria in the 1938 Anschluss. The composer presents the folksong and its multitudinous facets using many different tempi, variations and fragments up to the triumphal entry celebrating the song.”
- Universal Publishers


M0583. OSWALD KABASTA Cond. Münchener Philharmoniker: Impressioni Brasiliane (Respighi), 4s. 2-12” HMV DB 4643/44, POM-18 Jan., 1939. M-A, appears unplayed! MB 15, the Pair.

M0584. OSWALD KABASTA Cond. Münchener Philharmoniker: Symphony #8 in F (Beethoven), 6s. 3-12” red Electrola DB 5639/41, POM-1 May, 1941. M-A, beautiful copy has faintest rubs, inaud.; 2nd disk only has tiny edge bite, not to grooves. MB 20, the Set.

M0585. JASCHA HORENSTEIN Cond. Berlin Phil.: Symphony #5 in B-flat, 5s. / Sd.6 = ALOIS MELICHAR Cond. Berlin Charlottenberg Opera Orch.: Der Zwillingsbrüder - Overture (both Schubert). 3-12” black German Polydor 66932/34, POM-1929. M-A, an outstanding copy! MB 45, the Trio.

M0586. JASCHA HORENSTEIN Cond. Berlin Phil.: Symphony #7 in E (Bruckner), 14s. 7-12” black German Polydor 66802/08, POM-1928, in Orig. Polydor Album. M-A, choice copy has occasional faintest rub, inaud. MB 45, the Set.

M0587. ERICH SEIDLER Cond. Berlin Dresden Phil.: Königskinder - Verdorben - gestorben (Humperdinck), 2s. 12” DG 57210, POM-1942. M-A, appears unplayed! MB 8

M0588. PAUL SACHER Cond. Collegium Musikum Zürich: Prélude, Arioso et Fughetta sur le nom de Bach (Honegger), 2s. 12” dark-blue Swiss Col. LZX 10, only form of issue, 1945, Zürich. M-A MB 15

M0589. PAUL SACHER Cond. Basler Kammerchor & Études Mozartiennes Orch.: Idomeneo – Corriamo Fuggiamo Idomeneo; Placido e il Mar – Choruses Nos. 3, 9, 15, 18, 24 & 32 (Mozart), 4s. 2-12” PW plum Disque Gram L-899/900. M-A, lovely copy has faintest pap.rubs, inaud. MB 20, the Pair.

M0590. HERMANN SCHERCHEN Cond. Winterthur S.O.: Symphony #94 in G (Haydn), 6s. 3-12” Swiss HMV DB 10000/02, only issue, 27 May, 1942. M-A, choice copy has, beg. Sd.3, faintest pap. scuff, positively inaud. Most uncommon Swiss issue! MB 45, the Trio.

“…[Scherchen] was patronized by Werner Reinhart, a wealthy burgher of Winterthur. The reason seems to have been twofold in that he had to pay alimony to a number of women and their numerous children [in which case Reinhart was an invaluable asset].”
- Michael Hans Kater, THE TWISTED MUSE, p.128


M0591. KARL BÖHM Cond. Dresden Staatskapelle: ‘Romantic’ Symphony #4 in E-flat (Bruckner), 16s. 8-12” Scroll V 14211/18, POM-1936, on ‘Z’-type shellac, in Orig. Album M-331, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0592. KARL BÖHM Cond. Dresden Staatskapelle: Donna Diana – Overture (Reznicek) / 1001 Nights – Intermezzo (Johann Strauss). 12” HMV DB 4560, POM-1939. M-A, appears unplayed! MB 10

M0593. KARL BÖHM Cond. Dresden Staatskapelle: Undine – Ballettmusik / Zar und Zimmermann – Holzshuhtanz (both Lortzing). 12” plum HMV EH 916, POM-1935. M-A, appears unplayed! MB 10

M0594. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Italian Concerto in F (Bach), 3s. / Sd.4 = Armide - Gavotte; Iphigénie en Aulide - Tambourin (both Gluck). 2-12” dark-blue German Telefunken E 2079/80, POM-19 Oct., 1936. M-A MB 15, the Pair.

M0595. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Rosamunde - Entracte / Ballet in G (Schubert). 12” dark-blue German Telefunken E 1902, POM-1937. M-A, lovely copy has, Sd.1 only, faintest pap. rubs, inaud. MB 10

M0596. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Suite Orientale (Popy), 2s. 12” dark-blue German Telefunken E 1760, POM-1936. A to M-A, lovely copy has mildew spots, thus noisy surfaces. MB 10

M0597. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Guillaume Tell - Overture (Rossini), 2s. 12” dark-blue German Telefunken E 1803, POM-1936. M-A, lovely copy has faintest rubs, inaud. MB 10

M0598. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Pique Dame – Overture (von Suppé), 2s. 10” dark-blue German Telefunken A 2248, POM-1936. M-A MB 10

M0599. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Das Rheingold – Einzug der Götter in Walhall, 2s. 12” pale-blue German Telefunken E 2783, POM-1937. M-A, appears unplayed! MB 12

M0600. CARL SCHURICHT Cond. Berlin Städtisches Orch.: Allegro symphonique (Poot), 2s. 12” DG 57272, POM-8 June, 1943. M-A MB 45

M0601. CARL SCHURICHT Cond. Berlin Städtisches Orch.: Schneider Wibbel – Overture (Mark Lothar), 2s. 12” DG 68269, POM-1942. M-A MB 15

“SCHNEIDER WIBBEL, an opera by Lothar Hundermark, who used the name Mark Lothar was primarily a composer of light operas. One of his teachers was Wolf-Ferrari, and you can hear traces of his teacher in this cheerful, eccentric overture.”
- James Miller, FANFARE, July/Aug., 2012


M0602. RUDOLF LAMY Cond. Singgemeinschaft, w.Hans Berger & Josef Koller (both hornists with Vienna Phil.) & Max Saal (Harp): Gesänge für Frauenchöre; Gesang auf Fingal (all Brahms), 4s. 2-12” red German Odeon O-9160/61 (xxB 9211/13), only form of issue, 1943. M-A MB 25, the Pair.

M0603. FREDERICK STOCK Cond. Chicago S.O.: Symphonic Waltz (Cond. by the Composer), 2s. 12” Orth Vla 7387, POM-23 Dec., 1930. M-A MB 15

M0604. FREDERICK STOCK Cond. Chicago Orch.: Scapino – A comedy overture (Walton), 2s. 12” Australian Col. LOX 582, POM-26 April, 1941. M-A MB 15

M0605. FREDERICK STOCK Cond. Chicago S.O.: Kuolema – Valse triste (Sibelius) / Sérénade (Volkmann); Tsar Sultan – Suite (Rimsky-Korsakov). 12” Scroll V 6579, POM-22 Dec., 1925, ‘Takes’ 3 / 3, on ‘Z’ shellac. M-A MB 10

M0606. FREDERICK STOCK Cond. Chicago S.O.: Mignon – Overture (Thomas), 2s. 12” Scroll V 6650, POM-21 Dec., 1926, ‘Takes’ 2 / 2R, on ‘Z’ shellac. M-A, choice copy has faintest rubs, inaud. MB 8

M0607. FREDERICK STOCK Cond. Chicago S.O.: Russlan and Ludmilla – Overture (Glinka) / Wesendonck Lieder - Träume (Wagner). 12” Scroll V 7123, POM-17 / 19 Dec., 1928, on ‘Z’ shellac. M-A, appears unplayed! MB 15

M0608. FREDERICK STOCK Cond. Chicago S.O.: Overture to an Italian Comedy (Arthur Benjamin), 2s. [After graduation Benjamin taught at the Royal College of Music where one of his pupils was Benjamin Britten. From the 1930s on, Benjamin composed a number of light-music pieces] 12” V 11-8157, POM-1941. MINT MB 10

M609. FREDERICK STOCK Cond. Chicago S.O.: Hungarian Dances Nos.17 - 21 (Brahms), 2s. 12” vinyl Special Pressing of Unpublished Victor Matrices CVE 37277 / 37283, POM-21 / 22 Dec., 1926. MINT MB 65, the Pair.

“For thirty-seven seasons, from 1905 until his death in 1942, German-born conductor Frederick Stock served as music director of the Chicago Symphony. During those years, this adventurous conductor explored virtually every aspect of the orchestral repertory - from Bach to contemporary composers like Walton, Holst, Kodály, and Prokofieff. His recorded repertory was almost equally broad. By the winter of 1940, Stock had radically transformed the Chicago Symphony into an instrument that was poised to take its place as one of the world's finest.”
- Tom Godell, Classical.Net


M0610. CLEMENS KRAUSS Cond. Vienna Phil.: Heimchen am Herd (Cricket on the Hearth) – Prelude to Act III (Goldmark), 2s. 12” plum PW Czech HMV AN 451, POM-1930. Highly Elusive! M-A MB 25

M0611. CLEMENS KRAUSS Cond. Vienna Phil.: Sakuntala – Overture (Goldmark), 4s. 2-12” plum PW Czech HMV AN 439/440, POM-1930. M-A MB 20, the Pair.

M0612. CLEMENS KRAUSS Cond. Vienna Phil.: Nozze – Overture / Entführung – Overture (Mozart). 12” Scroll V 11242, POM-1931, on Z Shellac. M-A, as Unplayed! MB 12

M0613. CLEMENS KRAUSS Cond. Vienna Phil.: Symphony #2 in D (Beethoven), 8s. 4-12” Scroll V & Orth Vla 11256/59, POM-1930 partially on ‘Z’ shellac, in Orig. Album M-131, w.Brochure. M-A MB 35, the Set.

M0614. CLEMENS KRAUSS Cond. Vienna Phil.: Feuerfest (Josef Strauss) / Ägyptischer marsch (1942 Version) (Johann Strauss), 2s. 12” pale-blue German Telefunken SK 3241, only form of issue, 1942. M-A, lovely copy has faintest rubs, inaud. MB 10

M0615. CLEMENS KRAUSS Cond. S.O.: O schöner Mai (Johann Strauss), 2s. 12” dark-blue German Telefunken E 3874, POM-1936. M-A MB 10

M0616. CLEMENS KRAUSS Cond. Vienna Phil.: Le Bourgeois Gentilhomme – Suite (Strauss), 8s. 4-12” PW V 9917/20, POM-1930, in Orig. Album M-101, w.Brochure. M-A, choice PW pressing appears unplayed! MB 25, the Set.

M0617. CLEMENS KRAUSS Cond. Vienna Phil.: Le Bourgeois Gentilhomme – Suite (Strauss), 8s. 12” Orth Vla 9917; plus 6-12” S/S HMV Test Pressings, POM-1930. M-A MB 35, the Set.

M0618. CLEMENS KRAUSS Cond. Vienna Phil.: Ägyptischer marsch (1952 Version) / Im Krapfenwadl (Polka française) (both Johann Strauss), 2s. 12” red German Decca K 23310, only form of issue, 1952. M-A, lovely copy has faintest rubs, inaud. MB 12

M0619. CLEMENS KRAUSS Cond. Vienna Phil.: Im Frühling – Overture (Goldmark), 2s. 12” plum PW HMV C 1802, POM-1930. M-A MB 8

M0620. CLEMENS KRAUSS Cond. Vienna Phil.: Im Frühling – Overture (Goldmark), 2s. 12” plum PW HMV C 1802, POM-1930. M-A MB 8

M0621. CLEMENS KRAUSS Cond. London S.O.: Academic Festival Overture (Brahms), 2s. 12” red Eng. Decca K,1726, only form of issue, 1947. M-A MB 10

“During the 1930s Krauss and his second wife, Romanian soprano Viorica Ursuleac, performed at Covent Garden and met the Mills & Boon writer and opera fan Ida Cook (a.k.a. Mary Burchell) and her sister Louise. Krauss and Ursuleac later asked the sisters to look after their Jewish friend Mitia Meyer-Lismann, who thus became the first person the sisters helped emigrate to the UK to escape Nazi persecution. From 1937 until August 1939 the sisters helped at least twenty-nine families to gain British visas by travelling to Germany and Austria under the guise of wealthy opera-goers, and persuading British citizens to act as guarantors. The sisters corresponded with Krauss and Ursuleac, who would provide details of opera performances and castings in order to make their story more believable, and often performed the sisters’ favourite operas during their visits to Germany. Ida and Louise financed and organised the operation themselves, risking their lives (often unknowingly) by wearing Jewish-owned jewellery and furs on their return journeys, and lying to Nazi officers and border officials. The sisters were among the most effective transporters of Jews to England during this time, and were recognised as Righteous Among the Nations by Yad Vashem in 1964 for their work. After the war, Allied officials forbade Krauss from appearing in public until 1947, when information about the help that he had provided the Cook sisters in saving Jews from persecution was made public. He resumed his position in Vienna and conducted internationally until his death on tour in South America in 1954.”
- Abaigh McKee, Music and the Holocaust


M0622. ROBERT A. GOMBERG Cond. ‘Royale’ S.O. of Philadelphia: Symphony #40 in g, K.550 (Mozart), 6s. [Robert Gomberg, brother of Ralph Gomberg, was Violinist with Philadelphia Orch. for 10- years, under Stokowski] 3-12” dark-red Royale 574/576, only form of issue, 1942. M-A, appears unplayed! MB 25, the Trio.

M0623. FERDINAND LEITNER Cond. Württembergisches Staatsorchester: Egmont – Overture; Zwischemaktmusik; w.Lore Wissmann (S): Klärchens Lieder: Die Trommel gerührt; Freudvoll und liedvoll; w.Paul Hartmann (Speaker): Schlusszene (Beethoven), 8s. 4-12" DGG 68349/52, only form of issue, 26 Feb. & 13 May, 1949. M-A, appears unplayed! MB 25, the Set.

M0624. OSCAR FRIED Cond. Berlin Phil.: Oberon – Overture (Weber), 2s. 12” black Schall.Gram. 65938, POM-1924. M-A, lovely copy has, Sd.1 only, faint rubs & few superficial mks, faintly audible very few turns. MB 12

M0625. OSCAR FRIED Cond. Berlin Phil.: Euryanthe – Overture (Weber), 2s. 12” green German Polydor 19988, POM-1928. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12

M0626. OSCAR FRIED Cond. Berlin Phil.: Hänsel und Gretel – Orchestral Suites (Humperdinck), 4s. 2-12” green PW German Polydor 19984/85, POM-1928. M-A, virtually pristine copy! MB 15, the Pair.

M0627. OSCAR FRIED Cond. Royal Phil.: ‘Pathétique’ Symphony #6 in b (Tschaikowsky), 10s. 5-12” Early PW Col. 67618/22-D, on Royal Blue shellac, POM-1930, in Orig. Album 119. M-A, superb copy of preferred Royal Blue shellac pressing. MB 95

M0628. OSCAR FRIED Cond. Berlin Staatsoper Orch.: A Faust Overture (Liszt), 3s. / Sd.4 = ALOIS MELICHAR Cond.: Ungarischer Marsch in c (Schubert-Liszt). 12” gold Bruns. 90077/78, POM-1928. M-A, superb copy of preferred Columbia pressing has, end Sd.2, microscopic scr, positively inaud. MB 15, the Pair.

M0629. OSCAR FRIED Cond. Berlin Staatsoper Orch. & Chorus: Der Freischütz – Was gleicht wohl auf Erden (Weber) / Der Fliegende Holländer – Summ’ und brumm’ (Wagner). 12” PW black French Polydor 66518, POM-1927. M-A MB 12

M0630. OSCAR FRIED Cond. Berlin Phil.: Mazeppa – Symphonic Poem (Liszt), 4s. 2-12” orange Eng. Decca-Polydor CA.8177/78, POM-1928. M-A MB 15, the Pair.

M0631. OSCAR FRIED Cond. British S.O.: Sylvia – Suite (Delibes), 4s. 2-12” Eng. Col. LX 114/15, POM-1929. A to M-A, lovely copy has faint rubs, inaud. MB 12, the Pair.

“If today Oskar Fried is the only one of Mahler’s four pupils who is barely remembered, it is not because he lacked talent or failed to work hard. Rather, unlike his colleague Willem Mengelberg, Fried was not granted the lifelong leadership of a single important orchestra and the possibility of spreading his name and fame throughout the world by means of commercial and broadcast recordings. And unlike Bruno Walter and the younger Otto Klemperer who left behind numerous hi-fi and stereo recordings, Fried did not live long enough after his flight from Nazi Germany to the USSR (where he died in 1941) to be able to adequately convey to posterity most of his repertoire. Yet enough survives from Fried’s recorded legacy, begun in the acoustic era for DG.
- Z. D. Akron


M0632. BRUNO KITTEL Cond. Berlin Phil., w.Lotte Leonard, Emmy Land, Eleanor Schlosshauer-Reynolds, Anton Maria Topitz, Eugen Transky, Wilhelm Guttmann & Herman Schey: MISSA SOLEMNIS (Beethoven), 22s. 11-12” black French Polydor 95.146/156, POM-1928. M-A MB 45, the Set.

M0633. BRUNO KITTEL Cond. Berlin Phil., w. Erich Röhn, (Solo-Violin); Tilla Briem, Geusta Hammer, Walter Ludwig & Fred Drissen: MATTHÄEUS-PASSION (Bach), 35s. 18-12” dark-blue Cetra-Polydor RR8040/57, POM-1942. M-A, albeit 1st disk is broken. MB 45, the Set.

M0634. BRUNO KITTEL Cond. Berlin Phil., w.Tilla Briem, Gertrud Freimuth, Walter Ludwig & Fred Drissen: REQUIEM, K.626 (Mozart), 18s. 9-12” dark-blue German Meisterklasse Gramophon 67731/39, POM-1941. M-A MB 45, the Set.

‘Bruno Kittel’s 1941 recording of Mozart's REQUIEM is a moving account; heightened by elite-status choral singing and by the masterly orchestral control of the Berliner Philharmoniker, the tableau is not complete without the very good - and sometimes impressive - soloists. This album discloses a trailblazing account of Mozart's justly famous REQUIEM. Kittel's is a classic reading of this masterpiece: power, tension and the heavenly sense of a tragic era, but not without an unmistakable Mozartian temperament. This recording of the REQUIEM is meaningful because it is one of the first studio recordings (maybe the very first) of the work.”
- Bach Cantatas Website


M0635. ARTUR BODANZKY Cond. Berlin Staatsoper Orch.: Die Fledermaus – Overture (Johann Strauss), 2s. 12” purple Eng. Parl. E10775, POM-30 April, 1928. [A uniquely delightful and individual performance which features ‘rapid tempi and sharp ensemble’ - Ralph Moore] M-A, a choice copy! MB 12

M0636. ARTUR BODANZKY Cond. Berlin Staatsoper Orch.: Lohengrin - Prelude (Wagner), 2s. 12” Viva-Tonal Col. 67469-D, on Royal Blue shellac, POM-9 Sept., 1927. M-A, appears unplayed! MB 12

M0637. ARTUR BODANZKY Cond. Berlin Staatsoper Orch.: Die Meistersinger – Prelude, Act I, 3s. / Sd.4 = Lohengrin – Prelude, Act III (Wagner). 2-12” red Decca-Odeon 25555/56, POM- 10 Sept., 1927. M-A MB 15, the Pair

“Bodanzky studied composition with Alexander von Zemlinsky, was an assistant to Mahler at the Vienna Opera, and was also closely associated with Busoni (who recommended him to Toscanini when Toscanini left New York in 1915). He was head of the German wing at the Met from 1915 until his death in 1939. He was conducting the infamous performance of Halévy's LA JUIVE, during which Caruso, in his own words, was ‘doubled over forward like a dry twig, screaming like a madman’ because of the pain he was in. More than responsive, his orchestra is indescribably hot. James Huneker - a legendary name among early twentieth century New York critics - wrote: ‘No living conductor has the fiery temperament of Bodanzky save Arturo Toscanini’.”
- Joe Horowitz, 17 July, 2014


M0638. WILLEM MENGELBERG Cond. NYPO: Suite for Orchestra – Air (J.S. Bach-Mahler) / Sinfonia in B flat – Presto, Op.18, #2 (J.C. Bach-Stein). 12" Scroll V 7484, POM-16 Jan., 1929, on ‘Z’-type shellac. M-A, as unplayed! MB 15

M0639. WILLEM MENGELBERG Cond. NYPO: Symphony #1 in C (Beethoven), 8s. 4-12” Orth Vla 7211/14, POM-9 Jan., 1930, in Orig. Album M-73, w.Brochure. M-A, as unplayed! MB 25, the Set.

M0640. WILLEM MENGELBERG Cond. NYPO: ‘Eroica’ Symphony #3 in E-flat (Beethoven), 14s. 7-12” PW V 7446/52, POM-4 & 9 Jan., 1930, on ‘Z’ shellac & ‘Z’-type shellac, in Orig. Album M-115, w.Brochure. M-A, as unplayed! MB 45, the Set.

M0641. WILLEM MENGELBERG Cond. NYPO: Der Fliegende Höllander – Overture (Wagner), 2s. 12" Scroll V 6547, POM- 6 Oct.,1925, on ‘Z’-type shellac. M-A, as unplayed! MB 15

“Although Willem Mengelberg had first come to New York to open the Philharmonic’s season in 1905, it was not until sixteen years later that he appeared regularly before the City’s concert-going public. At that time, the board of the fledgling National Symphony Orchestra (unrelated to the later orchestras of the same name headed by Walter Damrosch and Hans Kindler) brought Mengelberg in to rebuild the ensemble and share the leadership with Artur Bodanzky. The next year, following Mengelberg’s recommendation, the orchestra was merged into the New York Philharmonic, with the Dutchman ultimately becoming principal conductor. It was at this time that Mengelberg made his first recordings with the ensemble.

As the decade progressed, both Furtwänger and Toscanini were engaged for extended guest conducting appearances with the Philharmonic. While the former left after two seasons, Toscanini stayed on as the orchestra merged with yet another ensemble, Damrosch’s New York Symphony, to form the Philharmonic-Symphony Orchestra of New York in the Fall of 1928. Toscanini was appointed principal conductor, with Mengelberg accepting the lesser role of associate. Ultimately, politics from within and without the orchestra took their toll, and Mengelberg left New York in early 1930, never to return.
- Mark Obert-Thorn


M0642. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Prélude à L’après-midi d’un Faune (Debussy), 2s. 12” black Italian Telefunken SK 2955, POM-30 Nov., 1938. M-A, beautiful copy has faintest rubs, inaud. MB 35

M0643. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Psyché et Eros (Franck), 2s. 12” black GermanTelefunken SK 2463, POM-Dec, 1937 & Jan., 1938. M-A, appears unplayed! MB 35

M0644. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Die Meistersinger - Prelude (Wagner), 2s. 12” black GermanTelefunken SK 3137, POM-12 Nov., 1940. M-A, virtually pristine! MB 35

M0645. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Serenade for Strings (Tschaikowsky), 6s. 3-12” brown Swiss Telefunken SK 2901/03, POM-9 Oct. & 2 Nov., 1938. M-A, appears unplayed! MB 65, the Trio.

M0646. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Serenade for Strings (Tschaikowsky), 6s. 3-12” black Czech Ultraphon 14219/21, POM-9 Oct. & 2 Nov., 1938. M-A, appears unplayed! MB 65, the Trio.

M0647. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Don Juan (Strauss), 4s. 12” red German Telefunken TF 754/55, POM-8-9 Nov., 1938. M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has microscopic mk., audible only a turn or two. MB 35, the Pair.

M0648. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Ein Heldenleben (Strauss), 10s. 5-12” black German Telefunken SK 3181/85, POM-April, 1941. M-A, virtually pristine! MB 95, the Set.

M0649. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony in d (Franck), 10s. 5-12” black French Telefunken Pacific SK 3145/49, POM-3 Oct. & 2 Nov., 1938. M-A, lovely copy has faintest rubs, inaud.; #3146 only has edge crunch which affects only initial grooves of Sd.3. MB 45, the Set.

M0650. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Pathétique’ Symphony #6 in b (Tschaikowsky), 10s. 4-12” black GermanTelefunken SK 2214/18, POM-21 Dec., 1937. M-A, appears unplayed! MB 95, the Set.

M0651. WILLEM MENGELBERG Cond.Concertgebouw Orch., w.CONRAD HANSEN (Pf.): Piano Concerto #1 in b (Tschaikowsky), 8s. 4-12” black GermanTelefunken SK 3092/95, POM-5-6 July, 1940. M-A, beautiful copy has occasional faintest rub, inaud.; final disk has tape-reinforced ulc in inner margin. MB 45, the Set.

M0652. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #5 in e, 13s. / Sd.14 = Serenade for Strings - Waltz (both Tschaikowsky). 7-12” red Decca-Odeon 25478/84, POM-10 / 12 May, 1938. M-A, lovely copy has faintest rubs, inaud. MB 45, the Set

M0653. WILLEM MENGELBERG Cond.Concertgebouw Orch.: La Damnation de Faust – Marche hongroise / Menuet des sylphes (Berlioz) 12” lilac French Odéon 17004/05, POM-1926. M-A, a spectacular copy! MB 15

M0654. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #1 in C (Beethoven), 6s. 3-12” black ItalianTelefunken SK 2770/72, POM-8 Nov., 1938, Orig. Italian Telefunken Album. M-A, virtually pristine! MB 65, the Set.

M0655. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Eroica’ Symphony #3 in E-flat (Beethoven), 12s. 3-12” black Swiss Telefunken SK 3117/22, POM-11 Nov., 1940. M-A, appears unplayed! MB 95, the Set.

M0656. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #4 in B (Beethoven), 8s. 4-12” black GermanTelefunken SK 2794/97, POM-1-2 Dec., 1938. M-A, appears unplayed! MB 75, the Set.

M0657. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Pastorale’ Symphony #6 in F (Beethoven), 8s. 4-12” black GermanTelefunken SK 2424/28, POM-Dec. 1937 & Jan., 1938. M-A, beautiful copy has very occasional faintest rub, inaud. MB 75, the Set.

M0658. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #8 in F (Beethoven), 6s. 3-12” black GermanTelefunken SK 2760/62, POM-9 Nov., 1938, in Orig. Italian Telefunken Album. M-A, appears unplayed! MB 45, the Set.

M0659. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #8 in F (Beethoven), 6s. 3-12” black Czech Ultraphon 14721/23, POM-9 Nov., 1938. M-A, appears unplayed! MB 65, the Trio.

M0660. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Leonore - Overture I (Beethoven), 2s. 12” early PW Col. 68055-D, POM-2 June,1931, on Royal Blue Shellac, M-A, virtually pristine! MB 15

M0661. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Lucio Silla’ Sinfonia in B-flat (J. C. Bach), 2s. 12” red Decca-Odeon 25014, POM-10 June, 1927. M-A, virtually pristine! MB 15

M0662. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Rosamunde - Overture (Schubert), 2s. 12” black GermanTelefunken SK 3008, POM-30 Nov., 1938. M-A, virtually pristine! MB 35

M0663. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Alceste - Overture (Gluck-Mottl), 2s. 12” dark-blue Eng.Decca K.771, POM-24 June, 1935. M-A, a spectacular copy . . . and remarkably quiet surfaces! MB 12

M0664. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #5 in c-sharp – Adagietto (Mahler), 2s. 12” blue PW Eng.Col. L 1978, POM-May, 1926. M-A, lovely copy has faintest rubs, inaud.; beg.Sd.2 has superficial scr. [The portamenti will drive you insane . . . or leave you, like us, in a state of ecstasy!] MB 12

“Mahler once said of Mengelberg: ‘There's no one else I could entrust a work of mine to with entire confidence’.

Beginning very quietly, this music is soon full of longing: its arcing, graceful melodies unfold with a bittersweet intensity, rise gradually to a soaring climax, and finally fall back to the peaceful close.

The Adagietto served as a love letter from the composer to Alma Schindler, probably shortly before they were married in 1902. The Dutch conductor Willem Mengelberg, in his personal copy of the Fifth Symphony, wrote: ‘This Adagietto was Gustav Mahler's declaration of love for Alma! Instead of a letter, he sent her this in manuscript form; no other words accompanied it. She understood and wrote to him: He should come!!! (both of them told me this!)’ Mengelberg's own description of the Adagietto was ‘love, a love comes into his life’."
- Gilbert Kaplan, THE NEW YORK TIMES, 19 July, 1992


M0665. PAUL HINDEMITH Cond. Berlin Phil.: Mathis der Maler (Cond. by the Composer), 6s. 3-12” blue GermanTelefunken E 1647/49, POM-9 April, 1934. M-A, appears unplayed! MB 25, the Trio.

“By 1930, Hindemith had consolidated his researches and began to produce a series of masterpieces including Concert Music for Strings and Brass (1930), the opera MATHIS DER MALER (1934-1935) and Symphony ‘Mathis der Maler’ (1934) which shares themes with the Opera. He also began a remarkable series of sonatas for every major instrument, all idiomatic and almost all becoming a part of standard repertory. The Nazis forced Hindemith out of Germany. He went to Switzerland, England, and finally settled in the United States, where he joined the Yale University faculty.”
- Steve Schwartz, Classical.Net


M0666. ERICH BÖHLKE Cond. Berlin State Opera Orchestra: Capriccio italien (Tschaikowsky), 4s. 2-12" red German Polydor 57277/8, POM-6 Jan., 1941. M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0667. OTTO MARIENHAGEN Cond. Berlin Phil.: Rienzi – Overture 3s. / Sd.4 = Lohengrin – Prelude Act III (Wagner). 2-12” green PW German Polydor 19815/16, POM-1928. Virtually pristine! MB 15, the Pair.

M0668. KRYL’s BOHEMIAN BAND: Attila – Te sol quest'anima (Grand Trio) / ARTHUR PRYOR’s BAND: Aida – Potpourri ‘Take’ 7 (both Verdi). 12” black V 35195, POM-16 May, 1911 / 13 Dec., 1918. M-A, a spectacular copy! MB 15

“Bohumir Kryl made sounds with the cornet that audiences had never heard before and that no one had dared to try to record until he came along. Kryl was a virtuoso's virtuoso. He had the outsized ego to make sure he would not soon be forgotten, making his interpretations of the classic repertoire into standards along the way."
- Zillah D. Akron


M0669. SERGEI PROKOFIEV Cond. Moscow Phil.: ROMEO AND JULIET – Suite #2 (Cond. by the Composer), 12s. 6-10” pale-blue USSR 7754/65, recorded 1943. M-A, appears unplayed! MB 45, the Set.

M0670. LEONID YUREV Cond.: Tahiti-Trot / Valse (both Shostakovitch). 10” pale-blue USSR 13267/66, recorded 1945. M-A, lovely copy has faintest rubs, inaud. MB 12

“As the conductor Nikolai Malko tells the story in his Reminiscences, ‘During a tour of the Ukraine (in 1928), Mitya heard a record of the Tahiti-Trot. I said to him, 'Well, Mitenka, if you really have as much genius as they say, I give you one hour to go into the next room, put this little piece down on paper and orchestrate it for me to play’. Apparently, it took Shostakovich only forty-five minutes to accomplish the task and win the challenge. Dedicated ‘To dear Nikolai Andreevich Malko as a token of my best feelings’, Malko premiered Shostakovich's charmingly delightful arrangement the next year with the Leningrad Philharmonic. With its delicate celesta, its insouciant stopped trumpets, its blowzy trombone glissandos, and its sweetly swinging strings, Shostakovich's orchestration sounds far more affectionate than disdainful. Shostakovich later re-used ‘Tahiti-Trot’ in the third act of his ballet THE AGE OF GOLD.”
- James Leonard, allmusic.com


M0671. NIKOLAI ANOSOV Cond. USSR State S.O.: Overture on Russian Themes (Balakirev) / ALEKSANDER ORLOV Cond. Moscow Radio S.O.: In the Steppes of Central Asia (Borodin). 10” red Aprelevski Zavod 923/24, recorded 1952. M-A, appears unplayed! MB 10

M0672. ALEKSANDR MELIK-PASHAYEV Cond. Bolshoi Theatre Orch. & Chorus: Eugen Onégin – Final Chorus, Act I / w.SERGEI OSTROUMOV: May Fortune fulfill her every wish (Triquet’s arietta). 12” red USSR 04944/45, recorded 1937. M-A, appears unplayed! MB 10

M0673. VIKTOR KNUSHEVITSKY Cond.: Spanish Waltz (Millutin) / GRIGORII STOLIAROV Cond.: Spring Ball (Shvaris). 10” red CCCP 18394/17936, recorded 1950. M-A MB 8

M0674. YEVGENY MRAVINSKY Cond.Bolshoi Theatre Orch.: The Nutcracker - Final Waltz (Tschaikowsky), 2s. 10” purple CCCP 20370/71, recorded 1951. A-, lovely copy has very occasional lt.scr, ever-so-faintly audible. MB 8

M0675. BORIS KHAIKIN Cond.: Colas Brugnon – Overture (Kabalevsky), 2s. 10” pale-blue USSR 136586/87, recorded 1946. M-A, lovely copy has faintest rubs, inaud. MB 12

M0676. SAMUIL SAMOSUD Cond.: Ivan Susanin – Polonaise (Glinka), 2s. 10” pale-blue Aprelevski Zavod Art Label (Bolshoi) 7680/81, recorded 1938. M-A, lovely copy has ec, both sides, to 1st groove – before performance. MB 8

M0677. SAMUIL SAMOSUD Cond.: G’schichten aus dem Wiener Wald (Johann Strauss), 4s. 2-10” red CCCP 8451/54, recorded 1939. M-A MB 15, the Pair.

M0678. SAMUIL SAMOSUD Cond.: Ivan Susanin – Krakoviak (Glinka), 2s. 10” pale-blue Aprelevski Zavod Art Label (Bolshoi) 9906/07, recorded 1939. M-A MB 10

“Founder and original conductor of the USSR Radio Symphony Orchestra (1953-57), Samosud also led the first performances of Shostakovich’s Symphony #7 (1942),LADY MACBETH OF MTSENSK (1934) and WAR AND PEACE (1942), among other notable works.”
- Z. D. Akron


M0679. AARON AVSHALOMOV Cond. Shanghai Municipal Orch., w.GREGORY SINGER: Piano Concerto in G upon Chinese Themes and Rhythms (Cond. by the Composer), 8s. 4-12” MasterWorks Col. 68867/70-D, POM-1936. M-A, gleaming has faintest rubs, inaud.; Sd.6 only has infinitessimal scr, faintly audible, merely a few turns. MB 45, the Set.

“Aaron Avshalomoff spent nearly thirty years in China, lured there by the sounds of its street music, its ancient opera, costumes and legends, all encountered as a child in the Chinese quarter of Nikolaïevsk, his Siberian birthplace.

This first of Avshalomoff's three concertos was inspired by the gifted young pianist and composer, Gregory Singer. It was composed in 1935 during a six week stay at Hangchow - the famous resort about which the Chinese say, ‘above there is heaven, below there are Suchow and Hangchow’. Near the shores of the beautiful West Lake, in a peasant's cottage, Avshalomoff used a portable harmonium to compose this expansive and brilliant vehicle for piano.

Aaron Avshalomov was Chinese-acculturated foreigner, Russian-Jewish immigrant, and multifaceted musician, which uniquely situated him among Shanghai’s influential foreign artists for experimentation with new blends of Chinese and Western music from 1931 to 1947. I describe Avshalomov’s musical style by offering examples of Chinese-Western fusion composition and I demonstrate that Avshalomov was historically significant via the influence he had on Chinese musicians and through his foreshadowing of future musical developments. During his last three years in China Avshalomoff conducted the Shanghai Symphony. All in all, he was a major figure in the cultural life of China up to the time of the Revolution of 1949.”
- John Winzenburg, Hong Kong Baptist University, 12 Nov., 2013


M0680. KONSTANTIN IVANOV Cond. USSR State S.O.: Capriccio italien (Tschaikowsky), 4s. 2-12” purple CCCP 014709/11, POM-1947. M-A MB 15

M0681. NICOLAI GOLOVANOV Cond.: Gayne – Lezhinka / Sabre Danse (Khatchaturian). 10” pale-blue USSR 12502/03, recorded 1945. M-A MB 12

M0682. VASSILI NEBOLSIN Cond. Bolshoi Theatre Orch.: Mazeppa – Overture (Tschaikowsky), 2s. 12” red Art Label (175th Bolshoi Anniversary) Aprelevski Zavod 019525/26, recorded 1951. M-A MB 10

M0683. ALBERT COATES Cond. Leeds Festival Chorus & Orch.: Mater Ora Filium (Bax), 3s. / Sd.4 = Ode to St. Cecilia’s Day – Soul of the World (Purcell). 2-12” black HMV D-1044/45, only form of issue, 29 Oct., 1925. M-A, beautiful copy has, Sd.2 only, faintest rubs, inaud. MB 75, the Pair.

M0684. ALBERT COATES Cond.: Mefistofele – Prologue / Nerone – Gloria, vittoria! (both Boito). 12” black HMV D-938, only form of issue, 24 Oct., 1924. M-A, beautiful copy has faintest rubs, inaud. MB 35

M0685. ALBERT COATES Cond.: Ma Mère l’Oye (Ravel), 2s. 12” blue V 55175, POM-25 Nov., 1921 & 25 April, 1922. M-A MB 35

M0686. ALBERT COATES Cond.: La Valse (Ravel), 3s./ Sd.4 = The Perfect Fool – Dance of the spirits of earth (Holst). 2-12” Orth Vla 9130/31, POM-26 March / 20 Sept., 1926. M-A MB 10

M0687. ALBERT COATES Cond. London S.O.: Toccata in F (Bach), 2s. 12” PW V 11468, POM-18 Feb., 1932. M-A, w.label stkr, Sd.1. MB 12

M0688. ALBERT COATES Cond.: Francesca da Rimini (Tschaikowsky), 4s. 2-12” black HMV D-951/52, only form of issue, 22-24 Oct., 1924. M-A, lovely copy has faintest rubs, inaud. MB 25, the Pair.

M0689. ALBERT COATES Cond. London S.O.: ‘Jupiter’ Symphony #41 in C, K.551, 7s / Sd.8 = Der Schauspieldirektor - Overture (both Mozart). 4-12” Scroll V 9360/63, on ‘Z’ shellac, POM-27 Aug. & 25 Oct.,1927. M-A MB 45, the Set.

M0690. ALBERT COATES Cond. London S.O.: ‘Jupiter’ Symphony #41 in C, K.551, 7s / Sd.8 = Der Schauspieldirektor - Overture (both Mozart). 4-12” Orth Vla 9360/63, POM-27 Aug. & 25 Oct.,1927, in Orig. Album M-30, w.Brochure. M-A MB 35

“This is one of Coates’ greatest recordings….I think it exemplifies Coates’ full-bodied abandon; its excitement is electric.”
- Stephen M. Stroff, LE GRAND BATON, Vol. 45, #17, March, 1980


M0691. ALBERT COATES Cond. London S.O.: Kamarinskaya (Glinka), 2s. 12” Scroll V 11482, POM-7 May, 1930. M-A MB 12

M0692. ALBERT COATES Cond. London S.O.: Le poème de l'extase (Scriabin), 5s. / Sd.6 = THOMAS BEECHAM Cond. Beecham S.O.: Nozze – Overture (Mozart). 3-12” gold Flags Label Col. 68014/16-D, POM-27 April & 7 May, 1920. M-A, beautiful copy has occasional faintest rub, inaud. MB 65. The Trio.

M0693. ALBERT COATES Cond.: The Planets – Mars, The bringer of war (Holst), 2s. 12” PW V 11808, POM-20 Sept., 1926, on ‘Z’ shellac. M-A, lovely copy has faintest rubs, inaud. MB 15

M0694. ALBERT COATES Cond. London S.O.: Russian Folk Songs, 3s./ Sd.4 = The Musical Snuff Box (both Liadov). 2-12” Orth Vla 9797/98, on ‘Z’ shellac, POM-7 Nov., 1929. M-A, appears unplayed! MB 20, the Pair.

M0695. ALBERT COATES Cond.: Till Eulenspiegel (1921 Version) (Strauss), 4s. 2-12” blue V 55268/69, POM-4 Nov., 1921. M-A, lovely copy has faintest rubs, inaud. MB 25, the Pair

M0696. ALBERT COATES Cond.: Till Eulenspiegel (1927-28 Version) (Strauss), 4s. 2-12” Scroll V 9271/72, POM-25 Oct., 1927 / 5 Jan., 1928, on ‘Z’ shellac. A-, lovely copy has faint rubs; Sd.3 only has tiny superficial scr, inaud. MB 15, the Pair.

M0697. ALBERT COATES Cond.: Don Juan (Strauss), 4s. 2-12” blue V 55176/77, POM-28 April & 5 May, 1922. M-A, lovely copy has faintest rubs, inaud. MB 25, the Pair

M0698. ALBERT COATES Cond. London S.O.: Tod und Verklärung (Strauss), 5s. / Sd.6 = Prometheus – Overture (Beethoven). 3-12” Orth Vla 9402/04, POM-12 Oct., 1928 / 6 Jan., 1927. M-A, appears unplayed! MB 20, the Trio.

M0699. ALBERT COATES Cond.: ‘Eroica’ Symphony #3 in E-flat, 11s. / Sd.12 = Allegretto in E-flat [Pressed from Master, unlike other copies which are dubbings] (both Beethoven). 6-12” Orth Vla 9449/54, POM-16 Sept. & 26 Oct, 1926 / 22 Oct., 1925, in Orig. Album AM-6. M-A, a choice copy! MB 45, the Set.

M0700. ALBERT COATES Cond.: Russlan and Ludmilla – Overture (Glinka) / Snegorotchka – Dance of the tumblers (Rimsky-Korsakov). 12” blue V 55196, POM-5 May / 14 July, 1922. M-A MB 25

M0701. ALBERT COATES Cond.: Hänsel und Gretel - Overture (Humperdinck), 2s. 12” Orth Vla 9075, POM-26 Oct., 1926. M-A MB 10

M0702. ALBERT COATES Cond. London S.O.: Fontane di Roma (Respighi), 4s. 2-12” Scroll V 9126/27, POM-4 Jan., 1927 & 5 Jan., 1928, on ‘Z’ shellac. M-A, appears unplayed! MB 20, the Pair

M0703. ALBERT COATES Cond. London S.O.: Symphony #2 in b (Borodin), 6s. 3-12” Scroll V 11163/65, on ‘Z’ shellac, POM-5 & 6 Nov., 1929 & 18 April, 1931, in Orig. Album M-113, w.Brochure. M-A, a glorious copy! MB 35, the Set.

M0704. ALBERT COATES Cond. London S.O.: Le Pas d’Acier (Prokofiev), 4s. 2-12” PW V 11446 & 12” Orth Vla 11447, POM-18 Feb., 1932. M-A, beautiful copy, albeit Sd.3 only has faintest rubs, inaud. MB 15, the Pair

M0705. ALBERT COATES Cond. London S.O.: Love for Three Oranges – March, Waltz & Scherzo (Prokofiev), 2s. 12” Orth Vla 9128, POM-6 Jan., 1927. A-, lovely copy has faint rubs, inaud. MB 8

M0706. ALBERT COATES Cond. London S.O.: Le Chant du Rossignol - Marche chinoise (Stravinsky), 2s. 12” PW V 11160, POM-14 Oct., 1930. M-A MB 12

M0707. ALBERT COATES Cond. London S.O.: Petrouchka (Complete) (Stravinsky), 8s. 4-12” black HMV D-1521/24, only form of issue, 19 & 24 Oct., 1927; 5 Jan. & 15 Feb., 1928, in Orig. HMV Album. M-A, as unplayed! MB 35, the Set.

M0708. ALBERT COATES Cond.: L' Oiseau de Feu – Suite (Stravinsky), 4s. 2-12” black HMV D-958/59, only form of issue, 24 & 29 Oct., 1924. M-A, lovely copy has faintest rubs, inaud. MB 35, the Pair.

M0709. ALBERT COATES Cond. London S.O.: A Night on Bare Mountain (Mussorgsky), 2s. 12” Orth Vla 11448, POM-18 April, 1931. M-A MB 12

M0710. ALBERT COATES Cond.: ‘Pathétique’ Symphony #6 in b (Tschaikowsky) (1926 Version), 10s. 5-12” Orth Vla 9050/54, POM-15 Sept. & 25 Oct., 1926, in Orig. ‘soft cover’ Victor Album M-4, w.Brochure. M-A, as unplayed! MB 35, the Set.

M0711. ALBERT COATES Cond. National S.O.: ‘Pathétique’ Symphony #6 in b (1945 Version) (Tschaikowsky), 12s. 6-12” Eng. Decca AK.1243/48, only form of issue, 11 April; 10 & 26 July, 1945, in Orig. Decca Album EDA 21. M-A, lovely copy has faintest rubs, inaud. MB 35, the Set.

M0712. ALBERT COATES Cond. London S.O.: May Night – Overture (Rimsky-Korsakov), 2s. 12” PW V 11424, on ‘Z’ shellac, POM-8 Oct. / 5 Nov., 1929. A to M-A MB 12

M0713. ALBERT COATES Cond. London S.O.: Le Coq d’Or – Introduction / Cortège des noces (Rimsky-Korsakov), 2s. 12” Scroll V 9696, on ‘Z’ shellac, POM-8 Oct. / 5 Nov., 1929. A-, lovely copy has faint rubs, inaud. MB 8

M0714. ALBERT COATES Cond. National S.O.: Le Coq d’Or – Cortège des noces (Rimsky-Korsakov), 2s. 12” Eng. Decca K.1330, only form of issue, 18 May, 1945. M-A MB 15

M0715. ALBERT COATES Cond. London S.O.: In the Steppes of Central Asia (Borodin), 2s. 12” Orth Vla 11469, POM-7 Nov., 1929. M-A MB 12

M0716. ALBERT COATES Cond. London S.O.: ‘Polish’ Symphony #3 in D (Tschaikowsky), 8s. 4-12” PW V 13211/14, POM-25 Feb. & 1 March, 1932, in Orig. Album DM-166, w.Brochure. M-A, as unplayed! MB 35, the Set.

M0717. ALBERT COATES Cond.: Symphony #5 in e (Tschaikowsky), 12s. 6-12” black HMV D-759/64, only form of issue, 25 Oct., 3 & 17 Nov. & 22 Dec., 1922, in Orig. HMV Album. M-A, as unplayed! MB 45, the Set.

M0718. ALBERT COATES Cond. London S.O.: Tsar Sultan – Suite #3 (Rimsky-Korsakov), 2s. 12” Orth Vla 9473, POM-16 Feb., 1928. M-A, lovely copy has faintest rubs, inaud. MB 8

M0719. ALBERT COATES Cond. London S.O.: Prince Igor – Polovetzian Dances (Borodin), 2s. 12” PW V 9474, POM-24 Oct., 1927. M-A, appears unplayed! MB 12

M0720. ALBERT COATES Cond. London S.O.: Snegorotchka – Dance of the tumblers / Ivan the Terrible – Storm Music (both Rimsky-Korsakov), 2s. 12” PW V 11454, POM-20 / 19 Feb., 1932. M-A MB 12

M0721. ALBERT COATES Cond. London S.O.: Khovantchina – Persian Dances (Mussorgsky), 2s. 12” PW V 11135, POM-7 May, 1930. M-A, appears unplayed! MB 12

M0722. ALBERT COATES Cond. National S.O.: Romeo and Juliet – Fantasy Overture (Tschaikowsky), 5s. / Sd.6 = Snegorotchka – Dance of the tumblers (Rimsky-Korsakov). 3-12” Eng. Decca AK.1305/07, only form of issue, 8 & 23 Feb. / 23 Feb., 1945, in Orig. Decca Album EDA 6, w.Brochure. M-A MB 25, the Set.

M0723. ALBERT COATES Cond.: Le Coq d’Or – Suite (Rimsky-Korsakov), 6s. 3-12” blue V 55270/72, POM-10 May / 14 July, 1922. M-A, lovely copy has lt. rubs, inaud. MB 25, the Trio.

M0724. ALBERT COATES Cond. London S.O., w. FEODOR CHALIAPIN: Boris Godunov – Coronation Scene (Mussorgsky), 2s. 12” Scroll V 11485, on ‘Z’ shellac, POM-26 Oct., 1925. M-A MB 12

M0725. ALBERT COATES Cond. London S.O., w.FEODOR CHALIAPIN: In questa tomba oscura (Beethoven) / Song of the Volga boatmen. 12” PW V 6822 [Coates’ name not on labels], POM-20 Oct., 1927. M-A, lovely copy has faintest rubs, inaud. MB 12

M0726. ALBERT COATES Cond.: Prince Igor - Overture (Borodin), 2s. 12” Orth Vla 9123, POM-26 Oct., 1926. M-A/A, lovely copy has, Sd.2 only, faintest rubs, inaud. MB 10

M0727. ALBERT COATES Cond. London S.O.: Hamlet – Overture Fantasia (Tschaikowsky), 4s. 2-12” PW V 12121/22, POM-19 Feb., 1932. M-A, appears unplayed! MB 12

M0728. ALBERT COATES Cond.: Oberon – Overture (Weber), 2s. 12” Scroll V 9122, on ‘Z’-type shellac, POM-25 Oct., 1926. M-A, lovely copy has faintest rubs, inaud. MB 15

M0729. ALBERT COATES Cond. London S.O.: Die Feen - Overture (Wagner), 2s. 12” Orth Vla 11455, POM-19 Feb., 1932. [A justifiably famous performance!] M-A MB 15

M0730. ALBERT COATES Cond.: Siegfried Idyll (Wagner), 4s. 2-12” blue V 55266/67, POM-17 July, 1922. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 35, the Pair

M0731. ALBERT COATES Cond.: Die Walküre – Magic Fire Music (Wagner), 2s. 12” Scroll V 9006, on ‘Z’-type shellac, POM-25 Jan., 1926. M-A, a spectacuar copy! MB 15

M0732. ALBERT COATES Cond.: Die Walküre – Ride of the Valkeries / Das Rheingold - Prelude (both Wagner). 12” PW V 9163, POM-25 Jan., 1926. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 10

M0733. ALBERT COATES Cond. London S.O.: Manfred - Scherzo (Tschaikowsky), 2s. 12” Orth Vla 11475, on ‘Z’ shellac, POM-17 Feb., 1932. M-A, lovely copy has very faintest rubs, inaud. MB 10

M0734. ALBERT COATES Cond. London S.O.: Mefisto - Waltz (Liszt), 2s. 12” Orth Vla 11161, on ‘Z’ shellac, POM-14 Oct., 1930. M-A, lovely copy has faintest rubs, inaud.; Sd.2 only has infinitessimal scr, only barely faintly audible 2 or 3 times. MB 10

M0735. ALBERT COATES Cond.: Lohengrin – Bridal Chorus (in English) / Prelude, Act III (Wagner). 12” PW V 9005, POM-27 Oct., 1925. M-A, lovely copy has faintest rubs, inaud. MB 10

M0736. ALBERT COATES Cond.: Götterdämmerung - Trauermarsch (Wagner), 2s. 12” Orth Vla 9487, on ‘Z’ shellac, POM-26 Jan., 1926 (from the ‘Complete’ Set). M-A, a spectacuar copy! MB 15

“Coates’ performances are stunning, recalling his smash RING Cycle of 1925. The Funeral March in particular is among the dozen or so timeless masterpieces from the Age of the 78.”
- Stephen M. Stroff, LE GRAND BATON, Vol. 45, #17, March, 1980


M0737. ALBERT COATES Cond.: Die Meistersinger - Overture (Wagner), 2s. 12” blue V 55171, POM-28 Oct, 1921. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 15

M0738. ALBERT COATES Cond.: Tannhäuser – Overture, 3s. [‘Take’ 1-A, Sd.1] / Sd.4 = Die Meistersinger – Dance of the Apprentices (both Wagner), 2-12” PW V 9059/60, POM-16 Sept. / 25 Oct., 1926. M-A, beautiful copy! MB 15, the Pair

M0739. ALBERT COATES Cond.: Tannhäuser – Venusberg Music - Bacchanale, 3s. / Prelude, Act III, (Wagner), 2-12” Orth Vla 9027/28, POM-29 & 30 July / 27 Oct., 1925. M-A, lovely copy has faintest rubs, inaud. MB 15, the Pair

M0740. ALBERT COATES Cond. Widdop, Suddaby, Walker & Robertson: ‘Choral’ Symphony #9 in d (Beethoven), 16s. 8-12” black PW Czech HMV ES 243/250, POM-14 – 19 Oct., 1926, in Orig. Orth VlaAlbum M-12, w.Brochure. M-A, glorious copy of preferred Czech pressing! MB 55, the Set.

M0741. ALBERT COATES Cond. London S.O., w. Widdop, Schumann, Balfour & Schorr: MASS IN B MINOR (Bach), 34s. 17-12” Scroll V & Orth Vla 9955/71, POM-1929, on ‘Z’ shellac & ‘Z’-type shellac, in Orig.cherry-red Victor Albums M-104, w.Brochure. M-A, a magnificent copy!. MB 55, the Set.

“Albert Coates studied composition with Rimsky-Korsakov, was a protégé of Arthur Nikisch, conducted opera in Russia, Germany, and England, and after the Russian Revolution was made director of all opera houses in the Soviet Union. [After] his escape from Russia to Finland in 1919, his long association with the London Symphony and his stint in America, Coates was a high-voltage conductor who prized excitement and wide contrasts. When his style meets congenial material, sparks fly. One such meeting of man and music is Borodin’s Second Symphony, with a powerful, strongly accented first movement that places a premium on orchestral brilliance and color, a windswept Scherzo, a brooding Andante full of bardic Russian poetry, and a folk dance-based Finale. There’s a sense of abandon and controlled wildness to this performance, along with tempos that make other versions sound sedate. Siegfried’s Rhine Journey sounds like the hero’s escorted by battleships, with some whitewater thrills thrown in for good measure.
- Dan Davis, ClassicsToday.com


M0742. GEORGE GEORGESCU Cond. Bucharest Phil.: Rapsodia Romana (Enescu) 2s. 10” plum PW Czech HMV AM 1986, POM-c.1930. M-A, beautiful copy has faintest rubs, inaud. MB 15

‘…a trusted and admired colleague of the composer’s, one whose later intercession enabled Georgescu to overcome political problems and to resume his Romanian conducting career, Georgescu has always enjoyed cachet among collectors’
- Jonathan Woolf, MusicWebInternational


M0743. BRONISŁAV SZULC Cond. Warsaw Opera Orch.: Tanieo - Suite (Spendiaryan [Spendiarov]), 2s. 10” black Syrena-Electro 6381 (20339/40), POM-1928. [Szulc returned to Poland as a noted conductor, there and abroad. He ultimtely emigrated to Israel and directed an orchestra in Tel-Aviv; Spendiaryan was one of the founders of the 20th century Armenian national school] A-, lovely copy has lt.rubs, inaud.; Sd.1 only has barely visible lateral hlc to 1st groove, positively ltly audible during initial turns only. MB 12

M0744. SERGIU CELIBIDACHE Cond. London Phil. Symphony #5 in e (Tschaikowsky), 12s. 6-12” Eng. Decca AK.2036/41, only form of issue, 5-9 July, 1948, Kingsway Hall, London. M-A MB 45, the Set.

“According to Celibidache, a satisfactory performance could be achieved only by working over long periods with profound concentration, to ensure an overall grasp of character and content as well as finesse of detail. When the use of magnetic tape for recording allowed for shorter ‘takes’ and the substitution of one passage for another, he virtually turned his back on a medium that he accused of producing ‘complete travesties’. He believed that the technique of tape-editing meant ‘the end of the continuous and basic pulse necessary to bring the work to life in sound’, and considered a recording only offered ‘an impression of what certain people thought and felt about the music at a certain time’, making his views more explicit by reportedly describing a recorded performance as being ‘like a photograph of love-making’.”
- The Independent, 16 Aug., 1996


M0745. METOD VYMETAL Cond. FRANTIŠEK MAXIÁN (Pf.) & Prague Womens’ Choir: Echoes from Moravia (Moravian Duets) (Dvořák), 8s. 4-12” red Supraphon 12374/77 (042742/49), POM-early ‘40s. Exquisitely beautiful! M-A MB 35, the Set.

M0746. NICOLAS SLONIMSKY Cond. Pan American Orch.: Washington's Birthday – Barn Dance; Into the Night [‘The whole piece is but an attempt to get a simple picture of darkness, silence, the loneliness of an old man who has lost everything but his faith, and night sounds’ – Ives] (both Charles Ives) / CHARLES LICHTER Cond.: Men and Mountains – Lilacs; JUDITH LITANTE, w. Henry Brant (Pf.): Toys (both Carl Ruggles). 12” green New Music Recordings 1013, only form of issue, 1934, sponsored by the League of Composers. M-A, lovely copy has faintest rubs, inaud. MB 25

“Following stints as Serge Koussevitsky's secretary and rehearsal pianist, first in Paris and then in Boston, Slonimsky himself began to conduct in earnest, polishing his craft with the Harvard University Symphony Orchestra. Eventually he worked up the confidence to form his own group, the Chamber Orchestra of Boston. Word got around about a new ensemble that promoted contemporary music, and dozens of composers came out of the woodwork, offering scores. One of Slonimsky's main contacts was the tone cluster pioneer Henry Cowell, who in turn introduced the conductor to Charles Ives. In 1931, Ives financed two Slonimsky concerts in Paris given over to new American music. Slonimsky guest conducted Furtwängler's Berlin Philharmonic in works by Ives, Cowell, Ruggles, Varèse, and the Cuban composer Amadeo Roldán.

If the Berlin concerts were a major stepping stone of his conducting career, the crowning glory was probably the world première of Varèse's IONISATION in New York, March 6th, 1933, in a concert presented by the Pan American Association of Composers. Varèse founded the organization in 1926, whose membership included both Cowell and Slonimsky. Composed two years earlier, and dedicated to Slonimsky, IONISATION is scored for thirteen players who maneuver their way through an arsenal of percussion instruments, from Chinese blocks and gongs of all sizes, to a colorful array of hand percussion and police sirens, the latter a Varèse trademark. In a letter dated December 17th, 1931 Varèse described Ionisation to harpist Carlos Salzedo as being ‘cryptic, synthesized, powerful and terse. And as for the structure: stunning mechanics’.

The work generated enough controversy to arouse the interest of Columbia Records. Although the composer was not present for the world première, he arrived in New York in time to supervise preparations for the recording. Slonimsky recalled the session in his autobiography: ‘We engaged the percussion players from the New York Philharmonic, but it soon became clear that they could never master the rhythms. In desperation, we appealed to fellow composers to take over the task; to them the Varèsian rhythm was child's play. As a result, my ensemble was star-studded. Carlos Salzedo, the great harpist, played the thematically important Chinese blocks. Paul Creston was at the anvils. Wallingford Riegger rubbed the güiro. Henry Cowell pounded tone-clusters on the piano keyboard. William Schumann, then a mere youngster, pulled the cord of the lion's roar’. Last but not least, Varèse himself manned the sirens, borrowed for the session from a retired New York City fireman.

This made an impact in unexpected ways too. As Slonimsky duly noted in his entry on Varèse in Baker's Biographical Dictionary of Musicians, a group of scientists working on the atom bomb at Oak Ridge, Tennessee in 1940 played the IONISATION record for relaxation and stimulation in their work. Similarly, New Music Quarterly Recordings (henceforth NMQR) was formed with the intention of documenting these and other new American works for which major labels saw no commercial potential.”
- Jed Distler, Classical.Net


M0747. NICOLAS SLONIMSKY Cond. Percussion Ensemble, incl. Carlos Salzedo, Paul Creston, Wallingford Riegger, Henry Cowell, William Schumann, Edgar Varèse, etc.: IONISATION (Cond. by the Composer), 2s. [Duly fascinating, superb mono sound of well-defined percussion instruments especially as heard on these remarkably quiet surfaces made possible by Royal Blue shellac) 10” Early PW Col. 4095-M, on Royal Blue shellac, POM-1931. M-A, superb copy has, Sd.1 only, label rub & 2 minor lams, positively inaud. MB 35

M0748. NICOLAS SLONIMSKY Cond. Various Soloists: OCTANDRE (Cond. by the Composer), 2s. 12” pale-blue New Music Recordings 1411, only form of issue, 1938, sponsored by the League of Composers. M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. MB 35

M0749. NICOLAS SLONIMSKY (Pf.), ALFREDO ST.MALO (Vln), FRITZ MAGG (Cello) & OLGA AVERINO (S): South American Chamber Music, incl. Mignone, Fernandez, Pedrell, Villa-Lobos, Broqua, Ficher, Santa Cruz, Sas & Uribe-Holguin, 8s. 4-12”PW Col.70714/17-D, in Orig. Album M-437, w.Brochure. M-A, as unplayed! MB 25, the Set.

M0750. JOSEF CHARVÁT Cond. Prague National Theatre Orch.: Libuse – Overture (Smetana), 2s. 12” PW plum Czech HMV AN 347, POM-1930. A to M-A, beautiful copy has, Sd. 2 only, faintest rubs, inaud. MB 12

M0751. DOL DAUBER Cond. Dauber Salon Orch.: Hunyady Laszlo – Overture (Erkel) 2s. 12” plum PW Czech HMV AN 474, POM-1930. M-A MB 8

M0752. MAX ROTH Cond. Berlin Phil.: Vardar (Bulgarian Rhapsody) (Vladigerov), 2s. 12” orange Eng. Decca-Polydor CA.8147, POM-1928. M-A MB 12

“Bulgarian-Jewish composer Pancho Vladigerov was born in Zurich in 1899, but his family moved to his father's native country when he was still a youth, and thus the mature composer's music is imbued with the expressive melodies, propulsive rhythms, and vibrant colors of Bulgaria. To some, Vladigerov's music with its sweetness and sentimentality and its energy and exuberance may sound less like a cousin of Béla Bartók than like the brother of Erich Wolfgang Korngold. Colorful, it fulfills a similar function as nationalistic rhapsodies by George Enescu and Hugo Alfvén.”
- James Leonard, allmusic.com


M0753. RAFAEL KUBELIK Cond. Philharmonia Orch.: Iphigénie en Aulide - Overture (Gluck), 3s. / Sd.4 = Entührung aus dem Serail - Overture (Mozart), 4s. 2-12” HMV DB 9753/54, POM-17 Feb., 1952. M-A, appears unplayed! MB 15, the Pair.

M0754. RAFAEL KUBELIK Cond. Czech Phil.: In der Natur - Overture (Dvorák), 4s. 2-12” plum HMV C.3628/29, POM-2 & 3 Oct., 1946. M-A, as unplayed! MB 15, the Pair.

M0755. RAFAEL KUBELIK Cond. Czech Phil.: Othello - Overture (Dvorák), 4s. 2-12” plum HMV JOX 7/8, POM-1 Oct., 1946. M-A, as unplayed! MB 15, the Pair

M0756. RAFAEL KUBELIK Cond. Czech Phil.: Sinfonietta (Janácek), 6s. 3-12” plum HMV C.7671/73, POM-4 Oct., 1946. M-A, as unplayed! MB 15, the Trio.

“Kubelik is generally agreed to be one of the best Czech conductors of the twentieth century, whose readings of both Czech repertoire and the Austro-Germanic repertoire were highly regarded for their lyricism, flexibility, and intensity. Kubelik had long been an ardent advocate of Janácek's operas outside Czech-speaking countries. Kubelik chose the Janácek Sinfonietta to conclude the 1946 Prague Spring Festival and recorded it a few months later [above]. Interestingly, as the newly appointed conductor of Czech Phil in 1942, he performed it for the first time in January 1942 under Nazi occupation.”
- James Leonard, allmusic.com


M0757. RAFAEL KUBELIK Cond. Czech Phil.: Má Vlast (Smetana), 6s. 3-12” PW V 12520/22, POM-1937, in Orig. Album M-523, w.Brochure. M-A, as unplayed! MB 15, the Set.

“Kubelik’s performances were considered highlights of the concert season by those who prized a warm, probing, grandly scaled style of music making that was quickly being eclipsed by a more streamlined, modern approach. After 1985, Mr. Kubelik conducted only once. Having declared when he left Prague in 1948 that he would not return until the situation changed, he went back in 1990 to conduct 'Ma Vlast' at the opening of the first Prague Spring Festival after Vaclav Havel's Velvet Revolution. Mr. Kubelik had conducted the work 45 years earlier to celebrate the liberation of Prague from Nazi occupation.”
- Allan Kozinn, THE NEW YORK TIMES, 12 Aug., 1996


M0758. VACLAV TALICH Cond. Czech Phil.: MÁ VLAST (Smetana), 20s. 10-12” PW plum Czech HMV AN 386/95, POM-1929. M-A, beautiful copy has apparent ‘waxing’, absolutely inaud. MB 95, the Set.

M0759. VACLAV TALICH Cond. Czech Phil.: Waltzes Nos. 1 & 4 (Dvorák), 2s. 12” Electrola DB 5609, POM-1 April, 1940. M-A, superb copy w.faintest rubs, inaud. MB 15

M0760. VACLAV TALICH Cond. Czech Phil.: Libuse - Overture (Smetana), 2s. 12” Electrola DB 5305, POM-1 April, 1940. M-A, superb copy has faintest rubs, inaud. MB 15

M0761. VACLAV TALICH Cond. Czech Phil.: Raduz and Mahulena - Pohadka, A Fairy Tale (Suk), 8s. 4-12” blue Czech Supraphon H 23053/56, POM-2 May, 1949. M-A, appears unplayed, albeit slight warp requires extra weight on one side. MB 35, the Set.

M0762. VACLAV TALICH Cond. Czech Phil.: Carnival – Overture (Dvorák), 2s. 12” silver V 13710, POM-28 Nov., 1935. M-A MB 10

M0763. VACLAV TALICH Cond. Czech Phil.: Slavonic Dance #1 in C / Slavonic Dance #2 in e (Dvorák), 2s. 12” plum Disque Gram. L-1019, POM-27 Nov., 1935. M-A, superb copy has faintest rubs, inaud. MB 10

M0764. VACLAV TALICH Cond. Czech Phil.: (Various) Slavonic Dances, Opp.46 & 72 (Dvorák), 8s. 4-12” Scroll V 11925/28, POM-27 Nov., 1935, on ‘Z’-type shellac, in Orig. Album M-310, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0765. VACLAV TALICH Cond. Czech Phil.: (Various) Slavonic Dances, Opp.46 & 72 (Dvorák), 10s. 5-10” silver V 4353/57, POM-27 Nov., 1935, in Orig. Album M-345, w.Brochure. M-A, appears unplayed! MB 35, the Set.

M0766. VACLAV TALICH Cond. Czech Phil.: Symphony #1 in D (Dvorák), 10s. 5-12” silver V 13819/23, POM-22 Nov., 1938, in Orig. Album DM-874, w.Brochure. M-A MB 35, the Set.

M0767. VACLAV TALICH Cond. Czech Phil.: Symphony #2 in d (Dvorák), 10s. 5-12” PW V 12710/14, POM-23 Nov., 1938, in Orig. Album M-663, w.Brochure. M-A MB 35, the Set.

M0768. VACLAV TALICH Cond. Czech Phil.: Symphony #4 in G (Dvorák), 10s. 5-12” Scroll V 11899/11903, POM-23 & 28 Nov., 1935, on ‘Z’-type shellac, in Orig. Album M-304, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0769. VACLAV TALICH Cond. Czech Phil.: Serenade for String Orchestra (Suk), 8s. 4-12” PW V 13635/38, POM-1 April, 1940, in Orig. Album M-779, w.Brochure. M-A MB 35, the Set.

“Václav Talich is to Czech performance what Smetana or Dvořák is to Czech composing. He took the great tradition of Czech 19th-century music and gave it the shape that remains modern to this day. When we look at his activity in the Czech Philharmonic, the National Opera and elsewhere, we soon realise that he was perhaps the most hardworking of Czech musicians – and especially abroad he was often compared with the greatest conductors of his time. For that reason alone (although there are many others), he is a figure worth attention. The course and meaning of his life, however, far transcends the field of music, since his destiny, like that of all great artists, sets up a mirror to the age in which he lived and also to the standards of today. Talich’s individuality shines from all the recordings and there is no alternative but to regret, once again, that a conductor so important in both the Czech and international musical life of the twentieth century did not have a chance to make more.”
- Bohuslav Vítek, CZECH MUSIC, Vol. VI, 2003


M0770. LÁSZLÓ SOMOGYI Cond. Hungarian S.O.: Divertimento #1 for string orchestra (Leo Weiner), 2s. 12” pale-green Budapest M.H.V. MN 1005 (M 238/239). M-A, superb copy w.faintest rubs, inaud. MB 12

“László Somogyi received his musical training under Zoltán Kodály and Leo Weiner at the Ferenc Liszt Academy at Budapest, where he was later to become leading professor of the Conductor's Class. While in Hungary he founded and led the Symphonia Orchestra, was Chief Conductor of the Hungarian Broadcasting, and guested with the Hungarian State Opera. In 1956 he left Hungary and was active all over the world.”
-Wikipedia


M0771. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Nocturnes - Fêtes (Debussy), 2s. 10” Scroll V 1309, on ‘Z’ shellac, POM-11 Oct., 1927. M-A, appears unplayed! MB 12

M0772. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.William Kinkaid (Flute solo): Prélude à L’après-midi d’un Faune (1927 Version) (Debussy), 2s. 12” Scroll V 6696, on ‘Z’ shellac, POM-10 March, 1927. M-A, appears unplayed! MB 12

M0773. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w. Thaddeus Rich (Violin solo): Danse macabre (Saint-Saëns), 2s. 12” Scroll V 6505, on ‘Z’ shellac, POM-29 April, 1925. M-A, appears unplayed! MB 25

“Among the very first Victor electrical recordings, the ‘Danse macabre’ was quietly issued some months before Victor's big push of the new electrical recording process. This big push was the large Victor promotion kicked off on ‘Victor Day, 2 Nov., 1925, with the largest advertising and Victrola promotion yet made by the Victor Talking Machine Company. This example surely exceeded all expectations!”
- Z. D. Akron


M0774. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Marche slave (Tschaikowsky), 2s. 12” Scroll V 6513, on ‘Z’ shellac, POM-14-15 May, 1925. [Great sonics, this was used for demonstrations in record shops!] M-A, appears unplayed! MB 20

M0775. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Prince Igor - Polovetzki dance (Borodin) / Caucasian Sketches - Polovetzki dance (Ippolitov-Ivanov). 12” AC label V 6514, on ‘Z’ shellac, POM-29 April / 15 May, 1925. M-A, appears unplayed! MB 12

M0776. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Marcel Tabuteau (English Horn): Four Legends - The Swan of Tuonela (Sibelius), 2s. 12” Scroll V 7380, on ‘Z’ shellac, POM-2 & 3 May, 1929. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. & hardly worth mention. MB 12

M0777. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Water Music - Suite (Handel - Harty/Stokowski) 2-12” Scroll V 8550/51, on ‘Z’ shellac, POM-30 April, 1934. M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 15, the Pair.

M0778. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Toccata and Fugue in d (Bach), 2s. 12” Scroll V 8697, on ‘Z’-type shellac, POM-26 Nov., 1934. M-A, appears unplayed! MB 12

M0779. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Christ lag in Todesbanden / ‘Little’ Fugue in g (both Bach). 12” Scroll V 7437, on ‘Z’-type shellac, POM-17 March, 1931. M-A, appears unplayed! MB 12

M0780. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Passacaglia, in c (Bach), 4s. 2-12” black PW Electrola EJ 5798/79, POM-28 Jan. / 1 May, 1929. M-A, glorious copy of preferred Electrola pressing appears unplayed! MB 15, the Pair.

M0781. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Das wohltemperierte Klavier - Prelude in e-flat / Ich ruf’ zu dir, Herr Jesu Christ (both Bach). 12” Scroll V 6786, on ‘Z’ shellac, POM-10 Dec. / 13 Oct., 1927. M-A, appears unplayed! MB 12

M0782. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #2 - Rhumba, (Complete, as recorded) / Festival of the Workers – Dance of the workers (both Harl McDonald). 12" Australian HMV DB 2913, POM-25 Nov., 1935. [These stunning recordings were issued at the height of the Great Depression, thus enjoyed limited circulation] M-A, choice copy of Australian pressing with quiet surfaces! MB 20

M0783. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Rienzi – Overture, 3s. / Sd.4 = Götterdämmerung - Finale (both Wagner). 2-12” Scroll V 6624/25, on ‘Z’ shellac, POM-18 Nov., 1926 / 6 Jan., 1927. M-A, beautiful copy has,. Sd.2 only, faintest rubs, inaud. & hardly worth mention. MB 15, the Pair.

M0784. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tristan und Isolde – Symphonic Synthesis (Wagner-Stokowski), 8s. 4-12” Scroll V 7625/28, on ‘Z’ shellac, POM-16 April, 1932. M-A, appears unplayed! MB 35, the Set.

M0785. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal, Act III - Symphonic Synthesis (Wagner-Stokowski, 4s. 2-12” Scroll V 8617/18, on ‘Z’ shellac, POM-7 April, 1934. M-A, appears unplayed! MB 15, the Pair.

M0786. LEOPOLD STOKOWSKI -Cond. Philadelphia Orch.: Lohengrin - Prelude, Act I, 2s. (Wagner). 12” Scroll V 6791, on ‘Z’-type shellac, POM-13 Oct., 1927. M-A, appears unplayed! MB 12

M0787. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Hungarian dance #1 in g (Brahms-Stokowski) / The Red Poppy Ballet - Yablochko (Glière). 10” Scroll V 1675, on ‘Z’ shellac, POM-17 March, 1934. M-A, appears unplayed! MB 12

M0788. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #4 in a (Sibelius), 8s. 4-12" Scroll V 7683-86, on ‘Z’ shellac, POM-23 April, 1932, in Orig. Album M-160, w.Brochure. M-A, appears unplayed! MB 25

M0789. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal, Act III - Symphonic Synthesis (Wagner-Stokowski, 4s. 2-12” Scroll V 8617/18, on ‘Z’ shellac, POM-7 April, 1934. M-A, appears unplayed! MB 15, the Pair.

M0790. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.LAWRENCE TIBBETT: Die Walküre – Excerpts, 8s. 4-12” Scroll V 8542/45, on ‘Z’ shellac; (1st disk only) on ‘Z’-type shellac, POM-30 April, 1934, in Orig. Album M-248, w.Brochure. M-A, appears unplayed! MB 35, the Set.

M0791. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le sacre du printemps (Stravinsky), 8s. 4-12” Scroll V 7231/34, on ‘Z’ shellac, POM-26 Sept., 1929 & 12 March, 1930. M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.

M0792. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L' Oiseau de Feu (1927 Version) (Stravinsky), 5s. / Sd.6 = Khovanschina – Entr'acte (Galitsin's Journey) (Mussorgsky). 3-12” Scroll V 7047/49, on ‘Z’ shellac, POM-12 Oct., 1927. M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.

M0793. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L' Oiseau de Feu (1935 Version) (Stravinsky), 5s. / Sd.6 = Prelude in E-flat (Shostakovitch). 3-12” Scroll V 8926/28, on ‘Z’-type shellac, POM-25 Nov. / 30 Dec., 1935, in Orig. Album M291, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0794. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w Davies, Cathcart, Betts & Lowenthal: ‘Choral’ Symphony #9 in d (in English) (Beethoven), 19s. 10-12” Scroll V 8433/41-S, on ‘Z’ shellac, POM-30 April, 1934. M-A, appears unplayed! MB 45, the Set.

M0795. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Mischa Mischakoff (Violin): Scheherazade (1927 Version) (Rimsky-Korsakov), 12s. 6-12” Scroll V 6738-42, on ‘Z’-type shellac, POM-8-11 Oct., 1927, in Orig. Album M-23, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0796. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Alexander Hilsberg (Violin): Scheherazade (1934 Version) (Rimsky-Korsakov), 12s. [Alexander Hilsberg plays as if he is making love to his instrument. It is full of passion. The closing moments of the final movement are achingly beautiful]. 6-12” Scroll V 8698/8703, on ‘Z’-type shellac, POM-12 Nov., 1934, in Orig. Album M-269, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0797. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tod und Verklärung (Strauss), 6s. 3-12” Scroll V 8292/94, on ‘Z’ shellac, POM-7 April, 1934, in Orig. (rubbed) Album M217, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0798. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Salome - Dance of the Seven Veils (Strauss), 3s. / Sd.4 = Oriental Impressions – Japanese Nocturne (Eichheim). 2-12” Scroll V 7259/60, on ‘Z’ shellac, POM-5 Jan., 1929. M-A, appears unplayed! MB 15, the Pair.

M0799. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le poème de l'extase; Prometheus - Le poème de feu (both Scriabin), 8s. 4-12” Orth Vla 7517/20, on ‘Z’ shellac & ‘Z’-type shellac, POM-19 March., 1932, in Orig. Album M-125, w.Brochure. M-A, beautiful copy has faintest rubs, inaud.; 7517 has sl. marred label. MB 45, the Set.

M0800. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L'Arlésienne - Suite #1 (Bizet), 6s. 3-12” Scroll V 7127/29, on ‘Z’ shellac, POM-3-4 May, 1929. M-A, appears unplayed! MB 35, the Trio.

M0801. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Nocturnes - Nuages; Danses Sacrée et Profane; Le Cathédral engloutie (all Debussy); Mignon –Gavotte (Thomas), 8s. 4-12” Orth Vla 7453/56, on ‘Z’ shellac, [final disk is not on ‘Z’ shellac ], POM-2 / 4 May, 1929; 4 April, 1931, in Orig. Album M-116, w.Brochure. M-A, appears unplayed!

M0802. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Rapsodie espagnole (Ravel), 4s. 2-12” Scroll V 8282/83, on ‘Z’ shellac, POM-17 March, 1934. A to M-A, beautiful copy has faintest rubs, inaud. MB 12

M0803. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #1 in f (Shostakovich), 9s. [Breathtakingly beautiful . . . heard to great advantage on this remarkably quiet pressing!] 5-12" Scroll V 7884/88-S, on ‘Z’-type shellac, POM-18 Nov.,1933, in Orig.Album M-192. M-A, as unplayed! MB 35, the Set.

M0804. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #5 in d (Shostakovich), 12s. 6-12" PW V 15737/42, POM-20 April, 1939, in Orig.Album M-619. M-A, as unplayed! MB 35, the Set.

M0805. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #6 in b (Shostakovich), 9s. 5-12" silver V 18396-S/18400, POM-8 & 22 Dec., 1940, in Orig.Album DM-867, w.Brochure. M-A, as unplayed! MB 35, the Set.

M0806. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Walter Guetter (Bassoon): Symphony #5 (Tschaikowsky), 12s. 6-12" Scroll V 8589/94, on ‘Z’-type shellac, POM-12 Nov.,1934, in Orig. Album M-253, w.Brochure. M-A, as unplayed! MB 45, the Set.

M0807. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony in d (1935 Version), 11s. / Sd.12 = Panis Angelicus (both Franck). 6-12” Scroll V 8959/64, on ‘Z’-type shellac, POM-30 Dec., 1935, in Orig. Album M-300, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0808. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony in d (1927 Version) (Franck), 12s. 6-12” Scroll V 6726/30, on ‘Z’ shellac, POM-3-4 Oct, 1927 [plus the early 1927 disk, 6725, of Stokowski outlining the themes (obviously not on ‘Z’ shellac)], in Orig. Album M-223, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0809. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w. Marcel Tabuteau (oboe): 'From the New World' Symphony #9 in e (1934 Version) (Dvorák), 8s. 4-12” Scroll V 8742/46, on ‘Z’ shellac, POM-22 Oct., 1934. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 35, the Set.

M0810. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: 250th Anniversary Album, incl. Toccata in c – Adagio; Siciliano; Chaconne; Nun Komm, der Heiden Heiland; Komm, Süsser Tod; Sarabande (all Bach), 10s. 5-12" Scroll V 8492/96, on ‘Z’ shellac, POM-28 Oct., 1933; 7 & 30 April, 1934, in Orig. Album M 243, w.Brochure. M-A, appears unplayed! MB 35, the Set.

M0811. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: 'Unfinished' Symphony #8 in b (1924 Version) (Schubert), 6s. 3-12” AC-label V 6459/61, POM-18-19 April, 1924. [The first complete recording of this Symphony!] M-A, appears unplayed! MB 35, the Trio.

M0812. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: 'Unfinished' Symphony #8 in b (1927 Version) (Schubert), 6s. 3-12” Scroll V 6663/65, on ‘Z’ shellac, POM-28-30 April, 1927, in Orig. Album M-16, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0813. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #1 in c (Brahms), 10s. 5-12” Scroll V 8971/75, on ‘Z’-type shellac, POM-5 Jan., 1936, in Orig. Album M-301, w.Brochure. M-A, appears unplayed, albeit Sd.1 only has harmless wee ulc,. MB 45, the Set.

M0814. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #3 in F (Brahms), 10s. 5-12” Scroll V 6962/66, on‘Z’ shellac ‘& Z’-type shellac, POM-25-26 Sept., 1928, in Orig. Album M-42, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0815. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #4 in e (Brahms), 10s. 5-12” Scroll V 7830/34, on ‘Z’ shellac, POM-4 March & 29 April, 1933. M-A, appears unplayed. MB 45, the Set.,

M0816. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #7 in A (Beethoven), 10s. 5-12” Scroll V 6670/74, on ‘Z’ shellac, POM-30 April, 1927 [plus the early 1927 disk, 6679, of Stokowski outlining the themes (obviously not on ‘Z’ shellac), a heavily rubbed copy, marveling at Beethoven’s creation of such a joyous work during a period of personal melancholy, repeating the cliché about the Seventh being a ‘dance symphony’ then announcing and plinking out the major themes on a piano], in Orig. Album M-17, w.Brochure. M-A, appears unplayed! MB 45, the Set.

“The love of music is a continuous enjoying of beauty and sound…It has been a continual effort to make music more alive so that it is not a mechanical reproduction of what is on a piece of paper, but a real expression, as it always was with the greatest artists’.”
- Leopold Stokowski,
THE NEW YORK TIMES, 14 Sept., 1977


M0817. VINCENZO BELLEZZA Cond. Royal Opera House Orch.: Tancredi - Overture (Rossini), 2s. [Conducted at Met Opera, 1926-35] 12” Orth Vla 11137, POM-Feb., 1931. M-A, as unplayed. MB 8

M0818. VINCENZO BELLEZZA Cond. Royal Opera House Orch. & Chorus: Boris Godunov - Il vostro amor mi lascia indifferente / Salve a te, Zar Boris Teodorovic! 12" Orth Vla 9400, on ‘Z’ shellac, POM-9 July, 1928, Live Performance, Covent Garden. M-A MB 12

M0819. ARTURO TOSCANINI Cond. La Scala Orch.: Gagliarda (Galilei-Respighi). 12” Vla 74672, POM-18 Dec., 1920. M-A, with Reviewer’s ‘X’ in label. MB 12

M0820. ARTURO TOSCANINI Cond. La Scala Orch.: Scènes Pittoresques – La Fête Bohême (Massenet). 12” Vla 74725, POM-31 March, 1921. M-A, beautiful copy has very faintest rubs, certainly inaud. MB 12

M0821. ARTURO TOSCANINI Cond. La Scala Orch.: La Damnation de Faust – Rákoczy March (Berlioz). 12” Vla 74695, POM-24 Dec., 1920. M-A, lovely copy has faint rubs, inaud. MB 12

M0822. ARTURO TOSCANINI Cond. La Scala Orch.: Symphony #39 in E-flat – Menuetto, K.543 (Mozart). 12” Vla 74668, POM-18 Dec., 1920. M-A, lovely copy has faint rubs, inaud.; microscopic nd. MB 12

M0823. ARTURO TOSCANINI Cond. La Scala Orch.: Symphony #1 in C – Finale (Beethoven). 12” Vla 74690, POM-30 March, 1921. M-A, a beautiful copy! MB 12

M0824. ARTURO TOSCANINI Cond. La Scala Orch.: A Midsummer Night’s Dream - Wedding March (Mendelssohn). 12” Vla 74745, POM-11 March, 1921. M-A, a beautiful copy! MB 12

M0825. ARTURO TOSCANINI Cond. NYPO: A MIDSUMMER NIGHT'S DREAM – w.BRUNO JANEKE (French Horn): Nocturne; w.JOHN AMANS (Flute): Scherzo (Mendelssohn). 12" Gold Bruns. 50074, only form of issue, 4 Feb., 1926. M-A MB 15

M0826. ARTURO TOSCANINI Cond. NBC S.O.: Suite #3 in D - Air (Bach) / Orfeo ed Euridice - Dance of the blessed spirits (Gluck). RCA 12-3301, POM-1951. M-A, choice copy of beveled-edge pressing has faintest rubs, inaud. MB 12

M0827. ARTURO TOSCANINI Cond. NYPO: L'apprenti sorcier (Dukas), 2s. 12" Scroll V 7021, POM-18 March, 1929, Carnegie Hall, on ‘Z’ shellac. M-A, beautiful copy has faintest rubs, inaud. MB 12

M0828. ARTURO TOSCANINI Cond. NYPO: L’Italiana in Algeri – Overture (Rossini), 2s. 12” Scroll V 14161 , on ‘Z’-type shellac, POM-10 April, 1936. M-A, as unplayed. MB 12

M0829. ARTURO TOSCANINI Cond NYPO: La Traviata – Préludes, Acts I & III (Verdi), 2s. 12” Scroll V 6994, on ‘Z’-type shellac, POM-18 March, 1929. M-A, lovely copy has faintest rubs, inaud.; label stkr, Sd.1. MB 12

M0830. ARTURO TOSCANINI Cond. NYPO: ‘The Clock’ Symphony #4 in D (Haydn), 7s. / Sd.8 = A MIDSUMMER NIGHT'S DREAM - Scherzo (Mendelssohn). 4-12" Scroll V 7081/84, POM-29 / 30 March, 1929, Carnegie Hall, on ‘Z’ shellac, in Orig. Album AM-57, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0831. ARTURO TOSCANINI Cond. NYPO: ‘Haffner’ Symphony #35 in D, K.385 (Mozart), 5s / Sd. 6 = w.JOHN AMANS (Flute): Orfeo – Dance of the blessed spirits (Gluck). 3-12” Scroll V 7136/38, on ‘Z’-type shellac, POM-4-5 April / 21 Nov., 1929, in Orig. Album M-65, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0832. ARTURO TOSCANINI Cond. NYPO: Symphony #7 in A (Beethoven), 10s. 5-12” Scroll V 14097/14101, on ‘Z’-type shellac, POM-1936, in Orig. Album M-317, w.Brochure. M-A, appears unplayed. MB 25, the Set

M0833. ARTURO TOSCANINI Cond NYPO: Siegfried Idyll (Wagner), 4s. 2-12” Disco Grammofono DV 2920/21, POM-8 Feb., 1936. M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0834. ARTURO TOSCANINI Cond. NYPO: Lohengrin – Préludes to Acts I & III; Götterdämmerung – Dawn and Rhine Journey; Siegfried Idyll (all Wagner), 10s. 5-12” Scroll V 14011/15, on ‘Z’-type shellac, POM-8-9 April, 1936, in Orig. Album AM-308, w.Brochure. M-A, appears unplayed. MB 35, the Set.

M0835. ARTURO TOSCANINI Cond. NBC S.O.: Götterdämmerung - Rhine Journey - Rehearsal Extract, featuring the Mæstro's speaking voice! 12” S/S shellac Victor Private Pressing of Unpublished Mx.CS 068593, w.RCA spiderweb embossed back, only form of private issue, 1941 – RCA’s Musical Directors’ 1941 Seasonal Greetings record. M-A, a pristine copy! MB 35

"Some 'bootlegged' recordings of Toscanini rehearsals convey the volatile atmosphere of these sessions. In a foggy, croaking voice he 'sings' the way the phrase should go - and manages to transmit not only its shape but its hue as well. The rehearsal record of Siegfried's Rhine Journey gives an uncanny demonstration of this instantaneous communication of tonal color.”
- Roland Gelatt, MUSIC-MAKERS, p.87


M0836. ARTURO TOSCANINI Cond. NBC S.O.: All-Wagner Program, 6s. 3-12” 33 1/3 r.p.m. aluminum-base acetates from Carnegie Hall Recording Co., recorded at Toscanini’s Farewell Concert, 4 April, 1954. M-A, as unplayed. MB 25, the Set

M0837. ARTURO TOSCANINI Cond. NBC S.O.: Tristan und Isolde – Liebestod. 12” S/S Victor Private vinyl Pressing of Mx. 073219, w.RCA spiderweb embossed back, POM-19 March, 1942. M-A, beautiful unplayed copy has very faintest rubs, inaud. MB 15

M0838. VICTOR de SABATA Cond. Santa Cecilia Orch.. I Vespri Siciliani - Overture (Verdi), 2s. 12” LDVP DB 6444, POM-Feb., 1947. M-A, immaculate late Italian pressing with remarkably quiet surfaces. MB 8

M0839. VICTOR de SABATA Cond. E.I.A.R. S.O. JUVENTUS (Cond. by Composer), 4s. 2 12” red Decca Odeon G-25898/99, POM-29-30 Dec., 1933. M-A MB 15, the Pair.

“Gorgeous violins lead, Don Juan like, into the late Romantic syntax warmed by lavish portamenti – turbulent, energetic and distinctly central European. ’JUVENTUS dates’ from 1919. It's a 16-minute symphonic poem about youth beginning and ending with surging themes reminiscent of Korngold's ‘Sursum Corda’ written the same year.”
- Jonathan Woolf,MusicWebInternational


M0840. VICTOR de SABATA Cond. E.I.A.R. S.O.: Feux d’Artifice (Stravinsky) / Symphony of the Machines - Steel Foundry (Mossolov). 12” red Decca Odeon 25510, POM-1934. M-A MB 15

“Also active as a music official, Mosolov quickly found recognition within the young Moscow music scene and got to know many foreign colleagues, whose works were performed in Russia at the time not least due to his efforts, including Alban Berg, Paul Hindemith, Alfredo Casella, Darius Milhaud and Arthur Honegger. Among his contemporary countrymen, the Russian Alexander Mosolov certainly underwent one of the most individual of developments. However unknown, most of his compositions have remained during and after the Soviet Union and abroad, then and since, a single piece has ensured that his name has stayed lastingly present - the ‘Iron Foundry’ from the ballet STEEL FOUNDRY.”
- American Record Guide, Jan. / Feb., 2016


M0841. VICTOR de SABATA Cond. Santa Cecilia Orch.. JEUX (Debussy), 4s. 2-12” RCA 12-0536/37, POM-Jan.-Feb., 1947. [‘…at that time ‘Jeux’ was rarely heard and de Sabata had a special affection for it.’ - John L. Holmes, CONDUCTORS ON RECORD] M-A, pristine copy of late beveled-edge pressing. MB 15, the Pair.

M0842. VICTOR de SABATA Cond. Santa Cecilia Orch.. Il Segreto di Susanna - Overture / Il Quattro Rusteghi – Act II Intermezzo (both Wolf-Ferrari). 12” HMV DB 6786, POM-Feb., 1947. M-A, as unplayed. MB 8

M0843. VICTOR de SABATA Cond. Santa Cecilia Orch.. FONTANE DI ROMA (Respighi), 4s. 2-12” RCA 12-1046/47, POM-Jan., 1947, in Orig.Album DB 1337. . M-A, choice copy of late beveled-edge pressing. MB 15, the Set.

M0844. VICTOR de SABATA Cond. E.I.A.R. S.O., w.Pia Tassinari, Ebe Stignani, Ferruccio Tagliavini & ItaloTajo: REQUIEM, K.626 (Mozart), 16s. 8-12” dark-green Cetra SS.1001/08, POM-Dec., 1941. M-A, lovely copy has faint rubs, inaud. MB 35, the Set.

M0845. VICTOR de SABATA Cond.Berlin Phil.. GALÁNTAI TÁNCOK (Kodály), 4s. 2-12”DG 69447/48, POM-April, 1939, in Orig. Album DGS 12. M-A, as unplayed. MB 15, the Set.

“A primary characteristic of virtually all great conductors is intensity, and de Sabata could galvanize an orchestra like no one else. A prime example from these 1939 sessions with the Berlin Philharmonic is a hair-raising performance of Kodaly’s DANCES OF GALANTA in which the rubato in the slow sections is mesmerizing and authoritative, and the faster sections go like the wind, with astonishing precision.”
- Paul E. Robinson, Classical Voice North America


M0846. VICTOR de SABATA Cond.Berlin Phil.. FESTE ROMANE (Respighi), 7s. 4-12” DG 69251/54, POM-April, 1939, in Orig. Album DGS 3. M-A, as unplayed. MB 25, the Set.

M0847. VICTOR de SABATA Cond.Berlin Phil.. Tod und Verklärung (Strauss), 5s. 3-12” DG 69283/85, POM-April, 1939. A-, lovely copy has faint rubs, inaud. MB 15, the Trio.

M0848. VICTOR de SABATA Cond. London Phil.. EN SAGA, 5s. / Sd.6 = Valse triste (both Sibelius). 3-12” red Eng.Decca. K.1504/06, POM-May, 1946, in Orig. Album EDA 49. M-A, as unplayed. MB 25, the Set.

“In my opinion, the best of the LPO recordings is the performance of Sibelius’ EN SAGA; the quiet passages are wonderfully atmospheric, and de Sabata whips up plenty of excitement in the fast sections.”
- Paul E. Robinson, Classical Voice North America


M0849. VICTOR de SABATA Cond. London Phil.. ‘Eroica’ Symphony #3 in E-flat (Beethoven), 12s. 6-12” red Eng.Decca. AK.1507/13, POM-May, 1946, in Orig. Album ED 19. M-A, beautiful copy has faintest rubs, inaud. MB 25, the Set.

M0850. VICTOR de SABATA Cond. London Phil.. Le Carnaval romain (Berlioz), 2s. 12” red Eng.Decca. K.1552, POM-May, 1946. M-A, as unplayed. MB 8

M0851. ETTORE PANIZZA Cond. La Scala Orch.: ‘Italian’ Symphony #4, 7s. / Sd.8 - A MIDSUMMER NIGHT'S DREAM - Scherzo (both Mendelssohn). 4-12” Scroll V 11174/77, on ‘Z’ shellac, POM-1931/’28, resp., in Orig. Album AM-119, w.Brochure. M-A, beautiful copy has faintest rubs, inaud. MB 25, the Set.

“Born in Buenos Aires in 1875, Panizza made his debut as assistant conductor at the Rome Opera when only 22. He was most closely associated with La Scala, Milan, the Royal Opera House in London, New York’s Met and the Teatro Colón in Buenos Aires. Interestingly, when Toscanini conducted the premiere of Puccini’s TURANDOT he stopped at the point where Puccini ceased writing, thus allowing Panizza to be the first to conduct the opera as completed by Alfano.”
- Bob Briggs, MusaicWebInternational


M0852. LORENZO MOLAJOLI Cond. La Scala Orch.: I Pini di Roma (Respighi), 6s. 3-10” dark-blue PW Eng. Col. 5310/12, POM-1928. M-A, as unplayed. MB 15, the Trio.

M0853. LORENZO MOLAJOLI Cond. La Scala Orch.: Fontane di Roma (Respighi), 4s. 2-12” dark-blue PW Eng. Col. 9833/34, POM-1928. M-A, as unplayed. MB 15, the Pair.

M0854. LORENZO MOLAJOLI Cond. La Scala Orch.: Feste Romane (Respighi), 2s. 12” PW Col. 69017-D, POM-1928. A-, very decent copy has lt.rubs, inaud. MB 8

M0855. LORENZO MOLAJOLI Cond. La Scala Orch.: Masaniello – Overture (Auber), 2s. 12” PW dark-blue Eng. Col. DX 187, POM-1928. M-A, lovely copy has, Sd.1 only, wee dust scrabble, just barely audible 2 or 3 turns. MB 8

M0856. LORENZO MOLAJOLI Cond. Berlin Staatsoper Orch.: I Vespri Siciliani - Overture (Verdi), 2s. 12” black German Polydor 66581, POM-1927. A-, lovely copy has lt.rubs, inaud. MB 8

M0857. LORENZO MOLAJOLI Cond. La Scala Orch.: Fra Diavolo – Overture (Auber), 2s. 12” PW dark-blue Eng. Col. DX 154. M-A, lovely copy has faintest rubs, inaud. MB 8

M0858. LORENZO MOLAJOLI Cond. Berlin Staatsoper Orch. & Chorus: Cavalleria – Prelude; Entrance Chorus; w.JOSÉ RIAVEZ (T): O Lola (Mascagni), 4s. 2-12” dark-blue PW US-Odeon 5140/41, POM-1927. M-A, lovely copy has faintest rubs, inaud. MB 15, the Pair,

M0859. LORENZO MOLAJOLI Cond. Berlin Staatsoper Orch.: Guillaume Tell - Overture (Rossini), 4s. 12” blue Viva-Tonal Col. G-7161/62-M, POM-1927. M-A, superlative copy has very occasional faintest rub, inaud. MB 15, the Pair.

M0860. LORENZO MOLAJOLI Cond. La Scala Orch.: La Cenerentola - Overture (Rossini), 2s. 12” dark-blue Eng. Col. DX 704, POM-1928. M-A , as unplayed, albeit Sd.2 only has faint rub, inaud. MB 8

M0861. LORENZO MOLAJOLI Cond. La Scala Orch.: Semiramide – Overture (Rossini), 3s. / Sd.4 = Cavalleria – Intermezzo (Mascagni). 2-12” dark-blue PW Eng. Col. 9663/64, POM-1927. M-A, superlative copy has, Sd.3 only, very occasional faintest rub, inaud. MB 15, the Pair.

M0862. LORENZO MOLAJOLI Cond. La Scala Orch.: La Gioconda – Dance of the Hours (Ponchielli), 2s. 12” dark-blue Eng. Col. DX 11, POM-1928. M-A, as unplayed. MB 8

M0863. LORENZO MOLAJOLI Cond. La Scala Orch.: La Giara - Suite Sinfonica (Casella), 2s. [‘La Giara’ is a comedy ballet written in 1924 at the suggestion of Erik Satie and premiered that same year. The symphonic suite was arranged at the request of Willem Mengelberg who conducted its premiere in New York] 12” black PW Eng. Col. 11721, POM-1928. M-A MB 15

M0864. LORENZO MOLAJOLI Cond. La Scala Orch.: Semiramide – Sinfonia (Rossini), 2s. 12” green Viva-Tonal Col. 52057-X, POM-1927. M-A, superlative copy has, Sd.1 only, very occasional faintest rub, inaud. MB 12

M0865. LORENZO MOLAJOLI Cond. La Scala Orch.: Semiramide – Overture, 3s. / Sd.4 = Cavalleria – Intermezzo (both (Rossini)). 2-12” dark-blue PW Eng. Col. 9663/64, POM-1927. M-A, superlative copy has, Sd.3 only, very occasional faintest rub, inaud. MB 15, the Pair.

M0866. LORENZO MOLAJOLI Cond. La Scala Orch.: Mignon - Overture (Thomas), 2s. 12” dark-blue PW Eng. Col. 9759, POM-1928. M-A, as unplayed. MB 8

M0867. LORENZO MOLAJOLI Cond. La Scala Orch.: Forza – Overture (Verdi), 2s. 12” black Viva-Tonal Col. 50172-D, POM-1927. M-A, a superlative copy! MB 12

M0868. LORENZO MOLAJOLI Cond. La Scala Orch.: L’Amico Fritz – Intermezzo / Cavalleria – Intermezzo (both Mascagni). 12” black Viva-Tonal Col. 50167-D, POM-1927. A to M-A, lovely copy has faintest rubs, inaud. MB 12

"The shadowy figure of Lorenzo Molajoli is a mystery in the annals of opera. Nothing seems to be known of his career other than that he conducted many recordings in the 1920s and 1930s, mostly for Columbia in Milan. From the evidence of those discs he was clearly a very competent musician, experienced at handling large orchestral and vocal forces - and yet where? What can be established is that he served with considerable distinction as the house conductor in Milan for Italian Columbia, recording complete operas and accompanying a large number of singers, in addition to making recordings of a number of operatic overtures. Molajoli conducted twenty complete or abridged operas for Columbia between 1928 and 1932."
- Paul Campion


M0869. ANTONIO GUARNIERI Cond. Milan S.O.: Antique Danze ed Arie – Villanella (Respighi), 2s. 12” red & gold Fonotipia E-5111 (xxPh 6180/81), POM-16 Feb., 1928. M-A, superb copy has numerous gold flecks - residue from the bright labels. MB 12

Antonio Guarnieri succeeded Arturo Toscanini at La Scala in 1929 and stayed there until shortly before his death. A highly regarded technician at the podium, he conducted many important world premières, Ottorino Respighi's BELFAGOR, for instance.
- Wikipedia


M0870. MARINO CREMESINI Cond. Cantori Bolognese: Sestina - Lagrime d'Amante al Sepolcro dell' Amata (Monteverdi), 6s. 3-12” early PW Col. 68295/97-D, POM-1928, on Royal Blue Shellac, in Orig. Col. Album #218. M-A, as unplayed! MB 35, the Set.

M0871. ARMANDO LA ROSA PARODI Cond. EIAR S.O.: Il Matrimonio Segreto – Sinfonia (Cimarosa), 2s. 12” dark-blue Cetra CB 20216, POM-23 July, 1939. M-A, appears unplayed. MB 12

M0872. ARMANDO LA ROSA PARODI Cond. EIAR S.O.: Il Portatore d’Acqua – Sinfonia (Cherubini), 2s. 12” dark-blue Cetra CB 20218, POM-23 July, 1939. M-A, appears unplayed. MB 12

M0873. ARMANDO LA ROSA PARODI Cond. EIAR S.O.: L’Assedio di Corinto – Overture (Rossini), 2s. 12” dark-blue Parlophone DPX 30,POM-23 July, 1939. M-A, appears unplayed. MB 8

M0874. GINO MARINUZZI Cond. La Scala Orch.: FEDRA – Overture (Pizzetti), 2s. 12” Burgundy Telefunken La Scala label SKB 3202, POM-1941. M-A, as unplayed. MB 15

“The selection of Marinuzzi’s 78s is limited largely to overtures, which indicates the main focus of his musical life, opera. Given the conductor’s work on behalf of Pizzetti, it’s valuable to find an example from FEDRA (Telefunken, 1941), played with resplendent command. Marinuzzi should be far better known than he is.
- Jonathan Woolf, MusicwebInternational


M0875. GINO MARINUZZI Cond. La Scala Orch.: I Vespri Siciliani - Overture (Verdi), 2s. 12” green Capitol Telefunken 82000, POM-1941. M-A, superb copy has wee inaud. pap.scr, Sd.2. MB 8

M0876. SERGIO FAILONI Cond. EIAR S.O.: Antique Danze ed Arie – Villanella (Respighi), 2s. 2-12” dark-green Cetra BB 25017/18, POM- 1947, in Orig. Cetra Album. M-A, appears unplayed. MB 15, the Set,

“In 1947 Sergio Failoni was invited to make his debut at the Metropolitan Opera, however, he suffered a stroke and died the following year. He was regarded as one of the leading interpreters of the Italian repertoire.”
- Nicolas Slonimsky


M0877. CARLO SABAJNO Cond. La Scala Orch.: Barbiere – Overture (Rossini). 12” white Vla 68010-B (576c), POM-1905. M-A, lovely copy has faint rubs, inaud. MB 10

M0878. ARTHUR PRYOR’s BAND: Orfée aux Enfers – Overture (Offenbach) / Forza - Overture (Verdi). 12” black Pat.’08 V 35215, only form of issue,15 / 17 Nov., 1911. M-A, a spectacular copy! MB 15

M0879. GUIDO CANTELLI Cond. Santa Cecilia Orch.: L’Assedio di Corinto – Overture (Rossini), 2s. 12” LVDP DB 11324, only form of issue, 9 May, 1949. M-A, choice late Italian pressing with remarkably quiet surfaces. MB 10

M0880. GUIDO CANTELLI Cond. NBC S.O. Symphony #93 in D (Haydn), 6s. 3-12” RCA 12-0996/98, POM-2 March, 1949, in Orig. Album DM 1323. M-A, beautiful copy of choice, late beveled-edge pressing has, 1st disk only, minuscule hlc forming. MB 15, the Set.

“When Toscanini returned to Italy after the war, Cantelli had already begun to establish his reputation as a conductor, and he had the talent and good fortune to impress Toscanini who, after a few meetings, put the protective arm of his endorsing patronage around the shoulders of his very young countryman. No other conductor in the history of the art has established, so early in life, so wide a fame.”
- Walter Legge (HMV record producer)
, WORDS AND MUSIC, p.228


M0881. ANGELO ALBERGONI Cond. Milan S.O.: L’Assedio di Corinto – Overture (Rossini), 2s. 12” dark-blue Eng. Parlophone E 11169 (xxPh 5947/48), POM-21 May, 1927, Albergoni’s name not on label. M-A, as unplayed, albeit has faintest rubs, inaud. MB 8

M0882. ANGELO ALBERGONI Cond. Milan S.O.: Nabucco – Sinfonia (Verdi), 2s. 12” dark-blue Eng. Parlophone E 11205 (xxPh 5977/78), POM-26 May, 1927, M-A, as unplayed, albeit Sd.2 has 2 wee scrs, inaud. MB 8

M0883. ANGELO ALBERGONI Cond. Milan S.O.: I Vespri Siciliani - Overture (Verdi), 2s. 12” red & gold Fonotipia E-5065 (xxPh 5954/74), POM-21 / 26 May, 1927, Albergoni’s name not on label. M-A, as unplayed! MB 12

M0884. ANGELO ALBERGONI Cond. Milan S.O.: La Fille du Régiment – Overture (Donizetti), 2s. 12” red Decca-Odeon 25082 (xxPh 6318/19), POM-18 June, 1928. [Albergoni’s name not on label] M-A, as unplayed! MB 8

M0885. ARTHUR PRYOR’s BAND: Marche slave ‘Take’ 3 (Tschaikowsky) / BANDA DE POLICÍA DE MÉXICO: Semiramide - Overture ‘Take’ 1 (Rossini). 12” black V 35167, only form of issue,19 Sept., 1910 / 10 July, 1907. M-A, a spectacular copy . . . of equally stunning performances not to be overlooked, especially by wind enthusiasts! MB 15

M0886. MIKLOS ROZSA Cond. M-G-M Orch.: Madame Bovary – Potpourri (Cond. by the Composer) 4s. 2-10” vinyl M-G-M 30208/09, only form of issue, 1949 (from M-G-M soundtrack), in Orig. M-G-M Album 43. M-A MB 25, the Set.

M0887. GUILLAUME BALAY Cond. La Musique de la Garde Républicaine: Dionysiaques (Florent Schmitt), 4s. 2-10” plum PW Disque Gram. K-5336/37, only form of issue, 1927. A-, very decent copy has lt.rubs, inaud. MB 20, the Pair.

“One of the most fascinating and forward-looking works in the concert band repertoire was penned by Florent Schmitt back in 1913-14. ‘Dionysiaques’ was composed for France’s elite Garde Républicaine Band, which premiered the work in 1925.

Dionysiaques is a brilliant, 11-minute tour de force that takes the listener on an incredible sound journey. Although the work is not really programmatic, its title suggests a Dionysian orgy, which is fully realized in the intensity of the music with its interesting contrasts: brooding chromaticism alternating with thrilling tutti climaxes. The composer Pierre-Octave Ferroud, one of Schmitt’s pupils, sensed in the work ‘the overflowing of sap in springtime’.

Moreover, the score has an intriguing orchestration, calling for several unusual instruments such as the sarrusophone, bass saxophone, pedal clarinets and even double basses! Like many of Schmitt’s compositions, the music is a challenge for performers, which may partially explain why it took many decades for ‘Dionysiaques’ to become a staple of the concert band repertoire.

This 1927 Balay recording was released on the Gramophone label, with the music spread over four sides of 78-rpm disks. What gives ‘Dionysiaques’ its staying power as a concert band piece? It is highly inventive … always fresh and interesting … and in the end, completely thrilling. Rarely does one hear a piece of music that takes the listener through so many moods and contrasts inside of a dozen minutes. In short, ‘Dionysiaques’ has been around for a century, but it never grows old.
- Phillip Nones , 25 Sept., 2012


M0888. GUILLAUME BALAY Cond. La Musique de la Garde Républicaine: Antoine et Cléopâtre: Sélamlik (Divertissement) / Le Camp de Pompée (Florent Schmitt), 2s. 12” plum PW Disque Gram. L-766, only form of issue, 13 March, 1929. A-, very decent copy has lt.rubs, inaud. MB 15

“Schmitt's ANTOINE ET CLÉOPÂTRE music was written for André Gide's 1920 production of Shakespeare's ANTONY AND CLEOPATRA. The composer assembled two suites from the incidental music. The ensemble credit is given on the label as simply ‘Musique d'Harmonie’; the conductor is Guillaume Balay, the former director of the famous Garde Républicaine band who conducted the 1909 premiere of SÉLAMLIK. The work itself was inspired by a trip Schmitt took to Turkey in 1905, and the title refers to the portion of the Turkish home reserved for the company of men only, inspired by the Turkish ceremonial guard units assigned to the Sultan in Constantinople which Schmitt witnessed on parade when visiting the Ottoman Empire in the early 1900s. SÉLAMLIK conjures up an atmosphere of raucous celebration nearly continuously throughout its entire five-minute duration.”
- Jeff Crompton, 19 Jan., 2017


M0889. MAURICE JAUBERT Cond. Lamoureux Orch.: Ballade (Cond. by the Composer), 2s. 12” MasterWorks Col. 69019-D, POM-1935. A-, very decent copy has lt. rub & infinitessimal edge lams, inaud. MB 10

“As music director of Pathé-Nathan studio, Jaubert conducted the film scores of several other composers, including Arthur Honegger and Darius Milhaud. He regularly conducted at concerts in France and abroad; he was a strong supporter of Kurt Weill when that composer was widely misunderstood.”
- Wikipedia


M0890. PAUL PARAY Cond. Concerts Colonne Orch.: A Night on Bare Mountain (Mussorgsky), 2s. 12” early PW Col. 68305-D, on Royal Blue Shellac, POM-25 May, 1934, M-A, superb copy of excellent Royal Blue Shellac pressing. MB 15

M0891. PAUL PARAY Cond. Concerts Colonne Orch.: ‘Pastorale’ Symphony #6 in F, 9s / Sd.10 = Die Ruinen von Athen – Overture (both Beethoven). [Elegant woodwinds play with great panache and personality by Beethoven’s brook, contributing to an increasingly passionate scene. The Storm is one of the most alarming, hair-raising ever: strings caught in the path of brass and drums scamper like mice’ - Arthur Bloomfield] 5-12” early PW Col. 68239/43-D, POM-23 May, 1934, in Orig. Album 201. M-A, superb copy of excellent 1934 pressing. MB 25, the Set.

M0892. ANDRÉ MESSAGER Cond. Paris Conservatoire Orch.: Le Rouet d’Omphale / Le Déluge – Prelude (both Saint-Saëns). 12” Tri-Color Col. A6087, POM-15 Oct., 1918. A to M-A MB 12

M0893. GABRIEL PIERNÉ Cond. Colonne Orch.: Gwendoline - Overture, 3s. / Sd.4 = Ronde villageoise (both Chabrier). 2-12” red Decca-Odeon 25312/13, POM-17 Jan. 1930. A to M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0894. GABRIEL PIERNÉ Cond. Colonne Orch.: Rapsodie norvégienne (Lalo), 2s. 2-12” red Decca-Odeon 25331/32, POM-6 March, 1929. M-A MB 15, the Pair.

M0895. GABRIEL PIERNÉ Cond. Colonne Orch.: Ma Mère l’Oye (Ravel), 3s. / Sd.4 = L' Oiseau de Feu – Berceuse (Stravinsky). 2-12” red Decca-Odeon 25319/20, POM-28 April / 16 March, 1928. M-A MB 15, the Pair.

M0896. GABRIEL PIERNÉ Cond. Colonne Orch.: Le Coq d’Or – Introduction & Bridal Procession (Rimsky-Korsakov), 2s. 12” red Decca-Odeon 25382, POM-30 March, 1928. M-A MB 10

M0897. GABRIEL PIERNÉ Cond. Colonne Orch.: Prélude à L’après-midi d’un Faune (Debussy), 2s. 12” red Decca-Odeon 25392, POM-10 Feb., 1930. M-A MB 10

M0898. GABRIEL PIERNÉ Cond. Colonne Orch.: In the steppes of Central Asia (Borodin), 2s. 12” red Decca-Odeon 25390, POM-121 Nov., 1928. M-A MB 10

M0899. GABRIEL PIERNÉ Cond. Colonne Orch.: Feu d’artifice / Suite pour petit Orchestre - Polka and Galop (both Stravinsky). 12” red Decca-Odeon 25309, `POM-21 Nov., 1928 / 16 Dec., 1929. M-A MB 10

M0900. GABRIEL PIERNÉ Cond. Colonne Orch.: Suite pour petit Orchestre (Stravinsky), 2s. 12” early PW Col. G-68141-D, on Royal Blue Shellac, POM-16 Dec., 1929. M-A, beautiful copy with remarkably quiet surfaces has, Sd.1 only, very lt. audible scr at end; Sd.2 only has several minuscule lams, hardly worth mention. MB 15

M0901. GABRIEL PIERNÉ Cond. Colonne Orch.: Suite pour petit Orchestre (Stravinsky), 2s. 12” red Decca-Odeon G-25886, POM-16 Dec., 1929. M-A, lovely copy has faint rubs, inaud. MB 8

M0902. GABRIEL PIERNÉ Cond. Colonne Orch.: Petrouchka (Stravinsky), 5s. / Sd.6 = Sérénade pour la poupée (Debussy). 3-12” red Decca-Odeon 25526/28, POM-23 Nov., 1928 / 9 Dec., 1929. M-A MB 20, the Trio.

M0903. GABRIEL PIERNÉ Cond. Colonne Orch.: Pavane pour une Infante défunte (Ravel), 2s. 12” French Odéon 123.617, POM-19 Feb., 1929. A-, lovely copy has faint rubs, inaud. MB 10

M0904. GABRIEL PIERNÉ Cond. Colonne Orch.: Samson et Dalila - Bacchanale (Saint-Saëns), 2s. 12” red Decca-Odeon 25334, POM-5 Dec., 1930. M-A, lovely copy has faint rubs, inaud. MB 8

M0905. GABRIEL PIERNÉ Cond. Colonne Orch.: Images - Ibéria (Debussy), 6s. 3-12” red Decca-Odeon 25558/60, POM-3 Dec., 1930. M-A, lovely copy has faint rubs, inaud. MB 20, the Trio.

M0906. GABRIEL PIERNÉ Cond. Colonne Orch.: A Midsummer Night’s Dream - Excerpts (Mendelssohn), 4s. 2-12” red Decca-Odeon 25399 / 25400, POM-15 Dec., 1930. M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0907. GABRIEL PIERNÉ Cond. Colonne Orch.: Die Meistersinger – Prelude, Act III (Wagner), 2s. 12” red Decca-Odeon 25502, POM- 13 Jan., 1930. M-A, lovely copy has, Sd.2 only, faintest rubs, inaud. MB 10

M0908. GABRIEL PIERNÉ Cond. Colonne Orch.: Le Roi d’Ys - Overture (Lalo), 4s. 2-12” red Decca-Odeon 25380/81, POM-10 June, 1930. M-A MB 15, the Pair.

M0909. GABRIEL PIERNÉ Cond. Colonne Orch.: L' Arlésienne - Suites 1 & 2 (Bizet), 8s. 4-12” red Decca-Odeon 25513/16, POM-7-10 Feb., 1930. M-A MB 35, the Set.

M0910. GABRIEL PIERNÉ Cond. Colonne Orch.: Ramuntcho (Cond. by the Composer), 2s. 12” French Odéon 123.574, POM- 21 Nov., 1928. M-A, a spectacular copy! MB 12

M0911. GABRIEL PIERNÉ Cond. Colonne Orch.: Cydalise et le Chèvre-Pied (Cond. by the Composer), 4s. 2-12” Viva-Tonal Col. G-68035/36-D, POM- 14 May, 1930. M-A, a gorgeous copy! MB 35, the Pair.

M0912. GABRIEL PIERNÉ Cond. Colonne Orch.: Psyché, 5s. / Sd.6 = Prélude, Chorale & Fugue – Chorale (both Franck). 3-12” Viva-Tonal Col. G-67991/93-D, POM-6 March / 9 Dec., 1929, in Orig. Album 164, w.Brochure. M-A, a gorgeous copy! MB 35, the Set.

M0913. GABRIEL PIERNÉ Cond. Colonne Orch.: Bourrée fantasque (Chabrier), 2s. 12” French Odéon 123.545, POM- 20 April, 1928. M-A, lovely copy has very faintest rubs, inaud. MB 10

M0914. GABRIEL PIERNÉ Cond. Colonne Orch.: Carnaval romain (Berlioz), 4s. 2-12” Viva-Tonal Col. G-67744/45-D, POM-16 March, 1928. M-A, lovely copy has very faintest rubs, inaud.; Sd.4 only has wee lam. MB 15, the Pair.

M0915. GABRIEL PIERNÉ Cond. Colonne Orch.: Marche héroïque (Saint-Saëns), 2s. 12” French Odéon 123.749, POM- 12 Jan., 1931. M-A, lovely copy has very faintest rubs, inaud. MB 10

M0916. GABRIEL PIERNÉ Cond. Colonne Orch.: Nocturnes (Debussy), 6s. 3-12” Viva-Tonal Col. G-68020/22-D, POM-16 May, 1929. M-A, a gorgeous copy! MB 25, the Trio.

M0917. GABRIEL PIERNÉ Cond. Colonne Orch.: Nocturnes (Debussy), 6s. 3-12” red Decca-Odeon 25544/46, POM-16 May, 1929. M-A, appears unplayed! MB 25, the Trio.

M0918. GABRIEL PIERNÉ Cond. Colonne Orch.: Rédemption (Franck), 4s. 2-12” French Odéon 123.733/34, POM-12 Nov., 1930. M-A, a gorgeous copy! MB 15, the Pair.

“Gabriel Pierné was a highly accomplished French composer of many and attractive works. Also an esteemed conductor, he was a master of orchestration. Although he was a classmate of Claude Debussy at the Paris Conservatory, he did not follow the latter's lead in harmonic practice. However, he seems to have added the new orchestral colors pioneered by Debussy and Ravel to his orchestral palette. Pierné was apparently commissioned to write ‘Cydalise et le Chèvre-Pied’ in 1913, the same year in which Stravinsky's RITE OF SPRING was premiered. Yet it is not even as advanced as Stravinsky's first ballet, FIREBIRD, as far as accepting modernism is concerned. The fluency and charm of the finest pages of this ballet score have much of the sophisticated naïveté of Fauré's ‘Dolly’ Suite, Ravel's ‘Mother Goose’, or Debussy's ‘Children's Corner’. It also has a lush eroticism reminiscent of Ravel's ‘Daphnis et Chloé’.

After the libretto of the ballet was worked out, Pierné started composition in 1914 and finished the score in 1915. The Opéra de Paris immediately accepted it, but could not produce it under wartime conditions. Its premiere was thus delayed until January 15, 1923. By that time, the score was quite out of date. Nevertheless, the Parisian audience and the critics accepted it wholeheartedly. Paradoxically, if it had been modernist at the time Pierné wrote it, it would have been an outdated form of modernism. The critics recognized it as representing an ‘old school’ of composition. It is brilliantly orchestrated, and has some touches absorbed from Debussy, such as use of ancient modes and the whole-tone scale, but its harmony remains traditionally functional. Pierné is much given to developing a single tone color to represent each of his main characters, and uses imaginative tone colors, bright melodies, and catchy rhythms throughout.”
- Joseph Stevenson, allmusic.com


M0919. GABRIEL PIERNÉ Cond. Colonne Ensemble - Darrtieux, Alès, Lopes, Juste, Blanquart, Beghin, Dervaux, & Jean Doyen: GIRATION (Cond. by the Composer), 2s. 12” French Col. LFX 337, POM-12 Jan., 1934. +M-A, lovely copy has very faintest rubs, inaud. MB 15

“Gabriel Pierné has been called the most complete French musician of the late Romantic/early twentieth century era. In his own music Pierné blended a seriousness of purpose (acquired in part through his studies with César Franck) with a lighter, more popular flavor reminiscent of Jules Massenet (with whom Pierné also studied); his dedication to the music of his contemporary French composers earned him a reputation as a conductor of deep integrity.

In 1890 Pierné succeeded his teacher, Franck, as organist at St. Clotilde cathedral, a distinct honor for a young man of 27. In the late 1890s he abandoned his career as an organist and in 1903 made his debut as assistant conductor of the Concerts Colonne (of which he served as principal conductor from 1910 to 1934, devoting a great deal of rehearsal time to the preparation of new works). In addition to his activities on the podium, Pierné served on the administration of the Paris Conservatoire and composed for the Ballet Russes (three successful ballets produced between 1923 and 1934). In the years prior to his death in 1937 he was elected to the Académie des Beaux Arts and made a Chevalier of the Légion d'honneur.

Pierné avoided symphonic form in favor of orchestral poems and character pieces. While Pierné's large-scale works showcase a solid grasp of musical architecture, the smaller chamber works (sonatas for both violin and cello and a String Quintet, among other pieces), are more indicative of his exceptional facility.
- Blair Johnston, allmusic.com


M0920. LOUIS BILLAUT Cond.: Rapsodie limousine (Cond. by the Composer), 2s. 12” plum PW Disque Gram. L-884, only form of issue, 23 March, 1931. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 20

M0921. REYNALDO HAHN Cond.: Le Bal de Béatrice d’Este (Cond. by the Composer), 4s. 2-12” plum Disque Gram. L-990/91, POM-17 April, 1935, issued France & Japan only. M-A, choice pair has, Sd.2 only, tiny neatly mended lateral edge lam into initial grooves. MB 20, the Pair.

M0922. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch.: La Valse (Ravel), 4s. 2-12” PW Eng. Col. L2245/46 , POM-1930. M-A, as unplayed! MB 15, the Pair.

M0923. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch.: Les Chants de la Mer (Cond. by the Composer), 4s. 2-12” MasterWorks Col. 69335/36-D, POM-1930. M-A, as unplayed! MB 20, the Pair.

M0924. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch.: Les Chants de la Mer (Cond. by the Composer), 4s. 2-12” white Japanese Col. Test Pressings for Mx. LX 1317/19; 1324-2, POM-1930. M-A, appears unplayed! MB 20, the Pair.

“Flautists know well Gaubert’s name, [thus] It will come as no surprise that he was a virtuoso of the flute standing in succession to his teacher Taffanel. In Gaubert's own 1930 LES CHANTS DE LA MER recording, it drifts in delight between the Franck of PSYCHÉ, the Bax of FAND and Mediterranean and, inescapably Debussy's LA MER. There is a sovereign weight to the third and last movement as well as mystical communion with far marine horizons. It is into the tremble and shimmer of those horizons that the music finally evaporates. “
- Rob Barnett, musicweb-international


M0925. HENRI SAUGUET Cond. Lamoureux Orch.: Les Forains (Cond. by the Composer), 6s. 3-12”black French Polydor 566.254/56, POM-1945. M-A, choice copy appears unplayed, albeit very occasional infinitesimal pap. scr, inaud. MB 25, the Trio.

“LES FORAINS has fared better than Sauguet’s symphonies in having at least two commercial recordings made. Here we meet the composer in lighter vein. The score was composed in 1945, so is contemporaneous with the First Symphony. Its inspiration is the travelling gypsy circuses of Bordeaux, and Sauguet infuses this intensely colourful score not only with copious melody, wit and exuberance, but also with more pensive moments. It's beneficial having the composer's own thoughts on the work in this thrilling performance.”
- Stephen Greenbank, musicweb-international


M0926. JACQUES IBERT Cond.: Divertissement pour Orchestre de Chambre (Cond. by the Composer), 4s. 2-10” plum PW Disque Gram. K-7573/74, only form of issue, 1935. M-A MB 35, the Pair.

“Composed in 1929/30, DIVERTISSEMENT is incidental music for the theatrical play THE ITALIAN STRAW HAT. A highly eclectic mix of styles that include music hall tunes, blues and jazz, Viennese waltzes and the ‘Wedding March’ from Mendelssohn’s A MIDSUMMER NIGHT’S DREAM musically supports the ensuing confusion. The work features colouristic improvisations and sparkles with characteristic humour, as show tunes irreverently mingle with learned counterpoint.”
- Georg Predota, 11 Feb., 2015


M0927. DÉSIRÉ-EMILE INGHELBRECHT Cond. Concerts Pasdeloupe Orch.: Sinfonia brève da Camera (Cond. by the Composer), 4s. 2-10” blue & silver Art-Deco label Pathé X.8810/11, only form of issue, 1931. M-A, an outstanding copy! MB 45, the Pair.

“Inghelbrecht ‘s archingly melodic, emotionally touching and sensitively impressionistic SINFONIA BRÈVE DA CAMERA is of provocative substance. A very worthwhile piece that deserves a modern recording provided it captures the vivacity so clearly evident here.”
- Rob Barnett, musicweb-international


M0928. VINCENT d’INDY Cond.: Le Camp de Wallenstein (Cond. by the Composer), 4s. Sd.4 also featuring d’Indy’s Vocal Autograph. 2-10” blue & silver Art-Deco label Pathé X.8806/07, only form of issue, 1931. M-A, exceptional copy has occasional faintest pap. rub, inaud. MB 35, the Pair.

“The bubbly d’Indy WALLENSTEIN’S CAMP at times seems indebted to Berlioz and Dukas while at others lapses into sturdy light music mode. It grew on me a little with repeated hearings. “
- Rob Barnett, musicweb-international


M0929. HENRI RABAUD Cond.: La Procession Nocturne (Cond. by the Composer), 4s. 2-12” PW French Col. D 15078/79, POM-1928. M-A, Exemplary! MB 25, the Pair.

M0930. HENRI RABAUD Cond.: Mârouf – Ballet (Cond. by the Composer), 4s. 2-12” Eng. Col. D 15080/81, POM-9 Nov., 1927. M-A MB 25, the Pair.

”MÂROUF, SAVETIER DU CAIRE is an opéra comique by the French composer Henri Rabaud. The libretto, by Lucien Nepoty, is based on a tale from the ARABIAN NIGHTS. MÂROUF was first performed at the Opéra-Comique, Paris, on 15 May 1914. The premiere was a great success and MÂROUF became Rabaud's most popular opera. The score makes great use of oriental colour.”
- musicweb-international


M0931. FERNAND OUBRADOUS Cond. Ensemble Instrumental du Conservatoire National de Paris: Chanson et Danses (d’Indy), 4s. 2-12” dark blue LVSM SL-174/75, only form of issue, 1951. M-A, choice copy has faintest pap. rubs, inaud. MB 25, the Pair.

M0932. LOUIS BEYDTS Cond.: À Travers Paris (Cond. by the Composer), 4s. 2-10” plum PW Disque Gram. K-7811, only form of issue, 1936. M-A, Exemplary! MB 35, the Pair.

“In 1941 French composer, music critic and theatre director Louis Beydts acted as artistic director to the recording of PELLÉAS ET MÉLISANDE conducted by Roger Désormière. He finished his career as Director of the Opéra-Comique in Paris from 1952 -1953, with the 50th anniversary production of PELLÉAS ET MÉLISANDE and the first French production of THE RAKE'S PROGRESS. An important figure in Parisian musical life, Beydts was a close friend of the cellist Pierre Fournier. “
-Philadelphia Chamber Music Society