Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Auction Number 147 - AUCTION Closing Date: Wednesday, 18 May, 2016
Regarding AUCTION #147
(Closing Date: Wednesday, 18 May, 2016
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Section I Piano 78rpm records: Nos. P0100 - P0304-
P0100. E. ROBERT SCHMITZ: Pavane pour une Infante défunte / Réverie
(both Debussy). 12” RCA 12-0066, POM-1948. M-A Most elusive! MB 15
P0101. E. ROBERT SCHMITZ: PRÉLUDES – Book I (Debussy), 14s.
7-10” V 10-1192/98, POM-1935, Orig.Album DM-1031. M-A, as New. MB 25, the Set.
P0102. E. ROBERT SCHMITZ: PRÉLUDES – Book II (Debussy), 12s.
6-10” RCA 10-1317/22, POM-1935, Orig.Album DM-1138.
M-A, as New. MB 25, the Set.
P0103. E. ROBERT SCHMITZ: SUITE BERGAMASQUE - Clair de lune /
PRÉLUDES – La Cathédrale engloutie (both Debussy).
12” V 11-8240, POM-1935. M-A MB 10
P0104. E. ROBERT SCHMITZ: Valse #14 in e, Op.Posth. (Chopin) /
ISIDORE MOSKOWITZ: A flower of Italy – Mazurka brilliante #2 (d’Agostino).
10” H & D paper label Edison 50958 [1505 C-1-2 / 4107 A-2-7], recorded 1922.
M-A, pristine copy. MB 15
P0105. E. ROBERT SCHMITZ, w.Roth Quartet: Quintet in f for Piano and Strings (Franck), 10s. 5-12” MasterWorks Col. 69251/55-D, in Orig. Album 334, w.Brochure. M-A, as New; album spine partially is missing. MB 35, the Set.
P0106. E. ROBERT SCHMITZ, w.Roth Quartet Members:
Piano Quartet in E-Flat, Op. 16 (Beethoven), 7s / Sd. 8 = Roth Quartet:
Quartet in D - Minuet (Haydn). 4-12” PW Col. 69387/90-D, POM-20 May, 1938,
in Orig. Album 348, w.Brochure. M-A, as New. MB 35, the Set.
“For a number of interconnected and complex reasons, Schmitz's importance, not only for Ives, but also for the history of music in America between the two world wars, has been overlooked. In part, this is because his musical and cultural ideals were at odds with the dominant trend of the time toward commercialization of ‘classical’ music and reliance on ‘superstar’ virtuosi. But, in addition, Schmitz's internationalist outlook in music means that he does not fit easily into the nationalistic perspective of historians studying the emergence of post-World War I ‘American Music’. From his early association with American composers such as Emerson Whithorne and Leo Sowerby through Ives to Virgil Thomson, Schmitz was a friend of American music more committed than many American-born musicians.”
- Ronald V. Wiecki,
Two Musical Idealists, American Music Vol. 10, No. 1 (Spring, 1992), pp.1-19
P0107. MARCEL MAAS: Toccata & Fugue in c, 3s; Sd.2 =
Toccata & Fugue in e - Fugue (Bach). 2-12” Eng. Col. LFX 197/98, POM-1933.
[During the 1930s Marcel Maas joined the Quator Pro Arte which became
one of three outstanding sonata partnerships which flourished in the 1930s.]
M-A, as New. MB 12, the Pair.
P0108. MAGDA TAGLIAFERRO,
w.Reynaldo Hahn Cond. Pasdeloup Orch.:
Coronation Concerto #26 in D, K.537 (Mozart), 8s.
4-12” purple PW Eng. Decca TF.141/44, POM-1930. M-A MB 45, the Set.
P0109. MARCELLE MEYER: Ragtime (Stravinsky) / Navarra (Albéniz).
12” PW black HMV D 1063 [Cc7433-I/7434-III], POM-1925. M-A MB 25
“Another very alive record is that of Marcelle Meyer's playing of Stavinsky's 'Ragtime' and Albeniz's 'Navarra'….Miss Meyer is about the best exponent of Stravinsky.”
- Musical Times, 1926
P0110. MARCELLE MEYER: Toccata & Fugue in d (Bach), 4s.
2–12” Discophiles français 60/61, POM-7 June,1946. M-A MB 12, the Pair.
P0111. MARCELLE MEYER: Toccata in c; Toccata in D (Bach), 6s.
3–12” Discophiles français 76/78, POM-12 Nov.,1946. M-A MB 25, the Set.
P0112. MARCELLE MEYER: Fantasia in a (Bach), 2s.
12” Discophiles français 79, POM-12 Nov.,1946. M-A MB 12
P0113. MARCELLE MEYER: Partita #1 in B-flat (Bach), 4s.
2–12” Discophiles français 80/81, POM-13 Nov.,1946. M-A MB 25, the Pair.
P0114. MARCELLE MEYER: Partita #2 in c; Chromatic Fantasia & Fugue in d
(both Bach), 8s. 4–12” Discophiles français 96/99, POM-19 May,1947.
M-A MB 25, the Set.
P0115. MARCELLE MEYER: Partita #3 in a (Bach), 4s.
2–12” Discophiles français 82/83, POM-13 Nov.,1946. M-A MB 25, the Pair.
P0116. MARCELLE MEYER: The 30 Inventions (Bach), 12s.
6–12” Discophiles français 116/121, POM-24-25 Jan., 1948. M-A MB 35, the Set.
P0117. MARCELLE MEYER: Italian Concerto in F(Bach), 4s.
2–12” Discophiles français 62/63, POM-7 June,1946. M-A MB 12, the Pair.
P0118. MARCELLE MEYER: Rameau Program, 8s.
4–12” Discophiles français 64/67, POM-7 June,1946. M-A MB 25, the Set.
P0119. MARCELLE MEYER: Scarlatti Program, 8s.
4–12” Discophiles français 68/71, POM-12 Nov.,1946. M-A MB 25, the Set.
P0120. MARCELLE MEYER: Couperin Program, 8s.
4–12” Discophiles français 72/75, POM-12 Nov.,1946. M-A MB 25, the Set.
P0121. MARCELLE MEYER: 14 Scarlatti Sonatas, 8s.
4–12” Discophiles français 130/133, POM-20 Dec.,1948. M-A MB 25, the Set.
P0122. MARCELLE MEYER: Deutsche Tänze, Op.33; Ländler, Op.171 (Schubert), 6s. 3–12” Discophiles français 134/136, POM-12 Nov., 1948. M-A MB 35, the Set.
P0123. MARCELLE MEYER: Valses nobles et sentimentales (Ravel), 4s.
2–12” Discophiles français 108/109, POM-24-25 Jan., 1948. M-A MB 35, the Set.
“Marcelle Meyer first studied with Marguerite Long at the Paris Conservatoire, then continued her studies with Alfred Cortot, winning a premier prix from his class at the age of sixteen. Meyer later took private lessons from Ricardo Viñes who revealed the secrets of Ravel’s music to her, and although he was a specialist in the performance of Spanish music, Meyer herself apparently learnt this repertoire from José Iturbi. She also met Debussy and studied his préludes with him. Meyer gave many first performances, particularly of compositions by ‘Les Six’, with whom she was closely involved. Meyer’s first discs were made in 1925 whilst she was in London. Between 1946 and 1956 Meyer recorded a huge amount of repertoire for the French label Les Discophiles Françaises including the complete Préludes and Images by Debussy. In addition to twentieth-century music she recorded excellent versions on the piano of most of Rameau’s keyboard works, some Couperin, and more than thirty sonatas by Scarlatti. Most of these recordings are very fine, particularly the Scarlatti sonatas. Meyer’s precise articulation and strongly defined rhythm, so apt for much of the twentieth-century repertoire, is ideal for this early music.”
- Jonathan Summers, Naxos’ A–Z of Pianists
P0124. ALFRED CORTOT: Valse Brillante #4 in F, Op.34. #3 /
Valse #7 in c-sharp, Op.64, #2 (both Chopin). 10” Disque Gram. DA 4962
[OLA4078-1/4081-2], POM-24 May, 1943. A to M-A, lovely copy;
Sd.2 only has 2 infinitessimal pap,scrs, positively inaud. MB 10
P0125. ALFRED CORTOT: Valse #8 in A-flat, Op.64. #3 / Valse #9 in A-flat, Op.69, #1 (both
10” Disque Gram. DA 4963 [OLA4082-1/4083-1], POM-24 May, 1943.
A to M-A, lovely copy. MB 10
P0126. ALFRED CORTOT: Valse #11 in G-flat, Op.69. #1 / Valse #14 in e, Op.Posth. (both Chopin). 10”
Disque Gram. DA 4964 [OLA4085-1/4086-1], POM-24 May, 1943.
A to M-A, lovely copy has,Sd.2 only, occasional faintest rub, inaud. MB 10
P0127. ALFRED CORTOT: Hungarian Rhapsody #2 (Liszt), 2s.
12” Scroll V 6626 [BVE 36569/70], POM-27/28 Dec., 1926, on z-type shellac.
M-A, pristine copy. MB 15
“Cortot is sometimes referred to as the pianist who played lots of wrong notes. This is unfair, not just because he had a dazzling finger technique, but because he never allowed a striving for accuracy to distract him from the bigger picture. You can sometimes hear his mistakes, even in the first notes of pieces, but I find these fallible moments endearing: the pianist consumed by spiritual inspiration, oblivious of the physical risks involved.”
- Stephen Hough, THE GUARDIAN, 25 May, 2011
P0128. ALFRED CORTOT: KREISLERIANA (Schumann), 8s. 4-12” PW V 16246/49, POM-5
July,< 1935, in Orig. Album DM-493, w.Brochure. M-A, as New. MB 25, the Set.
P0129. ALFRED CORTOT,w.Münch Cond. Paris Conservatoire Orch.:
Concerto for the left hand (Ravel), 4s. 2-12” V 15749/50, POM-12 May, 1939,
in Orig. Album M 629, w.Brochure. M-A, a pristine copy. MB 25, the Set.
"It was always said about Cortot’s tone that it had such an extraordinary quality that one could recognise it from among a hundred pianists, and this is what I mean by the touch being a ‘very personal matter’."
- Magda Tagliaferro, EPTA Piano Journal, Vol. 5, #4, 1984
P0130. JOSÉ VIANNA DA MOTTA: Sonata, Op. 78 (D. 894) – Menuetto /
DIE SCHÖNE MÜLLERIN – Wohin? (Schubert-Liszt).
12” orange Art Label Pathé X.5454 [N 8736-1/N 8737-1], recorded 1928.
M-A, lovely copy has faintest pap. rubs, inaud. MB 175
“José Vianna da Motta was the last surviving pupil of Franz Liszt. Born on the Isle of St. Thomas in Portuguese Africa, his early music studies took place in Lisbon, after which he settled in Berlin to work for several years with both Xaver and Philipp Scharwenka. In 1885 he travelled to Weimar to attend Liszt’s master classes, and after Liszt’s death in 1886 he had some lessons from Hans von Bülow. By then his reputation as an exceptional virtuoso was well established. In the early 1900s he sought advice from Ferruccio Busoni, with whom he later collaborated in preparing the first collected edition of Liszt’s piano works.”
- Donald Manildi, Marston Program Notes
P0131. FRANCIS POULENC: Deux Novelettes / Bal Masqué – Caprice
(both Played by the Composer). 12” PW Col.68919-D [WLX1613/1614],
POM 11 June, 1932. M-A, exemplary copy. MB 15
P0132. FRANCIS POULENC & GEORGES AURIC:
PARADE, 3s. / Sd.4 = Deux morceaux en forme de poire (Satie).
2-12” PW Boite à Musique 16/17 [PART1014/17], only form of issue, 15 July, 1937.
M-A, exemplary copy; Sd.4 only has wee dust mk. MB 35, the Pair.
P0133. FRANCIS POULENC, ROGER LAMORLETTE & GUSTAVE DHERLIN:
Trio for Piano, Oboe & Bassoon (Played by the Composer).
12” PW French Col.D 14213/14 [WLX273/276], POM-7 March, 1928.
M-A, exemplary copy. MB 25, the Pair.
“Francis Poulenc, the leading composer of Les Six…is regarded as one of the most important twentieth century composers of religious music, and in the realm of the French art song he is also a major voice. Poulenc studied with a niece of César Franck, and then with the eminent Spanish virtuoso Ricardo Viñes, for whom he would write.”
- Robert Cummings, allmusic.com
P0134. VINCENT D’INDY: Poème des Montagnes /
Tableaux de Voyage – Départ matinal (both Played by the Composer).
12” Symposium 1012 Special vinyl Pressing of Disque Gram. Mx.Cc 3069/70,
POM 7 July, 1923. MINT MB 15
“Vincent d'Indy was one of the leading figures in Parisian musical society during the closing years of the nineteenth century. In 1872, D'Indy began studying in private with his most influential teacher, César Franck. Vincent d'Indy would go on to be one of Franck's most ardent followers, champion, and biographer. Franck was the composer with the greatest influence on D'Indy, but others, Wagner in particular, also influenced the young composer.”
- Bruce Lundgren, allmusic.com
P0135. GUIOMAR NOVAES: L’Hymne National Brésilien (1920/’23 Version) (Gottschalk), 2s. 12” Vla 6372, POM-3 April, 1920 / 12 June, 1923,
only form of issue, Sd.2. M-A, an extraordinary copy. MB 25
“Guiomar Novaës possessed a perfectly balanced combination of qualities: superb musicianship, aristocratic phrasing, and a soaring, colorful tone as immediately recognizable as Horowitz’s thundering octaves.”
- Jonathan Dobson, liner notes to Pearl’s Novaës CD
P0136. JOSÉ ECHANIZ: Polonaise #2 in E-flat, Op.26, #2 (Chopin), 2s.
10” black Viva-Tonal Col. 151-M [95105/06], POM-c.1929. M-A, a beauty. MB 10
P0137. JOSÉ ECHANIZ: Viva, Navarra! (Larregia) /
Staccato caprice (Vogrich). 10” black Viva-Tonal Col. 1913-M [95107/08],
POM-c.1929. M-A, beautiful copy has, Sd.1 only,
sev.infinitessimal internal lams, absolutely inaud. MB 10
“José Echániz’s U.S. début was in Town Hall in New York, 1922. Tours were made with the Italian tenor, Tito Schipa, in joint recitals and Echániz also made solo appearances. During the 1930s, he was a featured soloist with orchestras in Philadelphia, Chicago, Minneapolis, St. Louis, Cincinnati, and New Orleans, appearing under the batons of such distinguished conductors as Mitropoulos, Kleiber, Leinsdorf, and others. Echániz joined the Eastman School faculty in 1944.”
- Eastman School of Music
P0138. LÉO KARTUN: Impromptu in A flat, op. 29, #1 (Chopin) /
Le tombeau de Couperin – Toccata (Ravel).
12” French Odéon 171.069 [xxP6702/03]. M-A MB 12
P0139. JESÚS MARÍA SANROMA: MIROIRS – Alborada del gracioso (Ravel), 2s.
10” PW V 4425, POM-1939. M-A MB 10
P0140. JESÚS MARÍA SANROMA: Puerto Rican Danzas (Campos), 8s.
4-10” V 4560/63, POM-1939, inOrig.Album M-849, w.Brochure. M-A MB 20, the Set.
P0141. JESÚS MARÍA SANROMA: Piano Music of the 20th Century, incl.
Debussy, Prokofiev, Copland, Respighi, Krenek & Schönberg, 8s.
2-10” PW V 2044/45; 2-12” PW V 15861/62, POM-1939,
in Orig. Album M-646, w.Brochure. M-A MB 25, the Set.
P0142. JESÚS MARÍA SANROMA: DIE WALKÜRE – Magic fire music
(Wagner-Sanromá) / Rustle of spring (Sinding); The butterfly (Grieg).
12” V 18153. M-A MB 8
P0143. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
Concerto in a(Paderewski), 8s. 4-12” PW V 15717/20, POM-1939,
in Orig. Album AM-614, w.Brochure. M-A MB 25, the Set.
P0144. JESÚS MARÍA SANROMA, w.Koussevitzky Cond. Boston S.O.:
CAPRICCIO (Stravinsky), 4s. 2-12” PW V 16833/34, POM-1940,
In handsome hand-made album. M-A MB 35, the Set.
P0145. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
Concerto #2 in d (MacDowell), 6s / Sds 7–10 = Fiedler Cond.:
Divertissement (Ibert). 5-12” Scroll V 11948/52, POM-1936,
on ‘Z’-type shellac, in Orig. Album M-324, w.Brochure. M-A MB 25, the Set.
P0146. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
RHAPSODY IN BLUE, 3s / Sd.4 = Fiedler Cond.:
Strike up the band (both Gershwin). 2-12” Scroll / PW V 11822/23, POM-1935,
Sd.1 on ‘Z’ shellac, in Orig. Album M-358, w.Brochure. M-A MB 15, the Set.
P0147. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
Concerto in F (Gershwin), 7s. 4-12” PW V 17208/11-S, POM-1937,
in Orig. Album M-690, w.Brochure. M-A MB 15, the Set.
P0148. JESÚS MARÍA SANROMA & PAUL HINDEMITH:
Sonata for Piano Four Hands (Played by the Composer), 4s.
1-10” PW V 2040 & 1-12” PW V 15822, POM-24 April, 1939,
in Orig. Album M-637, w. Brochure. M-A MB 25, the Set.
P0149. JESÚS MARÍA SANROMA & PAUL HINDEMITH:
Viola Sonata #3 (1939) (Played by the Composer), 7s.
4-10” PW V 2065-S/68, POM-24 April, 1939,
in Orig.Album DM 572, w.Brochure. M-A MB 25, the Set.
P0150. JESÚS MARÍA SANROMA & JASCHA HEIFETZ, w.Musical Art Quartet
(Sascha Jacobsen, Paul Bernard, Louis Kaufman & Marie Roemert Rosanoff):
Concerto in D (Chausson), 8s 4-12” V 18487/90, only form of issue, 1941
(although allocated HMV issue numbers DB 6152/55, never used),
in Orig. Album M-877, w.Brochure. M-A MB 25, the Set.
P0151. JESÚS MARÍA SANROMA, w.The Primrose Quartet
(Oscar Shumsky, Josef Gingold, William Primrose & Harvey Shapiro):
Piano Quintet in E-flat (Schumann), 7s. 4-12” PW V 17620//23-S, only form of issue,
14 March, 1940, in Orig. Album DM-736, w.Brochure. M-A MB 25, the Set.
In 1937, when Hindemith visited America for the first time, Sanromá began a lifelong artistic and personal friendship with the composer. He gave the first performance of Hindemith’s Piano Sonata #3 in 1936, and of his Piano Concerto in 1947 with the Cleveland Orchestra and George Szell. Sanromá and Hindemith toured together promoting the composer’s works, and Hindemith wrote a Sonata for Piano Duet for himself and Sanromá to perform, which they also recorded. Perhaps Sanromá’s most important recordings are those he made with his friend Paul Hindemith in the late 1930s. On the same day in April 1939 they recorded the Sonata for Piano Duet and the Sonata #3 for Viola and Piano. The previous year Sanromá had recorded the Sonata in F for Viola and Piano with William Primrose….His playing was acutely musical and refined.”
- Jonathan Summers, Naxos’ A–Z of Pianists
P0152. JESÚS MARÍA SANROMA & MERCEDES PASARELL SANROMA:
Sonata #3 in F for Piano Four Hands, K.497 (Mozart), 6s.
3-12” V 13704/06, in Orig. Album M-809, w. Brochure.
M-A, as New. MB 25, the Set.
P0153. RICARDO VINES: CHANTS D’ESPAGNE –
Orientale / Seguidillas (Albéniz). 10” PW French Col. LF 42, POM-1930.
A-/M-A, lovely copy has, Sd. 1 only, a few superficial scrs, inaud. MB 15
P0154. RICARDO VINES: Serenata Española – Tango in a /
Cádiz (Serenade Espagnole) (both Albéniz). 10” PW V 4331 [OLA 1208/09],
POM- 22 July 1936. A-, lovely copy has faintest pap. rubs, inaud. MB 15
P0155. RICARDO VINES: Serenata Española – Tango in a (Albéniz) /
VLADIMIR HOROWITZ: Étude in F, Op.10, #8 (Chopin).
10” PW Victor Record Library HL-58 [OLA 1209 / OB 4507],
POM- 22 July 1936 / 15 Nov., 1932. A to M-A, lovely copy has
faintest pap. rubs, inaud. MB 15
“Ricardo Viñes…is perhaps best categorized with the Catalan school of pianists [which] included Albéniz, Granados, Malats, Mompou, and de Larrocha. At the suggestion of Albéniz, he traveled to Paris at the age of 12, enrolling in the Conservatoire class of Charles Bériot. There he met Maurice Ravel, his exact contemporary. It was not long before Viñes developed strong professional relationships with Debussy and Sévérac, later with Fauré, Satie, and Les Six.”
- Donald Manildi, Marston Program Notes
P0156. RICCARDO CASTAGNONE, w.Lualdi Cond.San Pietro Chamber Orch.:
Piano Concerto in C (Pergolesi), 4s. 2-12” LVDP11312/13 [2EA 5325/27; 5530],
only form of issue, 1942. [Castagnone is best-remembered for his association with Arthur Grumiaux.] M-A MB 20, the Pair.
P0157. ALFREDO CASELLA & Pro Arte Quartet:
Quintet for Piano & Strings (Bloch), 8s. 4-12" PW HMV DB1882/85,
in Orig. HMV Album184. M-A, as New. MB 35, the Set.
“Casella’s formal studies began in 1896 at the Paris Conservatory, under Fauré, where he won first prize in piano in 1899, and soon was touring Europe and Russia as a pianist. His American début in 1921 with the Philadelphia Orchestra showcased his talents as conductor, composer, and pianist.
- James Reel, allmusic.com
P0158. MARIO CASTELNUOVO-TEDESCO: Deus études d’ondes (Sea Murmurs) /
Le vieux Vienne (Fox-trot tragique) (both Played by the Composer).
12” green French Polydor 516.781, only form of issue, 1939. M-A MB 15
P0159. MARIO CASTELNUOVO-TEDESCO: Cipressi
(Rembereing Cypresses of Usigliano di Sari) (Played by the Composer), 2s.
12” PW V 16449, only form of issue, 1939. M-A MB 15
“The Italian composer, critic and pianist Mario Castelnuovo-Tedesco owed much to Pizzetti, who was instrumental in introducing him to leading contemporary composers, including Alfredo Casella, who included Castelnuovo-Tedesco’s 1916 ‘Il raggio verde’ in his piano recitals. ‘Cipressi’, Op.17, later transcribed by the composer for orchestra, is an evocative piece, suggested by the cypress trees at Usigliano, where he spent many summers, staying at the Villa Forti.”
- Keith Anderson
P0160. ARTURO BENEDETTI MICHELANGELI: Violin Partita no. 2 in d minor
Bach, arr. Busoni), 4s. 2-12” HMV DB 21005/06 [2EA 13371/74],
POM-27 October 1948. M-A, as New. MB 15, the Pair.
P0161. ARTURO BENEDETTI MICHELANGELI:
Scherzo #2 in b-flat minor (Chopin), 2s. 12” LVDP 5355 [2EA 3618/19], POM-1940.
A to M-A, choice Italian pressing has occasional rub, inaud. MB 15
P0162. ARTURO BENEDETTI MICHELANGELI:
Scherzo #2 in b-flat minor (Chopin), 2s. 12” HMV 6859 [2EA 13375/76],
POM-27 October 1948. A to M-A, choice copy has occasional rub, inaud. MB 10
P0163. ARTURO BENEDETTI MICHELANGELI:
Sonata in c / Sonata in d – Pastorale (Scarlatti).
10” HMV DA 5380 [OBA 4872/73], POM-1941-42. M-A, beautiful copy;
Sd.1 only has sev.infinitessimal internal lams, absolutely silent & safe. MB 8
P0164. ARTURO BENEDETTI MICHELANGELI:
Variations on a Theme by Paganini (Brahms), 4s.
2-12” HMV DB 6909/10 [2EA 13367/70], POM-26 Oct., 1948.
M-A, as New. MB 15, the Pair.
P0165. ARTURO BENEDETTI MICHELANGELI:
DANZAS ESPAÑOLAS - Andaluza (Granados) / Fantasque (Marescotti).
12” RCA 12-0736 [2BA 3534/33], POM-1939. M-A, as New. MB 12
“No doubt prompted by his win at the Geneva International Piano Competition, HMV recorded a very free interpretation of ‘Andaluza’ from the DANZAS ESPAÑOLAS, by Granados where Michelangeli characterises each section and uses a soulful singing tone to great advantage. Michelangeli’s virtuoso technique is displayed in a recording from the same session—‘Fantasque’, a work specially written in 1939 by Swiss composer André-François Marescotti as a test piece for the Geneva Competition.”
- Jonathan Summers
P0166. ARTURO BENEDETTI MICHELANGELI:
Canción y danza #1 (Mompou) / Malagueña (Albéniz).
10” HMV DA 5432 [OBA 4870/71], POM-1941-42. M-A, as New. MB 8
P0167. ARTURO BENEDETTI MICHELANGELI,
w.Galliera Cond.La Scala Orch.: Piano Concerto in a, 7s /
Sd.8 = Erotik (both Grieg). 4-12” plum Swiss ‘La Scala Art Label’
Telefunken SKB 3280/83 [026618/25], POM-2 / 6 Sept., 1942.
M-A, as New. MB 25, the Set.
“Michelangeli’s imperious technical command is always evident, and the dynamics are carefully shaped without sounding calculated. Michelangeli’s early account of the Grieg [concerto] has sensitivity, fantasy and authority in a near-ideal combination.”
- Guy Aron, MusicWeb-International
P0168. LUDVIK KUNDERA: Salon Polka #1 in F-sharp / Salon Polka #1 in f (Smetana). 10” black Czech Ultraphon 14029 [44012/13]. M-A, pristine. MB 15
“In 1925 Ludvik Kundera attended the masterclasses of Alfred Cortot at the École Normale de Musique in Paris. He also continued his studies in Vienna and Prague and earned a doctorate in musicology from Brno University in 1925. He taught at Brno Conservatory from 1922 to 1941 (until his removal by the Nazi authorities occupying Czechoslovakia) and at Brno Academy JAMU from 1948 to 1950. From 1945 to 1946 he was director of the Brno Conservatory. As a pianist he concertized widely both at home and abroad, performing both as a soloist and in chamber music groups and often promoting the music of Czech composers. As a musicologist he is perhaps best known for his analyses of the works of Leoš Janáček. He died in Brno on 12 May, 1971. His funeral was accompanied by the ‘Intimate Letters’ String Quartet #2 by Leoš Janáček.”
- Ned Ludd
P0169. BENNO MOISEIVITCH: Kinderszenen, Op.15 (Schumann), 4s.
2-12” Scroll/Orth V 7705/06, on ‘Z’ shellac, POM-14 April, 1930. M-A MB 20, the Pair.
P0170. BENNO MOISEIVITCH: Variations & Fugue on a theme by Handel (Brahms), 6s. 3-12” red PW Australian HMV D.1928/30, POM-4 March, 1930.
M-A, choice copy of preferred Australian pressing. MB 25, the Trio.
“As long as pianos are heard, a select few names of the instrument’s greatest exponents will inevitably come to people’s lips. One of those will be the magnificent Moiséiwitsch, a veritable prince among pianists.”
- David Mulbury, AMERICAN RECORD GUIDE, July /Aug., 2003
P0171. ERNST von DOHNANYI & EDWARD KILENYI: Suite en valse, Op.39a
(Played by the Composer), 6s. 3-12” Col. 72876/78-D [XCO 41023/28],
POM-1948, in Orig.Album MM-868. M-A, appears unplayed. MB 25, the Set.
P0172. ERNST von DOHNANYI, w.Collingwood Cond. London S.O.:
Variations on a Nursery Tune (Played by the Composer), 5s / Sd.6 =
von Dohnányi Cond. London S.O.: Ruralia Hungarica – 2nd movement
(Cond. by the Composer). 3-12” PW V 11436/38 [2B 469/474],
POM-1931, in Orig. Album M-162, w.Brochure. M-A MB 20, the Set.
P0173. ERNST von DOHNANYI Playing & Cond. Budapest Phil.:
Concerto #17 in G, K.453 (Mozart), 8s. 4-12” Viva-Tonal Col. 67559/62-D [WAX3790/97], POM-1928, in Orig.Album 111.
M-A, appears unplayed. MB 15, the Set.
“Among the dominant figures in Hungarian music during the first half of the twentieth century, pianist, composer, and conductor Ernst von Dohnányi is still regarded as the most versatile musician to emerge from that country since Franz Liszt. Dohnányi made his 1898 début as a pianist in London (under the baton of Hans Richter). Dohnányi's astounding skills at the keyboard earned him quick recognition throughout the musical establishment, even as his early compositions began to win approval. Brahms himself organized the Vienna premiere of Dohnányi's 1895 Piano Quintet in c minor. Dohnányi committed himself to the cause of then-lesser-known Hungarian composers such as Bartók and Kodály, and, in doing so, changed the landscape of Hungarian music forever.”
- Blair Johnston, allmusic.com
P0174. CHARLOTTE von RECSEY: Hungarian Rhapsody #12 in c-sharp (Liszt),2s.
12” blue Lindström Odeon Kulab 500/501, POM-1936
[basically unknown issue, in all likelihood von RECSEY’s only recording].
A to M-A, beautiful copy has faintest pap.rubs, inaud. MB 25
P0175. BELA BARTOK: MIKROKOSMOS – Staccato; Ostinato (Played by Composer) / IGOR STRAVINSKY Cond. Kate Winter, Linda Seymour, Parri Jones, Roy Henderson: LES NOCES – Excerpt (Cond.by the Composer). 10” early PW Col.DB 1306
[CA 16218-1/16855-1], POM-5 Feb., 1937 / 12 Feb., 1938.
A to M-A, lovely copy has occasional rub, inaud. MB 15
P0176. BELA BARTOK:
Suite Op.14 (Played by the Composer
12” plum PW Czech HMV AN 468 [CV723-II/724-II], POM-5 Nov., 1929.
A-, lovely copy has faint rubs, inaud.; Sd.2 only has sev.superficial scrs, inaud. MB 45
P0177. 2 Romanian Dances / Este a Székelyeknél; Medvetánc
(all Played by the Composer), 2s. 12” plum PW Disque Gram.L-800 [CV725/726],
POM-5 Nov., 1929. A to M-A, lovely copy has occasional faintest rub, inaud.;
Sd.2 only has sev.very lt.rubs, also inaud. MB 65
P0178. BELA BARTOK: Memorial Album, incl.Bear Dance, Evening in Transylvania & FOR CHILDREN – 15 Pieces (all Played by the Composer), 4s.
2-12” dark-blue Vox 650/51, recorded 1941, in Album 625. M-A MB 25, the Set.
P0179. BELA BARTOK, JOSEPH SZIGETI & BENNY GOODMAN (Clarinet): CONTRASTS (Played by the Composer), 4s. 2-12” PW Col. 70362/63-D,
POM-May, 1940, in Orig. Album X-178, w.Brochure. M-A, as New. MB 25, the Set.
P0180. BELA BARTOK: A Song, Rattle Dance, BagpipeSounds / Rondo
(all Played by the Composer), 2s. 10” lilac Continental C-1193, recorded 1941.
A-, very decent copy has lt.rubs & scuffs, inaud. MB 15
"Don Gabor thought up the idea [of making home-made recordings] to help support Bartók. For three years fake sales accounts were used to transfer substantial sums to him. In 1943 e.g. Bartók had a total income of $4,312, of what $646 were allegedly derived from ‘Continental Rec.’ royalties. Early in 1944 Bartók noticed how many fewer records the giant Columbia had sold than Continental, and Mr. Gabor's kind stratagem stood revealed….Furthermore, the labels bear the annotation ‘Recorded in Europe’ thus avoiding problems with the Union and James Petrillo, while in reality the recordings were made at his home in 1941 in New York.”
- Rudolf A. Bruil,The Remington Site
P0181. BELA BARTOK supervises Hungarian Folk Songs, 8s.
4-10” vinyl Folkways 01500/03, in Orig. Album 1000, w.Elaborate 12pp Brochure,
Texts & Photos, issued 1950. M-A, as New. MB 25, the Set.
“When Moses Asch died in 1986, he possessed one of the world's finest and most eclectic collections of traditional and folk music as well as jazz. This collection existed in Folkways Records, the company he founded and ran for almost 40 years….many [issues] sold fewer than 500 copies all told.”
- A. V. Shirk, The Old-Time Herald Volume 6, Number 1
P0182. LUBKA KOLESSA: Mazurka in D, op. 33, #2 / Mazurka in F, Op.68, #3
(Chopin). 10” dark-blue Ultraphon A 273 [10341/10340], POM-1929.
A, lovely copy has faintest rubs, inaud.; tiny hlc appears mainly Sd.2, inaud. MB 10
P0183. LUBKA KOLESSA: Capriccio in B / Capriccio in D (both Scarlatti).
10” PW HMV DA 4454, POM-1938. M-A, as New. MB 8
P0184. LUBKA KOLESSA: Unser dummer Pöbel meint (Mozart, after Gluck), 2s.
12” PW HMV DB 4621, POM-1938. M-A, as New. MB 8
“Lubka Kolessa…received her musical training from Louis Thern and Emil von Sauer. She graduated from the Vienna State Academy at the age of eighteen and some ten years later also studied with Eugen d’Albert. Between the wars, Kolessa performed throughout Europe and worked with the greatest conductors of the time including Wilhelm Furtwängler, Bruno Walter, Richard Strauss, Willem Mengelberg, Erich Kleiber and Hermann Abendroth. The outbreak of World War II caused Kolessa to move to Canada; here she settled with her new husband, and after making her Canadian début in her adopted country; Kolessa joined the teaching faculty of the Toronto Conservatory of Music where she remained for seven years, all the while performing and broadcasting on Canadian radio….She taught at various institutions including the Conservatoire de Musique du Québec, the École Vincent d’Indy, the Ukrainian Music Institute in New York and for a period of twelve years at McGill University in Montréal.”
- Jonathan Summers, Naxos’ A–Z of Pianists
P0185. SERGEI RACHMANINOFF: Minuet in G (Paderewski) /
Nocturne in E-flat, Op.9, #2 (Chopin). 12” Scroll V 6731,
POM-5 May, 1927, on ‘Z’-type shellac, M-A, as New. MB 12
P0186. SERGEI RACHMANINOFF: Carnaval (Schumann), 6s.
3-12” EL Scroll V /Orth Vla 7187/89, POM 1929, partially on ‘Z’ shellac,
in Orig Album M-70, w.Brochure. M-A, a gleaming copy. MB 95, the Set.
P0187. SERGEI RACHMANINOFF & FRITZ KREISLER:
Violin Sonata in G, Op.30, #3 (Beethoven), 4s.
2-12” PW HMV DB 1463/64, POM-1928. M-A MB 12, the Pair.
P0188. SIMON BARERE: Reminiscences de Don Juan (Mozart-Liszt), 4s.
2 12” PW V 15485/86, Sd.3 = Mx.2EA 3075 I, changed to Mx.2B 5592-1 on 30 May, 1936, four months after recording, at Barère 's request, [2EA 3073-1/, 3074-1, 3075-1, 3076-1], POM 31 Jan., 1936, in Orig. Album M-577, w.Brochure. M-A MB 20, the Set.
P0189. SIMON BARERE: Waltz #5 in A-flat, Op.42 (Chopin) /
Polka de W. R. (Rachmaninoff). 10” red Decca-Odeon 20132 [STO4171/70],
POM-1929. A to M-A. MB 12
P0190. SIMON BARERE: Etude in d-sharp, Op.8, #12 /
Etude in c-sharp, Op.2, #1 (both Scriabin). 10” EL Scroll V 1721 [OEA549-2/50-1],
on ‘Z’-type shellac, POM-15 Oct., 1935 / 27 Nov., 1934.
A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15
P0191. SIMON BARERE: La Leggierezza Étude #2 (Liszt) /
Grande Valse #5 in A-flat, Op.42 (Chopin). 12” HMV DB 2166 [2B 5578-2/81-2],
POM-30/31 Jan., 1934. M-A, as New. MB 10
P0192. SIMON BARERE: Scherzo #3 in c-sharp, Op.39 (Chopin), 2s.
12” PW V 14926 [2EA 2428-2/29-4],, POM-10 Oct., 1935. MINT MB 12
P0193. SIMON BARERE: Étude for the left hand alone (Blumenfeld).
12" S/S Special vinyl Pressing of Mx.2EA 2431-1, POM 7 Oct., 1935. MINT MB 15
P0194. SIMON BARERE: Étude for the left hand alone (Blumenthal) /
Étude in C (Glazounov). 12" HMV DB 2645 [2EA 2431-1/30-4],
POM 7 / 15 Oct., 1935. M-A MB 12
P0195. SIMON BARERE: Étude in C (Glazounov).
12" S/S Special vinyl Pressing of Mx.2EA 2430-4, POM 15 Oct., 1935. MINT MB 12
P0196. SIMON BARERE: Rapsodie espagnole, 3s /
Sd.4 = Valse oubliée #1 (both Liszt). 4 12" S/S Special vinyl Pressings
of Mx.2EA 563-1, 564-3, 565-4 & 566-3, POM 29 Nov., 7 & 10 Dec., 1934.
MINT MB 25, the Set.
P0197. SIMON BARERE: ISLAMEY (Balakirev), 2s. 12” PW V 14028
[2EA 2432-5/33-7,] 'Takes' 5 & 7, (which replaced 'Takes'4 & 6, at Barère 's request), POM 31 Jan., 1936. M-A , as New. MB 15
P0198. SIMON BARERE: ISLAMEY (Balakirev), 2s. 12” Scroll V 14028
[2EA 2432-5/33-7,] 'Takes' 5 & 7, (which replaced 'Takes'4 & 6, at Barère 's request),
‘Z’-type shellac, POM 31 Jan., 1936. M-A , as New. Outrageously stunning! MB 20
" Barère's most celebrated interpretation, one that has become legendary in pianistic circles, is his spine-tingling ISLAMEY of Balakirev. And to hear a double-note technique that will raise eyebrows, listen to Barer's Schumann ‘Toccata’."
- David Dubal,THE ART OF THE PIANO
P0199. SIMON BARERE: Années de Pélerinage Petrarch Sonta #104 (Liszt), 2s.
12” PW HMV DB 2167 [2B 5579-1/80-1], POM 30 Jan., 1934. M-A MB 15
P0200. SIMON BARERE: Années de Pélerinage – Petrarch Sonta #104 (Liszt), 2s.
12” PW Japanese V SD-3089 [2B 5579-1/80-1], POM 30 Jan., 1934.
M-A, appears unplayed. MB 20
P0201. SIMON BARERE: Toccata in C, Op.7 (Schumann) /
Mazurka in f-sharp, Op.59, #3 (Chopin). 12” PW V 14263 [2EA2442-4/43-3],
on ‘Z’-type shellac, POM 31 Jan., 1936. M-A, a gleaming copy. MB 15
"Barère plays Schumann's C major Toccata with its 6,266 consecutive notes in 4.20 at the astonishing average pace of better than twenty-four notes per second, which is slightly faster than the standard speed of movie frames that flash on the screen to create a non-flickering illusion of continuous motion."
- Guy Murchie, THE SEVEN MYSTERIES OF LIFE
“Barère ‘s British début was such a success that HMV immediately asked him to record for them. These records spread his name across the Atlantic and led to his Carnegie Hall début in 1936, and it was through his Carnegie Hall concerts during the 1940s that his name was kept before audiences. The New York Times referred to a recital in 1949 as ‘…one of the most amazing feats of pianism heard in this city in many a year’.
Perhaps the most important of Barère’s recordings are those he made for HMV between 1934 and 1936. These astonishing discs show just why the critics were grasping for superlatives. Of Barère’s performance of Blumenfeld’s Étude for the Left Hand the Times stated: ‘If the eye had not seen the right hand resting on the trouser-leg, the ear would have declared that it was not possible to range over the whole compass of the keyboard with such consummate ease and unspoiled musical effect with the left hand alone. This was the measure of Barère’s technical accomplishment, which was at the service of a mature musical judgement.’
Barère excelled in the virtuoso repertoire, particularly Liszt’s Rapsodie espagnole and his Reminiscences de Don Juan, Schumann’s Toccata, Op.7, and Balakirev’s ISLAMEY. The technique displayed in these recordings is breathtaking in all respects. In fact, Barère’s style was akin to that of his fellow-pupil Horowitz in its clarity, rapidly articulated finger-work and explosive dynamics….Horowitz himself said: ‘Barère had a tremendous technique. He played Professor Blumenfeld’s Étude for the Left Hand like a miracle’.”
- Jonathan Summers, Naxos' A–Z of Pianists
P0202. VLADIMIR HOROWITZ: 32 Variations in c (Beethoven), 3s. /
Sd.4 = Nun freut, euch lieben Christen (Bach). 2-10” Scroll V 1689/90,
on ‘Z’-type shellac, POM-6 May, 1934. M-A MB 12, the Pair.
P0203. VLADIMIR HOROWITZ: Mazurka #32 in c-sharp, Op.50, #3 /
Étude in c-sharp, Op.10, #4; Étude in G-flat, Op.10, #5 (all Chopin).
12” Scroll V 14140, POM-2 June, 1935, on ‘Z’-type shellac. M-A MB 8
P0204. VLADIMIR HOROWITZ: Toccata in C (Prokofiev) /
CHILDRENS’ CORNER – Serenade for the Doll (Debussy); Presto in B-flat (Poulenc). 12” RCA 12-0428, POM-21 Nov. / 16 May, 1947. M-A, as New. MB 8
P0205. VLADIMIR HOROWITZ: PICTURES AT AN EXHIBITION, 7s /
Sd. 8 = By the water (both Mussorgsky). 4-12” red vinyl RCA 18-0233/36,
POM-1947, in Orig.Album DV 30. MINT, choice copy of
preferred vinyl pressing appears unplayed! MB 45, the Set.
P0206. VLADIMIR HOROWITZ: Mendelssohn's Wedding March & Variations
(arr. Liszt), 2s. 12” RCA 11-9693, POM-22 Nov., 1946. M-A, as New. MB 8
P0207. VLADIMIR HOROWITZ: CARMEN – Variations (Bizet-Horowitz) (1947 Version) / Mazurka in f, Op.7, #3 (Chopin). 12” RCA 12-0427, POM-22 Dec., 1947.
M-A, as New. MB 10
“Horowitz had first considered making his own set of variations on Bizet’s music after performing Pablo Sarasate’s violin and piano arrangement on themes from CARMEN with Milstein many times during their Russian tours. He had become so bored with the simple ‘habañera’ piano accompaniment that he decided to produce variations of his own….The result was a glittering blend of Bizet, Moszkowski, Sarasate, and Horowitz – but with a virtuoso stamp and an élan that was his alone.”
– Glenn Plaskin, HOROWITZ, p.86
P0208. GALINA WERSCHENSKAYA: Humoresque – Bagateller, Op.XI (Nielsen), 2s. 10” HMV DA 5203 [OCS 402-2/403], POM-1936. M-A MB 10
P0209. GALINA WERSCHENSKAYA: Rondeau in G (Marpurg) /
Suggestion diabolique, Op.4, #4 (Prokofiev). 10” EL PW HMV DA 5200
[OCS 341-2/340-2], POM-1936. M-A, MB 12
P0210. GALINA WERSCHENSKAYA: 5 Piano Pieces, Op.3 (Nielsen), 2s.
12” Danish Tono A 123 [2645/46], POM-1946.
M-A, lovely copy has, Sd.1 only, faintest rub, inaud. MB 12
“Most of Werschenska's career centred around Denmark where she began recording in 1936. She formed a trio with Peder Møller and Louis Jensen. Many solo works and a number of chamber performances were recorded by her for this company until 1952. She also recorded for Tono, Nordisk Polyphon, and Decca. Her remaining years were occupied with teaching.”
- Marina and Victor Ledin
P0211. HÉLÈNE PIGNARI-SALLES, GERMAINE LEROUX, NICOLE ROLET &
PIERO COPPOLA (Pfs.), w.Gustave Bret Cond.:
Concerto for Four Pianos (Vivaldi), 3s. / Sd.4 = Bret Cond.:
ACRUS TRAGICUS – Prelude (Bach). 2-12” green LVDP S10447/48 [2P6614/17], POM-1937. M-A MB 20, the Pair.
P0212. HERMAN D. KOPPEL: Chaconne, Op.32 (Nielsen), 2s.
12” red Scandinavian HMV DB 5254, POM-1940.
A to M-A, beautiful copy has, Sd.1 only, faintest pap.scr, inaud. MB 8
“Herman D. Koppel was the last surviving member of the great triumvirate that took over the helm of Danish music after Carl Nielsen. He was a permanent feature of Danish musical life from the 1920s...with a brief interruption in 1943 when Koppel, a Jew, took refuge from Hitler's occupying forces in southern Sweden. It was through his application for admission to the Conservatory that, in December 1925, Koppel first met Nielsen himself….Koppel began to study Nielsen's piano works under the guidance of their composer. He made his début as a pianist in 1930 playing Nielsen's Theme and Variations, and soon afterwards gave a concert consisting entirely of Nielsen's piano music. Koppel was notoriously uninterested in his own music and never pushed it. Trying to get him to talk about his music was like pulling teeth.”
- Martin Anderson, THE INDEPENDENT, 25 Sept., 1998
P0213. INGEBORG GRESVIK: Ballade in the Form of Variations on a
Norwegian Folk Song in g minor (Grieg), 4s. 2-12” HMV DB 11904/05, POM-1949-50.
M-A, pristine copy. MB 10, the Pair.
P0214. ERIK THEN-BERGH: Chaconne in d (Bach-Busoni), 4s.
2-12” plum HMV EH 1207/08, POM-24 Aug., 1938.
M-A, lovely copy has, Sd. 1 only, sev.scrs, ltly audible. MB 10, the Pair.
P0215. ERIK THEN-BERGH: Bagatelle #4 in A-flat /
Bagatelle #1 in E-flat, Op.33 (Beethoven).
10” dark-blue German Telefunken A 10510, POM-27 June, 1942. M-A MB 8
P0216. ERIK THEN-BERGH: Sonata #28 in A, Op.101 (Beethoven), 6s.
3-12” plum HMV EH 1257/59, POM-1 Feb., 1939. M-A, as New. MB 15, the Set.
P0217. ERIK THEN-BERGH: Silhouetten, Op.53, Nos. 2 & 6 (Reger), 2s.
12” plum HMV EH 1252. M-A MB 8
“In 1954, Then-Bergh played four concerts under the baton of Wilhelm Furtwängler in Hamburg and Berlin. Furtwängler was so impressed by him that he offered him the revised version of his Symphonic Concerto in b minor on concert tour with the Berlin Philharmonic. They rehearsed and worked together on the work, but Furtwängler's death on 30 Nov., 1954 caused the tour’s cancellation.”
- Ned Ludd
P0218. VICTOR SCHIOLER: Polonaise in A-flat, Op.53 (Chopin), 2s.
12 Danish Tono A 104 [1552/53] , POM- 16 March,1942. M-A MB 12
P0219. VICTOR SCHIOLER: Fantaisie-Impromptu #4 in c-sharp, Op.66 (Chopin) / Libesträume #3 in A-flat (Liszt). 12” Danish Tono A 130 [3060/63] , POM-Aug., 1947.
M-A, as New. MB 12
P0220. VICTOR SCHIOLER: Waltz #14 in e / Étude #2 in f;
Étude #6 in g-sharp, Op.25) (Chopin). 10” Danish Tono K 8008 [2012/13],
POM-1943. M-A. MB 12
P0221. VICTOR SCHIOLER: Waltz in c-sharp, Op.64, #2 / Étude in c, Op.10, #12 (both Chopin). 10” Scandinavian HMV DA 5281 [OCS 33291/28-1],
POM-7 May, 1953. M-A MB 12
P0222. VICTOR SCHIOLER: Prélude #7 in A, Op.28, #7; Prélude #3 in G, Op.28, #3; Prélude #22 in g, Op.28, #22 / Waltz #7 in c-sharp, Op.64, #2 (all Chopin).
10” Danish Tono K 8011 [2014/15] , POM-1943. M-A, exemplary copy. MB 12
P0223. VICTOR SCHIOLER: Prélude #1 in C; Prélude #23 in F;
Prélude #16 in b-flat (all Op.28) / Mazurka #33 in B; Waltz #6 in D-flat, Op.64, #1
(all Chopin). 10” Danish Tono K 8013 [2018/19] , POM-1943. M-A MB 12
P0224. VICTOR SCHIOLER: Waltz #9 in A-flat, Op.69, #1 /
Mazurka #47 in a, Op.68, #2. (all Chopin).
10” Danish Tono K 8014 [2020/21], POM-1943. M-A MB 12
P0225. VICTOR SCHIOLER: Ballade #1 in g, Op.23 (Chopin), 2s.
12” Danish Tono A 103 [1550/51], POM-16 March, 1942 / 18 Dec., 1948.
M-A, exemplary copy has, Sd 2 only, wee pressing bump. MB 15
P0226. VICTOR SCHIOLER: Wiener Tänze, Nos.1 & 2
(Ignace Friedman-Eduard Gärtner),2s. 12” Danish Tono A 133 [3066/67],
POM-Aug., 1947. A-, lovely copy has very light rubs, inaud. MB 12
P0227. VICTOR SCHIOLER: Étude #9 in G-flat, Op.25 (Chopin);
Paraphrase on Chopin’s Étude #9 in G-flat, Op.25 (Godowsky) /
Prelude #5 in g, Op.23 (Rachmaninoff). 10” black Viva-Tonal Col.2262-D
[WA9435/36], POM-1929. A, lovely copy has faint rubs, inud. MB 10
P0228. VICTOR SCHIOLER: Étude #4 in c-sharp; Étude #5 in G-flat /
Étude #3 in E, Op.10 (Chopin). 12” Danish HMV DB 10516 [2CS3362-1A/63-1A],
POM-25 Sept., 1953. M-A, beautiful copy has few faintest rubs, inaud. MB 12
P0229. VICTOR SCHIOLER: Scherzo in c-sharp, Op. 39 (Chopin), 2s.
12” Danish HMV DB 5295 [2CS2848-7/49-4], POM-4 July, 1950. M-A, as New. MB 10
P0230. VICTOR SCHIOLER: Sonata #14 in c-sharp, Op.27, #2 (Beethoven), 3s /
Sd.4 = A MIDSUMMER NIGHT’S DREAM – Scherzo (Mendelssohn-Schiøler).
2-12” Danish Tono A 105/106 [1602/05] , POM-11 May, 1942. M-A MB 20, the Pair.
P0231. VICTOR SCHIOLER: 32 Variations in c (Beethoven), 3s /
Sd.4 = Pastorale and Capriccio (Scarlatti-Tausing).
2-12” HMV DB 20163/64 [2EA15908-2, 15909-3, 15910-1, 15911-2],
POM-1951. M-A, choice copy. MB 15, the Pair.
P0232. VICTOR SCHIOLER: Nocturne in F-sharp, Op.15, #2 /
Nocturne in e, Op. 72, #1 (Chopin). 12” HMV DB 5294 [2CS2846-3/47-3],
POM-26 June,1950. M-A, choice copy. MB 10
P0233. VICTOR SCHIOLER: Romance in D-flat, Op.24, #9 (Sibelius) /
Prelude in g, Op.23, #5 (Rachmaninoff). 12” HMV DB 10508 [2EA15913-4/12-2],
POM-1951. M-A, exemplary copy. MB 12
P0234. VICTOR SCHIOLER, w.Jensen Cond. Tivoli S.O.:
HUNGARIAN FANTASIA (Liszt), 4s. 2-12” Danish Tono X 25000/01 [1616/19],
POM-21 May, 1942. M-A, exemplary copy. MB 20, the Pair.
P0235. VICTOR SCHIOLER, w.Tuxen Cond. Danish Radio S.O.:
Concerto #1 in b-flat (Tchaikowsky), 8s. 4-12” Danish Tono X 25051/54 [2730/37], POM-Dec., 1945. M-A, exemplary copy has very occasional superficial mk, inaud.
MB 20, the Set.
“Victor Schiøler’s teachers included Ignaz Friedman and Arthur Schnabel and he made his début in 1914; from 1919 toured Europe. He made his first American tour after the war in 1948-49. He pursued an energetic career as pianist, conductor and musical organiser, which was interrupted during the rise of Nazism (he was living in Germany in 1933) and the German occupation of Denmark. He firmly resisted any collaboration with the Nazi powers. In 1943 he fled to Sweden with his wife and resumed concert work where concert tours dominated his life once more….Schiøler’s special qualities were as an interpreter of late romantic composers, whom he performed with a natural warmth and a beauty of tone coupled with an inner discipline which never worked against freedom of expression. I listened entranced.”
- Christopher Howell, MusicWeb-International
P0236. JOSEF PEMBAUR:, w.Weissmann Cond.:
Concerto #2 in A (Liszt), 6s. 3-12” dark-blue US Odeon 5147/49 [2-20479/84],
POM-28 Nov., 1927 (pressed by Columbia in their Viva-Tonal period).
M-A, superlative copy has, Sd.3 only, minuscule pap. scr., inaud. MB 15, the Set.
P0237. JOSEF PEMBAUR: Waldesrauschen (Franz Liszt) /
‘Raindrop’ Prélude in D-flat (Chopin). 12” dark-blue German Odeon O-6944
[2-20477/78], POM-28 Nov., 1927. A, lovely copy has light rubs, inaud. MB 8
P0238. WINFRIED WOLF: Trauermarsch (Chopin) /
FRANZ SCHUCHT: Pathétique Sonata #8 in c – Adagio (Beethoven).
10” lilac German Artiphon 03801/65, POM-1929. M-A, exemplary copy. MB 15
P0239. MIECZSLAW MUNZ: Pièce en forme de Habañera (Ravel) / Étude in c-sharp (Scriabin). 10” EL red US Decca G-20301, POM-1928 Homocord. M-A MB 15
“Mieczyslaw Münz was hailed by audiences and critics during the 1920s and 30s as an interpreter of the highest caliber. Yet, he left only one commercial recording (for Homocord, in 1928) and had the misfortune of suffering an untreatable disorder of his right hand that effectively curtailed his performing career when he was in his early forties….One of the more unusual events of Münz 's career occurred quite unexpectedly on 26 January, 1925. An audience had assembled in Carnegie Hall to hear a recital of Chopin and Liszt played by Ethel Leginska. Münz had just returned to New York from a concert tour and, having the evening free, decided to sit in on his colleague's performance. By 9:00, however, there was no sign of Ms. Leginska (who was later found wandering about the city in a ‘disoriented’ state), so Münz gallantly volunteered to play in her stead. A slight rearrangement of the printed program was necessary, but Münz quickly earned repeated ovations from the audience and was recalled for many encores.”
- International Piano Library at Maryland
P0240. JOHN IRELAND: April / JOHN IRELAND & ANTONI SALA:
Cello Sonata (Part VII only) (both Played by the Composer).
12” PW Eng. Col. L2317 [WAX 4677-3/4196-2], POM- 18 Feb., 1929.
M-A, superlative; Sd.1 only has faintest pap.scr, inaud. MB 15
“John Ireland was a conservative British composer whose music developed from a style that looked backward and forward toward Beethoven, Brahms, and other Classical and Romantic influences towards a post-Romantic manner, rich in lyricism, but having absorbed Impressionist and Neo-Classical elements. He is best known for his chamber music, solo piano compositions, and his songs. In the end, Ireland must be assessed an important composer, who at his best could stand with his countrymen and contemporaries Vaughan Williams and Walton.”
- Robert Cummings, allmusic.com
P0241. HELMUT ROLOFF: Thema und Variationen über den Namen ‘ABEGG’ (Schumann), 2s. 10” Variable Micrograde DGG 36115, sole issue, 5 Dec., 1953.
MINT Highly uncommon late-78 Era Issue. MB 15
“Helmut Roloff studied with Richard Rüssler and Wladimir Horbowski. He was the son of an ardent anti-Nazi….he worked with The Schulze-Boysen / Harnack Organization, one of the resistance groups known as the Rote Kapelle between 1940 and 1942, and was arrested by Gestapo together with other members of the group in 1943. He claimed that he was unaware of the anti-Nazi activities of his friends, and that they had only met to listen to music. His friends in the Rote Kapelle did not betray him either, even under torture, and he was released for lack of evidence. The delicacy of Helmut Roloff's touch is so refreshing….”
P0242. ELLY NEY: Hungarian Dance #2 (Brahms) /
Nocturne in F-sharp, Op.15, #2 (Chopin). 10” gold Brunswick 15021.
POM-1922, Sd.1 label faintly Autographed by Elly Ney. M-A, may be unplayed. MB 15
P0243. ELLY NEY, w.van Hoogstraten Cond. Berlin Staatsoper Orch.:
BURLESKE (Strauss), 4s. 2-12” Scroll V 11744/45, POM-1932, on ‘Z’ shellac.
A to M-A, lovely copy has, Sd.4 only, various minuscule dust scrs. MB 15, the Pair.
“Elly Ney was Strauss' favourite pianist for his BURLESKE. Upon his wish she made the first recording in history of this work in 1932 with Berlin State Opera Orchestra on shellac discs, (the work’s first recording), and Ney’s fingers are hard pressed to keep up with her husband’s insanely fast tempi. There’s a genuine give and take between soloist and an impressively disciplined orchestra led by Willem van Hoogstraten.”
- Ned Ludd
P0244. ELLY NEY: Sonata #8 in c – Adagio cantabile (Beethoven) /
ELLY NEY (Speaking): Beethoven’s Heiligenstädter Testament.
12” PW HMV DB 4460 [2RA 1561-5/1268-2], POM-1936. M-A MB 95
“Elly Ney’s art was founded on a powerful technique, a tone of luminous depth and a spontaneity which could be the despair of her musical collaborators….it was as a Beethoven interpreter that she was most valued by her contemporaries. For her, a Beethoven recital was like an incursion into the holy of holies; she sought to establish a three-way communion among the composer, the audience and herself. In our secular age, such an approach may seem to belong to another world, yet we ignore the spiritual dimension of Beethoven at our peril….Ney was a striking figure who created a memorable impression on the concert platform – not least by reading the Heiligenstädter Testament at her Beethoven recitals.”
Tully Potter, liner notes to the Biddulph CD
“Most of us fall into the middle of two extremes, and our various shades of moral grey can fluctuate daily, depending on all kinds of varying circumstances. Some artists who left Nazi Germany were courageous, some selfish; some who stayed there were courageous, some selfish. Some began well but descended to evil and collaboration; others began badly but later discovered heroism and humanity. I mean to prove nothing [but] pose the question: is there a moral dimension to music? Can a person who does evil things be a great artist?"
- Stephen Hough,’Adolph Hitler's favorite pianist’
P0245.EILEEN JOYCE: La Leggierezza Étude de Concert in f(Liszt) /
Gnomenreigen Étude de Concert in A-flat (de Schlozer).
12” red Decca-Odeon 25205, POM-6 Sept., 1934. A to M-A, lovely copy has
faintest rubs, inaud.; Sd.2 only has mere hint of nr, positively inaud. MB 8
P0246. EILEEN JOYCE: Ballade in g, Op.24 (Grieg), 4s.
2-12” Eng.Col.DX 1116/17, POM-3 May, 1943. M-A, as New. MB 12, the Pair.
P0247. EILEEN JOYCE: Eine kleine Gigue in G, K.574; Minuet in C, K.355
(both Mozart) / Sds.2 - 4 = EILEEN JOYCE, HENRY HOLST & ANTHONY PINI:
Trio #1 in G (Haydn). 2-12” Eng. Col. DX 1054/55, POM-7 Nov., 1941.
M-A, as New, albeit Sd.2 only has faintest rub, inaud. MB 12, the Pair.
P0248. EILEEN JOYCE: Lotus Land; Danse nègre (Cyril Scott) /
Tarantella in a (Harry Farjeon). 12” Parl.E 11333, POM-14 April, 1937.
M-A, as New. MB 10
P0249. EILEEN JOYCE: Romance, Op.24, #9 (Sibelius) /
DER FLIEGENDE HÖLLANDER – Spinning song (Wagner).
12” Parl.E 11424, POM-12 July / 24 April, 1939. M-A, as New. MB 10
P0250. EILEEN JOYCE: Romanze in F, Op.118, #5 (Brahms) /
Années de pèlerinage Première Année – Suisse - Au bord d’une source (Liszt).
12” Parl.E 11340, POM-2 Sept.,1937. M-A, as New. MB 10
P0251. EILEEN JOYCE: Rhapsodie in C, Op.11, #3 (Dohnányi) /
Prelude in E-flat; Prelude in d (both Rachmaninoff).
12” Parl.E 11351, POM-11 Jan. / 5 Sept., 1938. M-A, as New. MB 10
P0252. EILEEN JOYCE: Valse in E (Mozskowski) / Pour le Piano -Toccata in c-sharp (Debussy). 12” Parl.E 11239, POM-7 Nov. / 28 Oct., 1933. M-A, as New. MB 10
P0253. EILEEN JOYCE: Frühlingsnacht; Bunte Blätter – Stücklein (both Schumann) / Polka Caprice; Celestial Song (both Stefan Bergman). 12” Parl.E 11363,
POM-31 May, 1938. M-A, as New. MB 10
P0254. EILEEN JOYCE: Scherzo, Op.16, #2 (d’Albert) / Trois danses fantastiques (Shostakovitch). 12” Parl.E 11391, POM-5 / 2 Sept., 1938. M-A, as New. MB 10
P0255. EILEEN JOYCE: Rustle of Spring (Sinding); Scherzo impromptu / To Spring; Summer’s Eve (all Grieg). 12” Parl.E 11427, POM- 12 July, 1939. M-A, as New. MB 10
P0256. EILEEN JOYCE: Impromptu in A-flat, Op.90, #4 (Schubert), 2s.
12” Parl.E 11440, POM-12 July, 1939. M-A, as New. MB 10
P0257. EILEEN JOYCE: Deux Luneires – Danse d’Olaf (Pick-Mangiagalli) /
Si l’oiseau j’étais (Henselt); En route (Palmgren). 12” red Decca-Odeon 25426,
POM-26 April, 1934. M-A MB 10
P0258. EILEEN JOYCE: Introduction & rondo capriccioso (Mendelssohn), 2s.
10” Eng.Col.DB 2179, POM-29 April, 1945. M-A, as New. MB 10
P0259. EILEEN JOYCE: Tango, Op.165, #2 (Albéniz) / Première valse oubliée (Liszt).
10” Eng.Col.DB 2738, POM-18 Dec., 1939. M-A, as New. MB 10
P0260. EILEEN JOYCE: Waldesrauschen (Liszt) / Rondo favori in E-flat (Hummel).
12” red Decca-Odeon 25228, POM-16 March, 1933. M-A MB 10
P0261. EILEEN JOYCE: Sonata #15 in C, K.545, 3s. / Sd.4 = Klaviersuite –
Allemande & Courante, K.399 (both Mozart). 2-12” Parl.E 11442/43,
POM-6 March, 1940 / 26 May, 1939. M-A, as New. MB 12, the Pair.
P0262. EILEEN JOYCE, w.Clarence Raybould Cond.: Rapsodia Sinfonica (Turina), 2s. 12” Parl.E.11299, POM-5 Feb., 1936. M-A, as New. MB 12
P0263. EILEEN JOYCE, w.Charles Münch Cond.Paris Conservatoire Orch.:
Variations Symphoniques (Franck), 4s. 2-12” red Eng. Decca AK.1587/88,
POM-11 Oct., 1946, in Orig.Album ERA 35. M-A, as New. MB 15, the Set.
P0264. EILEEN JOYCE, w.Leslie Heward Cond.Hallé Orch.: Piano Concerto in c, Op.35 (Shostakovitch; w. Arthur Lockwood, [trumpet]), 5s / Sd.6 = EILEEN JOYCE:
Prelude #9 in D; Prelude #10- in c–sharp (both Scriabin). 3-12” PW Col.71424/26-D, POM-24 October / 11 Jan., 1941, in Orig.Album MM 527. M-A MB 15, the Set.
P0265. EILEEN JOYCE, w.Leslie Heward Cond.Hallé Orch.:
Concerto in E-flat (John Ireland), 6s. 3-12” Eng.Col.DX 8178/80, POM-14 Jan., 1942.
M-A, as New. MB 15, the Set.
“In London Joyce had periods of instruction from Adelina de Lara and Tobias Matthay, and in Berlin attended master-classes by Artur Schnabel at which she studied Beethoven’s ‘Emperor’ Concerto. Joyce had enormous stamina at this time, being able to play four concerti in one evening. Her frenetic working life, where music was the focus to the exclusion of all else, left Joyce disillusioned. ‘I worked too hard and travelled too much. I felt depleted spiritually and mentally, I was like a shell with nothing inside anymore’. After thirty years of intensive concert schedules, Joyce retired from the concert stage in 1962; but her popularity led her to make one more appearance at the Royal Albert Hall in London in 1967 when she played Rachmaninov’s Piano Concerto #2 in c minor with the Royal Philharmonic Orchestra conducted by Anatole Fistoulari. Joyce recorded prolifically during the 1930s, almost a disc a month, and made some excellent discs for Parlophone, of which Liszt’s Étude de concert ‘La Leggierezza’ is one of the highlights. Around 1940 Joyce began to record for Columbia where she recorded Ireland’s Piano Concerto and Shostakovich’s Piano Concerto #1. Joyce gave the British premières of both Shostakovich concerti in 1936 and 1958.”
- Jonathan Summers, Naxos’ A–Z of Pianists
P0266. HARRIET COHEN: DAS WOHLTEMPERIERTE KLAVIER, Book I –
Preludes and Fugues, Nos. 1 - 9 (Bach), 12s. 6-12” Viva-Tonal Col. 67626/31-D,
POM-1928, in Orig. Album 120. M-A, exemplary copy. MB 25, the Set.
P0267. HARRIET COHEN: DAS WOHLTEMPERIERTE KLAVIER, Book I –
Prelude and Fugue #4 in c-sharp (Bach), 2s. 12” Eng. Col. DX 1650, POM-1947.
M-A, as New. MB 10
P0268. HARRIET COHEN, w.Sargent Cond.: Morning Song (Bax), 2s.
12” Eng. Col. DX 1361, POM-7 Feb., 1947. M-A, as New. MB 10
P0269. HARRIET COHEN: A Hill Tune / A Mountain Mood
(both Bax, dedicated to Cohen). 12” Eng. Col. DX 1109, POM-20 Oct., 1942.
M-A, as New. MB 10
P0270. HARRIET COHEN: Hymn-Tune Prelude on Song 13 [Orlando Gibbons] (Vaughan Williams, written for Cohen) / Mister Sanders His Delight (Gibbons–Glyn).
12” Eng. Col. DX 1552, POM-4 Dec., 1947. M-A, as New. MB 10
P0271. HARRIET COHEN: Fantasia #4 in c (Bach-Petri) /
Cantata #155 - Wirf mein Herze (Bach-Cohen). 12 early PW Col. 68388-D.
M-A, choice copy has, Sd.1 only, wee pap.mk, inaud. MB 10
P0272. HARRIET COHEN: Intermezzo #3 in c-sharp, Op.117 (Brahms), 2s.
12” PW Eng. Col. Test Pressing for WAX 5676/77, POM-19 Aug.,1930
[presumably from the same session which produced Brahms’ Intermezzo in B-flat,
Op.76, #4, with the customary English Col. label, but with data written in longhand.]
A-, fine copy has lt.rubs, inaud. MB 65
P0273. HARRIET COHEN: Paen (Passacaglia) (Bax) /
Bullock Cond. Westminster Abbey Choir: Mass in G minor - Kyrie (Vaughan Williams). 10” early PW Col. DB 1302 [CA 17042-1/16302-2], POM-7 July, 1938 / 19 March, 1937. M-A, as New. MB 8
P0274. HARRIET COHEN, w.Stratton String Quartet (George Stratton,
Carl Taylor, Watson Forbes, John Moore): Piano Quintet in a (Elgar), 8s.
4-12” PW HMV DB 2094/97 [2B 5354-61], POM-1 October 1933, in Orig.
HMV Album 204 – [recorded electrically for HMV by Harriet Cohen and the
Stratton Quartet, immediately before the composer became seriously ill.
Test pressings were rushed to Elgar's bedside; the pleasure he gained from them inspiring Fred Gaisberg to record the Quintet as a Christmas present to the ailing composer]. M-A, exemplary copy. MB 35, the Set.
P0275. HARRIET COHEN, w.Hubert Bath Cond. London S.O.:
LOVE STORY – Cornish Rhapsody (Cond. by the Composer), 2s.
12” green Col. 7440-M, POM-4Nov., 1944. M-A, as New. MB 8
“Harriet Cohen was for decades a fixture in British musical life both as a pianist and celebrity. A strikingly beautiful woman, she was involved in a long series of amorous relationships with public figures, notably a long-term adulterous affair with the composer Arnold Bax….One learns from an old biography that ‘She works seven or eight hours a day, much of this work being necessary because she is such an ardent student of modern music’.”
- David Radcliffe, AMERICAN RECORD GUIDE, Sept./Oct., 2012
P0276. EVLYN HOWARD-JONES: DAS WOHLTEMPERIERTE KLAVIER, Book II –
Preludes and Fugues, Nos. 10 - 17 (Bach), 8s. 4-12” Viva-Tonal Col. 67823/26-D, POM-1929, in Orig. Album 147. M-A, exemplary copy. MB 25, the Set.
P0277. EVLYN HOWARD-JONES: Three Preludes (Delius), 2s.
10” Viva-Tonal Col. 2343-D, POM-4 April, 1929.
A-/A-B, very decent copy has sev.wee edge chips (not to grooves);
Sd.2 primarily has lt.rubs & scuffs; Sd.2 has ‘heat’ mk. MB 8
“Evlyn Howard-Jones plays Bach's Prelude and Fugue #10 in e in a recording made in 1929 for what was supposed to be the first complete recording of the opus (it went as far as No.17, with the first nine performed by Harriet Cohen and the rest by Howard-Jones). He plays with a lovely glowing sound, long phrases, clear lines, and spacious timing.”
- Mark Ainley
P0278. GERALD MOORE: For Children – Vol. II, Nos. 2, 14, 15 & 31
(Complete, as recorded) (Bartók), 4s. 2-10” plum HMV B.9882/83, POM-1949.
M-A, as New. MB 12, the Pair.
P0279. GERALD MOORE: Study in E, Op.45, #9 (Stephen Heller) /
An die musik (Schubert). 10” plum HMV B.9936, POM-1949.M-A, as New. MB 10
“Gerald Moore, whose career spanned more than half a century, served as accompanist, on disk and in concert, to most of the major artists of his time. Although he appeared several times as a soloist in his youth and was a splendid interpreter of the duo-sonata literature, he made his most vivid impression in the song repertory, where his performances with Elena Gerhardt, Elisabeth Schumann, John McCormack and later with Victoria de los Angeles, Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf were hailed as exemplary partnerships. Such was his reputation that the Grand Prix du Disque, usually reserved for outstanding soloists, was awarded to Mr. Moore on four occasions.''
- Tim Page, THE NEW YORK TIMES, 17 March, 1987
P0280. UNA BOURNE: Automne / Quatrième valse (both Chaminade).
12” plum PW HMV C.427 [HO 692/695ac], POM-16 March, 1915.
A, fine copy has faint rubs & occasional wee dust scr, inaud. MB 12
P0281. UNA BOURNE & MARJORIE HAYWARD: Sonata in c (Grieg), 6s.
3-12” plum PW HMV C.1388/90. M-A MB 20, the Trio.
“Bourne‘s first recording was made in 1914: a disc of her own compositions ‘Caprice’ and ‘Petite Caprice Valse’. Most of Bourne’s recordings are of popular encores and lighter classics: many works by Chaminade, with whom she studied, as well as pieces by Paderewski, Scharwenka, Smetana, Cyril Scott, Sinding and Sydney Smith. Because of this her reputation today is not high, even though she also recorded short pieces by Granados, Albéniz and Grieg. Her most successful recordings are those in which she partners violinist Marjorie Hayward, namely Beethoven’s ‘Kreutzer’ Sonata, Op. 47, and the Violin Sonata by César Franck.”
- Jonathan Summers, Naxos' A–Z of Pianists
P0282. CLÉMENT DOUCET (Pf.): Chopinata – fantaisie sur des motifs de Chopin /
Wagneria – d’après des thèmes de Wagner. 10” EL black Viva-Tonal Col. 1657-D, POM-14 Sept., 1927. A to M-A, choice copy; Sd. 1 only has faint rubs &
minor under label lam, of no consequence. MB 12
“I wonder if there has ever been two more irrepressible practioners of the two-piano genre than these two Frenchmen (Doucet & Wiener) who recorded jazz and pop tunes as well as their own transmogrifications of the classics - Godowsky had nothing on these two, believe me - during what the French call "Les années folles", or the Roaring Twenties…definitely NOT to be missed.”
- Jean-Charles Hoffelé
P0283. WIENER & DOUCET: Sonata in D for Piano Four-Hands, K.448
(Mozart), 4s. 2-12” early PW Col. P-69324/25-D [CPTX 327/330],
POM-7 July, 1937. M-A, reviewer’s copy; Sd.1 only has faintest lams, inaud.
MB 12, the Pair.
“Jean Wiener was a French pianist and composer [who] was trained at the Conservatoire in Paris, where he studied alongside Darius Milhaud, and worked with Erik Satie. He then embarked on a career as concert impresario, composer and pianist. He was the house pianist at the Gaya bar, and later at Le Boeuf sur le Toit. In 1924 a chance encounter with Clement Doucet (who succeeded him at Le Boeuf) brought him into the world of popular music. Already a jazz enthusiast, Wiener found fame with Doucet in the music halls of Europe as a piano duet, under the name ‘Wiener and Doucet’ in which they performed classical music, hot dance and jazz. He was of some significance in the promotion of new music, both by his friends in the Les Six (Milhaud, Poulenc, etc.), and by composers such as Schönberg, Berg and Webern. His compositions involve the use of jazz informed by French wit and elegance.”
P0284. COLIN HORSLEY: Six Preludes for Piano (Berkeley), 2s.
12” plum HMV C.3940, POM-13 July, 1949. M-A, as New. MB 12
“Colin Horsley’s main contribution to contemporary music came through his association with Lennox Berkeley. When he went to HMV to record works by Sergei Prokofiev and Karel Szymanowski on 78s, the producer was delighted and asked Horsley if he happened to have anything else. So he pulled Berkeley's Six Preludes out of his case, they recorded them and apparently that 78 sold best of all. In the concert hall Horsley clocked up some 90 performances of the Preludes.
Horsley studied privately with Irene Scharrer and Tobias Matthay. He played in the wartime concert series at the National Gallery in London, and made his concerto début in 1943 with the Hallé Orchestra in Manchester at the invitation of John Barbirolli. Eventually he played with all the leading British orchestras and toured on the continent, in the far east, and in Australia and New Zealand. Horsley's recordings show that he had an impeccable finger technique and complete command of Berkeley's invariably pianistic but sometimes taxing passage-work.”
- Peter Dickinson, THE GUARDIAN, 7 Aug., 2012
P0285. KATHLEEN LONG: Sonatine for Piano, 3s. / Sds. 4-10 =
KATHLEEN LONG, w. International String Quartet:
String Quartet in F Major, 7s. (Ravel; supervised by the Composer).
5–12” Columbia/National Gramophonic Society NGS-78/81; 87,
only form of issue, 1927. M-A MB 25, the Set.
P0286. ETHEL BARTLETT: Chorale - Blessed Jesus, here we stand (Arr. Rummel)
Sds. 2-4 = Concerto #5 in f minor for Piano & Strings.
2-12” Columbia/National Gramophonic Society NGS-151/152],
only form of issue, 18 Dec., 1929. M-A MB 15, the Pair.
P0287. ETHEL BARTLETT: Sonatine for piano /
INTERNATIONAL STRING QUARTET (André Mangeot, Albert Voorsanger,
Eric Bray & John Shinebourne): String Quartet in F (both Ravel,
supervised by the Composer), 10s. 5-12” Columbia /National Gramophonic Society
NGS- 87; 78-81, only form of issue, 1927. M-A MB 25, the Set.
“What's interesting about [the above] is that [it] carried the composer's stamp of
approval. The International had tried on several occasions to record the
Quartet, but the results were evidently not to their liking. On a trip to London,
Ravel agreed to listen to the various ‘takes’ and make interpretative comments
in the score. These were then used as the basis for a final session.”
- Hans Lick
P0288. ETHEL BARTLETT & RAE ROBERTSON:
Moy Mell (‘The pleasant plain’) (Bax, supervised by the Composer), 2s.
12” Columbia / National Gramophonic Society
NGS-102, only form of issue, 1927. M-A MB 15
P0289. ETHEL BARTLETT & RAE ROBERTSON: Scaramouche (Milhaud), 2s.
12” PW Col. 69835-D, POM-1941. A to M-A, lovely copy has
very occasional faint pap.rub & infinitessimal pap.scr, inaud. MB 8
P0290. ETHEL BARTLETT & RAE ROBERTSON: Andante and Variations, 3s. /
Sd.4 = Etude in the form of a canon (both Schumann). 2-12” PW Col. 71310/11-D,
POM- 29 January 1941, in Orig.Album X-213. M-A, as New. MB 15, the Set.
P0291. ETHEL BARTLETT & RAE ROBERTSON,
w.Barbirolli Cond.: Concerto in C (Bach), 4s. 2-12” plum HMV C.2648/49,
POM-20 Dec.,1933. M-A, as New. MB 12, the Pair.
“Duo-pianists Ethel Bartlett and Rae Robertson were musical – and marital
partners for over three decades, [enjoying] the near-flawless balance and
coordination for which they were so noted….not the only Matthay pupils to
distinguish themselves as a duo, their ensemble was far the most acclaimed.
Ethel Bartlett, a student of Tobias Matthay and Artur Schnabel, also
partnered John Barbirolli in his early career.”
- Stephen Siek
P0292. MARION ROBERTS: Prélude, Chorale et Fugue (Franck), 4s.
2-12” Chicago Gramophone Society 50016/17- P [91729/32], POM-1927
(pressed by Columbia in their Viva-Tonal period). Rare private pressing limited to 200 copies). M-A, superb copy; two labels have wee adhesive stickers.
[Roberts was a prominent Chicago recitalist who was murdered by her lover in Paris, shortly after this private release.] MB 20, the Pair.
P0293. JEANNE BEHREND: American piano music by John Alden Carpenter, RandallThompson, Leo Sowerby, Marion Bauer, Arthur Farwell, Amy Beach,
George Gershwin, Abram Chasins, David Wendell Guion, Isadore Freed,
Robert Nathaniel Dett, Daniel Gregory Mason and Edward MacDowell.
4-12” PW V 17910/13, POM-1940, in Orig. Album M-764, w.Brochure.
M-A, as New. MB 35, the Set.
“For Victor, Behrend recorded other American piano music by John Alden Carpenter, David Wendell Guion, Daniel Gregory Mason and Edward MacDowell. In 1948, at New York’s Town Hall, Behrend gave the first complete performance of Samuel Barber’s ‘Excursions’, parts of which had been premièred by Horowitz three years earlier. Barber dedicated his Interlude #1 to Behrend, giving the first performance of it at the Curtis Institute in 1932; it is subtitled ‘Adagio for Jeanne’.”
- Jonathan Summers, Naxos’ A–Z of Pianists
P0294. JEANNE BEHREND & ALEXANDER KELBERINE (Pfs.):
Deep River / Song of the Volga Boatmen (both arr. Kelberine).
10” PW V 1999, POM-1937. M-A, exemplary copy. MB 15
P0295. JEANNE BEHREND & ALEXANDER KELBERINE (Pfs.),
w.Stokowski Cond. Philadelphia Orch.: Concerto for Two Pianos and Orchestra
(Harl McDonald), 6s. 3-12” PW V 15410/12, POM-1937, in Orig. Album M-557.
M-A, exemplary copy. MB 35, the Set.
P0296. JEANNE BEHREND & SYLVAN LEVIN (Pfs.),
w.Stokowski Cond. Philadelphia Orch.: LE CARNAVAL DES ANIMAUX
(Saint-Saëns), 6s. 3-12” V 18047/49, POM-1939, in Orig. Album M-785.
M-A, exemplary copy. MB 25, the Set.
“In 1934 Jeanne Behrend married the Russian pianist Alexander Kelberine with whom she continued her studies and performed as a duo-piano team. She made her Carnegie Hall début in 1937 to great acclaim. In 1939 Jeanne Behrend presented a series of recitals of music exclusively by American composers at the Curtis Institute, where she was on the faculty. Shortly after, she recorded a series of these works. She was a lifelong champion of the music of American composers, and the first to bring back into popularity the music of Louis Moreau Gottschalk.”
- Marina and Victor Ledin
P0297. STEPHEN KOVACS: Polonaise #6 in A-flat, Op.53/
Revolutionary Étude in c, Op.10, #12; Valse du petit chien (Minute Waltz) in D-flat major, Op. 64, #1; Fantaisie-Impromptu #4 in c-sharp, Op.66 (all Chopin.
10 Continental 1161 [W 3336/37], in Orig.Continental sleeve.
A-/M-A, fine copy has, Sd.1 only, lt.grey on peaks. MB 12
P0298. STEPHEN KOVACS: A MIDSUMMER NIGHT’S DREAM – Scherzo (Mendelssohn) / DIE FLEDERMAUS – Waltz (Johann Strauss).
12 Continental 4002 [B 3083/84]. A to M-A, fine copy has, very beg. Sd.2 only, infinitessimal hlc, barely visible & certainly inaud. MB 12
P0299. STEPHEN KOVACS: Firestone Presents … Mendelssohn, Johann Strauss, Liszt, Mozart, Dvorák, Verdi, Schubert, Rimsky-Korsakov, Chopin & Rossini, 8s.
4-12” Philharmonic FR 106/09 [B 3081/88], in Orig.Firestone Album 7388.
M-A, pristine copy appears entirely unplayed. MB 55, the Set.
P0300. AARON COPLAND (Pf.) & LOUIS KAUFMAN (Violin): Violin Sonata, 5s /
Sd. 6 = AARON COPLAND (Solo): Nocturne (both Played by Composer).
3-12” red vinyl Concert Hall 1356/61, POM-1948, in Orig. Album C-10. M-A MB 35
P0301. AARON COPLAND, w.Karman (Vln) & Freed (Cello): VITEBSK, 3s. /
Sd.4 = AARON COPLAND & JACQUES GORDON (Vln): Ukulele serenade
(both Played by the Composer). 2-12” MasterWorks Col. 68741/42-D
[XCO 17117/19; 17325], POM-2 April, 1935, in Orig.Album X-68, w.Brochure.
M-A, as New. MB 20, the Set.
P0302. AARON COPLAND & LEO SMIT (Duo Pianists):
Danzón Cubano (Played by the Composer), 2s. 12” vinyl Concert Hall 1136/37,
POM-1947, in Orig. Printed Sleeve. [In 1942, Copland wrote this impression of a
Cuban dance style he had observed during his tour the preceding year.] M-A MB 10
“‘Danzón’ is not the familiar hectic, flashy, and rhythmically complicated type of Cuban dance. It is more elegant and curt and is very precise as dance music goes. The dance hall itself seemed especially amusing to me because it had a touch of unconscious grotesquerie, as if it were an impression of ‘high-life’ as seen through the eyes of the populace—elegance perceived by the inelegant.... I didn't actually intend the piece to be grotesque, but, of course, there is that element in the original dance itself. Similar to that style, ‘Danzón Cubano’ is very secco, very precise and elegant. It contrasts strong, rhythmically marked sections with a rather sentimental tune following immediately after but not quite mixing with the dryness of the preceding part.”
- Aaron Copland, Recorded Anthology of American Music
P0303. AARON COPLAND: Four Piano Blues(Played by the Composer), 2s.
12” Eng. Decca K2372 [AR 13657/58], POM-2 May, 1949.
M-A, choice copy has faint pap.rub, Sd. 1 only. MB 15
“The first piece is ‘For Leo Smit’ (1947). Smit, an American composer, pianist, and photographer, was well known as a champion of Copland's music. The first is subtitled ‘Freely poetic’. The music mixes the bluesy sounds of Gershwin with a drier Debussyian character, the whole free-spirited, yet reflective in its slow tempos and dreaminess. The second piece is ‘For Andor Földes’ (1934). Földes was a prominent Hungarian-born American pianist, closely associated with Bartók and his music, but also a friend of Copland. Subtitled ‘Soft and Languid’, the music here certainly lives up to its label; that said, it is marginally livelier than its predecessor. It is also playful, especially in a few mild bursts of energy in the middle section. William Kapell is the dedicatée in the third piece, which is subtitled ‘Muted and Sensuous’ (1948). As many are aware, Kapell was a brilliant virtuoso pianist, probably destined for a Horowitzian career had his life not been cut short in a plane crash in 1953, when he was a mere 31 years old. As the description suggests, the music is, once more, subdued and restrained, though the big chords at the outset impart an almost epic character to the mood, giving weight to much of the music. Debussy comes to mind throughout, though in a somewhat bluesy mist. The final piece, ‘For John Kirkpatrick’ (1926), is subtitled ‘With Bounce’. The music begins with a lively, rowdy main theme, which then yields to a dreamy, bluesy alternate theme. The material is heard again and then quietly ends. The dedicatée here, American pianist John Kirkpatrick (1905-1991), was strongly associated with the music of Charles Ives.”
- Robert Cummings, allmusic.com
P0304. AARON COPLAND: Piano Variations, 3s /
Sd.4 = AARON COPLAND & JACQUES GORDON: Nocturne
(both Played by the Composer), 4s. 2-12” early MasterWorks Col. 68320/31-D