Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Auction Number 150 -
AUCTION Closing Date: Friday, 17 May, 2019
Regarding AUCTION #150
(Closing Date: Friday, 17 May, 2019
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Section I - Piano 78rpm records Nos. M0101 – M0222M0101. RAOUL PUGNO:
Impromptu - Valse (Chopin).
10" black Paris G&T G.C.35502 (Matrix 2036-P 1), only form of issue, 1903.
M-A, an extraordinary copy with uncommonly bright label! MB 450
“A month before Grieg made his recordings, another famous pianist made some discs for the Gramophone and Typewriter Company in Paris….Apparently, Pugno was not enthusiastic about the piano solos already on offer by the Gramophone and Typewriter Company, but they were obviously keen to secure the services of one of the greatest pianists of the time - indeed, along with Alfred Grünfeld, Pugno was one of the first pianists of international note to make recordings. He recorded four, ten-inch sides in April 1903; when he returned a few days later to hear the recordings, overwhelmed he immediately recorded five more sides.”
- Jonathan SummersM0102. FRANCIS PLANTÉ:
Romance #2 in F-sharp (Schumann) /LA DAMNATION DE FAUST – Sérénade (Berlioz). 10” PW Eng. Col. D 13061,only form of issue, 3 July, 1928. M-A, exceptional copy has,
Sd.2 only, wee ec, nowhere near grooves. MB 45
“Francis Planté spent his old age on his estate near Mont-de-Marsan and it was there in 1928 that he made his only recordings. It is extraordinary to think that a pianist who was already ten years of age when Chopin died in 1849 could have made sound recordings. Planté was always working at the piano; as he told Marguerite Long, he was ‘…a student, still plodding in my ninetieth year’. Because of this he kept up his technique and played Chopin études when he was in his nineties. Gaby Casadesus and her husband spent an afternoon with Planté at this time. She said that Planté was ‘…a really wonderful Chopin player… I remember that he played the Chopin Barcarolle in an incredible way even then. He knew some Chopin students, Philipp’. His concerts were usually long affairs and in May 1928 when the indefatigable Planté had given two concerts in a single day (he was approaching ninety years of age), his American friend Irving Schwerké, eager to have Planté’s art preserved, interested the French Columbia Company in recording him. However, Planté would not travel to the recording studios in Paris, so Columbia took their recording equipment to his home in July 1928 and spent two days recording. These discs are historical documents of one of the earliest pianists to have been recorded….to be able to hear an important figure like Planté is a rare privilege.”
- Jonathan SummersM0103. CAMILLE SAINT-SAËNS
& GABRIEL WILLAUME (Violin):
Suite Algérienne – Rêverie à Blidah / LE DÉLUGE - Prélude (both Played by the Composer). 12” PW Disque Gram. DB 705 (03280/84v), POM 24 Nov., 1919. M-A MB 65
“Once described as the French Mendelssohn, Camille Saint-Saëns was talented and precocious as a child, with interests by no means confined to music. He made an early impression as a pianist. Following established French tradition, he was for nearly 20 years organist at the Madeleine in Paris and taught briefly at the École Niedermeyer, where he befriended his pupil Gabriel Fauré. He was a co-founder of the important Société Nationale de Musique with the patriotic aim of promoting contemporary French music in the aftermath of the Franco-Prussian war of 1870-01.”
- Jonathan SummersM0104. EDOUARD RISLER:
Hungarian Rhapsody #11 in a (Liszt), 2s. 11½” green paper label H & D Pathé 9535, recorded 1917. M-A MBM0105. EDOUARD RISLER:
Sonata in A-flat - Finale (Beethoven) / Scherzo in e (Mendelssohn). 11½” green paper label H & D Pathé 9532, recorded 1917. M-A MB 325
“Edouard Risler was one of the great pianists of France during the late 19th and early 20th centuries. His repertoire ranged from Bach and the French baroque composers, through the works of Beethoven, Chopin and Liszt, to his own transcriptions of the tone poems of Richard Strauss.
Along with Cortot, he was a student of Diémer at the Paris Conservatory, being awarded the first prize in 1889. Cortot won it in 1896 and had this to say about Risler's playing: ‘I immediately felt myself engulfed by the music; it was not just a matter of what he was playing, but also his charm, his faculty to reveal, to communicate the incommunicable. His unique way of making music overwhelmed me, it entered into me, into my very flesh. Risler presented to me a magical world which previously I had only known as an onlooker. He opened my soul to the appreciation of a music that was born of spontaneous inspiration. His feeling for orchestral colour was something that I had never associated with the piano. From that moment I understood how the vocation of the interpreter could transcend the metier of the pianist, I knew...I could see...I believed, and I was clear in my vision’. He also studied with Eugen d'Albert, a pupil of Liszt.
His circle of friends included some of the most important composers of the day: Gabriel Fauré, Reynaldo Hahn, Emmanuel Chabrier, and Enrique Granados of whose works he was at times the dedicatée and gave the premieres….you will hear a wonderful pianist, one whose interpretive style cannot easily be confused with that of others of his era.”
- forte-piano.comM0106. EUGEN d’ALBERT:
Ecosaises (Beethoven-d’Albert) / Die Toten Augen –
Mytocle’s Aria (Played by the Composer). 10” black Schall.Gram. 62308 (19057/59-L), POM-1916. M-A, exceptional copy has, Sd.1 only, microscopic scr, inaud. MB 175
“The German composer Eugen d’Albert was born in Glasgow and had his early musical training in London, where his father had formerly been ballet-master at the King’s Theatre and at Covent Garden. He enjoyed a career as a virtuoso pianist, later turning his attention to opera, a form in which he won immediate, if ephemeral success. He died in Riga in 1932. The best known of d’Albert’s stage works is his music-drama TIEFLAND, based on Angel Guimerà’s TERRA BAIXA, a Catalan novel from 1897, and first staged in Prague in 1903.
- Jonathan SummersM0107. EDVARD GRIEG:
Au printemps (Played by the Composer) / JOSEPH JOACHIM:
Hungarian dance #2 in d (Brahms-Joachim). 12” PW black Historic Catalogue #2 HMV D 803 (2147f / 217y), POM-1903, Paris / Berlin, resp. M-A, an outstanding copy! MB 65
“Edvard Grieg is the most important Norwegian composer of the later 19th century, a period of growing national consciousness…..He continued to divide his time between composition and activity in the concert hall until his death in 1907. As a pianist himself, Grieg wrote extensively for the piano…and in other sets of short compositions for the instrument, often derived directly or indirectly from Norwegian folk music….In the spring of 1903, Grieg made nine 78-rpm gramophone recordings in Paris….Among the great violinists and teachers of his time, JOSEPH JOACHIM studied in Vienna, worked as a boy with Mendelssohn in Leipzig, served as violinist to the King of Hanover, and eventually moved to Berlin. He met Brahms in 1853…and remained a friend for many years, advising him on orchestration and on writing for strings.”
- Jonathan SummersM0108. BLANCHE SELVA
& JOAN MASSIA:
Sonata in A (Franck), 8s.
4-PW dark-blue Eng. Col. DX 239/42, POM-1930. M-A MB 75, the Set.
“Blanche Selva, one of the most revered of French pianists of her generation, made pitifully few recordings and even those were compressed into a two-year period. Her discography in fact amounts to no more than a mere eleven works. Trained at the Schola Cantorum, Selva was appointed by d’Indy himself as teacher at the early age of eighteen. In all she taught there for twenty years and was adventurous enough to add her own twist to the usual continental drift westwards of Czech musicians – Selva herself moving to Prague to teach, encountering Suk and Novák along the way.”
- Jonathan WoolfM0109. EMMA BOYNET:
Nocturne / Pastels – Feux follets (both Isidor Philipp).
10” Scroll V 4279, on ‘Z’-type shellac. M-A MB 65M0110. EMMA BOYNET:
Histoires – Le petit âne blanc / La marchande d’eau fraiche
(both Jacques Ibert). 10” Scroll V 4315, on ‘Z’-type shellac. M-A, Exemplary! MB 25M0111.EMMA BOYNET:
Sonata in C – Rondo (Haydn) /
Allein Gott in der Höh’ sei Her! (Bach). 10” Scroll V 4336, on ‘Z’-type shellac.
M-A, lovely copy has, Sd. 1 only, pinpoint pressing bump. MB 65M0112. EMMA BOYNET:
Fauré, Pierné, de Sévérac, Chabrier & Debussy, 10s.
5-10” PW V 4420/24, POM-1938, in Orig. Victor Album AM-549, w.Brochure.
M-A MB 35, the Set.M0113. EMMA BOYNET
, w.Jacques Gordon (Viola) & Bruno Labate (Oboe):
Two Rhapsodies, 5s / Sd.6 = JACQUES GORDON
, w.Carl Deis (Pf.): Adieu pour jamais (both Loeffler). 3-12” Schirmer 2531/33, in Orig.Album 10. M-A MB 45, the Set.M0114. EMMA BOYNET
, w.Gordon String Quartet: Piano Quintet in d (Fauré), 8s.
4-12” Schirmer 2527/30. M-A, as unplayed! MB 45, the Set.
Emma Boynet was a prized pupil and life long associate of Isidor Philipp. She was awarded a first prize in piano at the Paris Conservatory. She was a favorite pianist of Serge Koussevitzky with whom she often performed at Boston Symphony concerts. And she is known for her beautiful playing of the French piano repertoire, particularly the music of Gabriel Fauré whom she knew well. I love her playing and will be on the lookout for more examples of it. Emma Boynet's Bach must have been delightful. To hear her play more of his music with that gorgeous tone and perfect touch would bring me no end of pleasure.”
- forte-piano.comM0115. MONIQUE de la BRUCHOLLERIE:
Sonata #34 in e (Haydn), 2s.
12” HMV DB 21038, only form of issue, 22 Oct., 1947. M-A MB 12M0116. MONIQUE de la BRUCHOLLERIE:
Deux valses – caprices (Schubert) /
‘Egyptian’ Piano Concerto #5 in F - Toccata (Saint-Saëns).
10” HMV DA 1888, only form of issue, 22 Oct., 1947. M-A MB 8
" Bruchollerie studied as a child with Isidor Philipp, who was a family friend. Under his guidance at the age of thirteen she won a premier prix at the Paris Conservatoire and was awarded the Pagès Prize, an honour given every five years to the best premier prix winner. She continued her studies in Paris with Alfred Cortot, and in Vienna with Liszt pupil Emil von Sauer. In 1948 she gave a highly-praised concert at the Salle Pleyel, where she played three piano concertos with Charles Munch and the Société des Concerts du Conservatoire. Bruchollerie made her debut in the USA with the Boston Symphony Orchestra under Ernest Ansermet on 14 December 1951, and at Carnegie Hall, when she played Rachmaninov’s Piano Concerto #3 in d minor with the same forces in February 1952. She ‘…reaped an immense triumph’ according to critic Olin Downes. A week later she gave her New York recital debut, also at Carnegie Hall….A month later Bruchollerie gave the New York première of a piano concerto by Jean Rivier conducted by George Szell. When she returned to give another solo recital at Carnegie Hall in March 1953, Bruchollerie was described as displaying ‘…playing of unquenchable enthusiasm and exuberance’."
- Jonathan SummersM0117. JEANNE-MARIE DARRÉ:
Tarantelle in A-flat, Op.43 / Trois Ecossaises, Op.72 (both Chopin).
10” red Pathé PD 97, only form of issue, 1949. M-A MB 15M0118. JEANNE-MARIE DARRÉ:
Feux-follets (Liszt) /
Aeolian Harp Étude #13 in A-flat, Op.25, #1; Étude #18 in g-sharp, Op.25, #6 (Chopin).
12” red Pathé PDT 92, only form of issue, 1944. M-A MB 8
“Jeanne-Marie Darré, a French pianist whose interpretations of Chopin and Liszt solo works and the Saint-Saens Concertos were admired for their sophistication and interpretive inventiveness, was an elegant player who dazzled with the strength and clarity of her technique but was also a provocative interpreter. Miss Darré also had considerable stamina. When she was 21 she played all five of the Saint-Saens Piano Concertos in a single program with the Concerts Lamoureux orchestra, conducted by Paul Paray. She repeated that feat twice and sometimes played all the Chopin Etudes and Preludes in a single recital program.
Her principal teachers were Isidore Philipp and Marguerite Long, through whom she met and worked with several great French composers of the time, among them Fauré, Saint-Saens and Ravel….her debut at Carnegie Hall with Charles Munch and the Boston Symphony Orchestra was an eagerly anticipated event. Miss Darré returned to give her first American recitals at the end of 1962, and returned regularly through the early 1980s.”
- Allan Kozinn, THE NEW YORK TIMES, 1 Feb., 1999M0119. ELAINE ZURFLUH-TENROC:
Miroirs – Oiseaux tristes / La vallée des cloches (Ravel). 12” black Disque Gram. W-1031, only form of issue, 1929. M-A MB 15M0120. MARGUERITE ROESGEN-CHAMPION:
L’hirondelle (Daquin) / French Suite #5 in G - Passepied & Gavotte (Bach).
10” PW plum Disque Gram. K-6004, POM-1941. M-A MB 10M0121. MARGUERITE ROESGEN-CHAMPION
, w.Gaillard Cond.:
Concerto in D, Op. 21 (Haydn), 4s. 2-12” Master Works Col. P-69405/06-D,
POM-3 March, 1937, in Orig. Col. Album X-118. M-A MB 12, the Set.M0122. MARGUERITE ROESGEN-CHAMPION
, w.Gaillard Cond.:
Concerto #1 in F, K.37 (Mozart), 3s; Sd.4 = Concerto in C - Rondo (J. C. Bach).
2-12” Master Works Col. P-69396/97-D, POM-20 May, 1936 / 19 April, 1940,
in Orig. Col. Album X-114. M-A MB 12, the Set.M0123. MARGUERITE ROESGEN-CHAMPION
, w.Wolff Cond.: Concerto #4 in G, K.41 (Mozart), 3s; Sd.4 = Concerto in F - Rondo (J. C. Bach). 2-12” red French Col. RFX 75/76, only form of issue, 19 April, 1940. M-A MB 12, the Pair.M0124. MARGUERITE ROESGEN-CHAMPION
, w.Coppola Cond.: Les vieux seigneurs; Les jeunes seigneurs (both Couperin) / Rigaudon; Musette et tambourin (both Daquin).
10” PW plum HMV B.8122. M-A MB 10M0125. MARGUERITE ROESGEN-CHAMPION
, w.Coppola Cond.:
Harpsichord Concerto #6 in B-flat, 3s / Sd.4 = Harpsichord Suite #11 in d – Sarabande & Gigue (both Handel). 2-10” Scroll V 4363/64, on ‘Z’-type shellac. M-A MB 12, the Pair.M0126. MARGUERITE ROESGEN-CHAMPION
, w.Coppola Cond.:
Concerto #6 in F (Haydn), 2s. 12” PW V 12042, POM-3 March, 1933. M-A MB 12M0127. MARGUERITE ROESGEN-CHAMPION
, w.Coppola Cond.: Concerto #6 in F (Haydn), 2s. 12” black Japanese Orth V JB 84, POM-3 March, 1933. M-A MB 12
“The Swiss-born Roesgen-Champion had been privately musically educated by her mother, the singer Cecile Roesgen-Liodet, and then at the Geneva Conservatory where she studied piano with Marie Panthis and composition with Ernest Bloch and Jacques Dalcroze. Following her graduation in 1913 she pursued a concert career as a harpsichordist, appearing as a soloist with leading French orchestras.”
- Aaron I. Cohen, M0129. ROBERT LORTAT:
INTERNATIONAL ENCYCLOPEDIA OF WOMEN COMPOSERS, p.393
24 Préludes (Chopin), 8s. 4-12” early PW & Viva-Tonal
Col. 67540/43-D, POM-1928, in handsome hand-made album. M-A MB 35, the Set.M0130. ROBERT LORTAT:
Waltzes (Chopin), 10s. 5-12” early PW Col. 68028/32-D,
POM-1928 on Royal Blue Shellac, in Orig. Album 171, w.brochure.
A to M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.
“As Lortat had performed complete cycles of Fauré’s works in concert, French Columbia asked him to record the études, waltzes, préludes and the Sonata in b- flat minor. The recordings were made in Paris between 1928 and 1931. The recording of the préludes is strong, bold and forthright, similar in style to Cortot; but Lortat displays an impetuousness that is even more evident in the sonata….the last few of Op. 25 are given excellent, bravura performances.”M0131. MARIA THÉRÈSE BRAZEAU:
Préludes, Book II - Feu d’artifice (Debussy) / Jeux d’eau (Ravel). 12” green German Polydor 27094, only form of issue, 1929. M-A MB 10M0132. ANITA SIEGEL
& BABETH LÉONET:
Dolly – Suite (Fauré), 4s.
10” dark-blue PW French Col. DF1665 & 12” DFX193 [CL 5073/74; CLX 1777/78],
POM-1934. M-A, choice, albeit 1 side has faintest rubs, inaud. MB 15, the Pair.
“As ‘a child pupil of Marguerite Long’, herself a renowned interpreter of Fauré's music. Anita Siegel appears also to have studied with Lazare Lévy, but did not perish in the Holocaust but rather fell to her death in 1943, aged 22, from the balcony of her apartment in Grenoble whence she had moved from Neuilly after her marriage in 1941.”
- A niece of Anita SiegelM0133. JACQUES DUPONT:
Scherzo fantasque (Czerny) / Sonata #12 in G – Minuet (Schubert). 10” green Pathé X.98.176, only form of issue, 1933. M-A MB 12M0134. JEAN DOYEN:
Études de Concert – Il Lamento (Liszt), 2s.
12” Disque Gram W-1569, only form of issue, 3 March, 1943. M-A MB 15M0135. JEAN DOYEN:
Nocturne #6 in D-flat (Fauré), 2s.
12” Disque Gram DB-5029, only form of issue, 23 Feb.,1937. [Born in Paris, Doyen graduated from the Conservatoire de Paris as pianist in 1922. He began learning the instrument with Jeannine Barbulée (teacher of Samson François and Yvonne Lefébure), then studied with Louis Diémer (1919) and finally with Marguerite Long. In 1924, he made his solo debut with the Concerts Colonne.] A-, lovely copy has faint rubs, inaud. MB 15M0136. JACQUES FÉVRIER:
Sonata in B-flat (Bach), 2s.
12” L’Anthologie Sonore 68, POM-1938. M-A MB 15M0137. JACQUES FÉVRIER:
Miroirs – Noctuelles;
w.MUNCH Cond. Paris Conservatoire Orch.: Concerto in D pour la main gauche, 5s
(both Ravel). 3-12” French Col. LFX 631/33, only form of issue, 1942.
M-A, choice copy has, Sd.1 of the Concerto only,
very long internal lam, positively audible. MB 25, the Set.
“Although Paul Wittgenstein who commissioned this work gave the premiere with Robert Heger and the Vienna Symphony Orchestra on 5 January 1932, the first French pianist to perform it was Jacques Février, chosen by Ravel. When Ravel first heard Wittgenstein play the concerto at a private concert in the French embassy in Vienna, he was furious. He heard lines taken from the orchestral part and added to the solo, harmonies changed, parts added, bars cut and at the end a newly created series of great swirling arpeggios in the final cadenza. The composer was beside himself with indignation and disbelief. Later Wittgenstein agreed to perform the concerto as written, and the two men patched up their differences, but the whole episode left a bitter taste in both their mouths.
Jacques Février studied with Edouard Risler and Marguerite Long at the Paris Conservatoire, winning a premier prix in Long’s class in 1921. He specialised in French music and became a champion of the music of 'Les Six'. From childhood he was acquainted with Ravel, who had known his father in Fauré’s composition class at the Paris Conservatoire. Young Jacques would visit Ravel at Sainte-Croix in Neuilly where the composer was living with his mother. During his years at the Conservatoire, Février regularly visited Ravel and studied and played many of his works with him. Ravel chose Février to play his Concerto for the Left Hand, originally written for Paul Wittgenstein, and after three years of exclusive rights had elapsed Février played it all over the world. He said, ‘I had studied it with Ravel. Although already very ill, he knew perfectly well what he wanted and what he forbade. When Marguerite Long was learning the Concerto in G major I accompanied her on the second piano. Ravel was behind me, and I still remember exactly what he asked of her’….in addition to Février having studied many of Ravel’s works with the composer, he has an obvious understanding of this music and an ability to reveal the textures with clarity and precision.”
- Jonathan SummersM0128. ROBERT CASADESUS:
Les Ballades (Chopin), 10s.
5-12” early PW Col. 68085/89-D, POM-1928, on Royal Blue Shellac,
in Orig. Col. Album #179, w.brochure. M-A MB 65, the Set.M0138. ROBERT CASADESUS:
Jeux d’eau (Ravel), 2s.
10” black Viva-Tonal Col. 1864-D, POM-20 June, 1928. A to M-A,
choice copy has, Sd.1 only, sev infinitessimal pap.scrs, inaud. MB 12M0139. ROBERT CASADESUS
, w.Bigot Cond.: Konzertstücke in f (Weber), 4s.
2-12” early PW Col. 68468/69-D, POM-6 June, 1935,
in Orig. Col. Album X-59. M-A MB 15, the SetM0140. GABY CASADESUS:
Pavane pour une Infante défunte / Miroirs – Oiseaux tristes (both Ravel). 12” black French Polydor 566.251, only form of issue, c.1949. M-A MB 12
“Gaby Casadesus, a pianist and teacher whose specialty was the 19th- and 20th-century French piano repertory, and who often performed in a piano duo with her husband, Robert Casadesus, was born in Marseilles in August 1901. She became a student of Marguerite Long and Louis Diémer. She graduated from the Conservatoire with first prize in piano when she was 16 and soon established herself with performances of the piano works of Faure, Ravel and Milhaud, which she studied with the composers' guidance. When she was still at the Conservatoire she met Robert Casadesus, another student of Diémer, two years her senior. The two began giving performances of duo piano works together, and they married in 1921. In the 1960s their son, Jean Michel Casadesus, sometimes joined them for performances of the Bach Triple Concerto and Robert Casadesus' Concerto for Three Pianos.”
- Allan Kozinn, THE NEW YORK TIMES, 20 Nov., 1999M0141. RÉGINA PATORNI-CASADESUS (Clavecin):
Toccatina (Scarlatti) /
Pastorale variations with cadenza (Anton Eberl; [formerly att. Mozart]). 12” PW dark-blue Eng. Col. DX 53, POM-c.1930. A to M-A, lovely copy has faint rubs, inaud. MB 35M0142. RÉGINA PATORNI-CASADESUS
(Clavecin), w.Lucette Patorni-Casadesus,
Henri Casadesus & Maurice Devilliers: Les plaisirs champêtres (Monteclair), 4s.
2-12” PW Eng. Col. LFX 19/20. M-A MB 35, the Pair. M0143. HÉLÈNE PIGNARI-SALLES, GERMAINE LEROUX, NICOLE ROLET
(Pfs.), w.Gustave Bret Cond.: Concerto for Four Pianos (Bach-Vivaldi), 3s. / Sd.4 = Gustave Bret Cond.: ACRUS TRAGICUS – Prelude (Bach).
2-12” green LVDP S10447/48 [2P6614/17], POM-6 March, 1933. M-A MB 20, the Pair.
“The name of Hélène Pignari (sometimes billed Pignari-Salles) comes up sometimes in connection with recordings in partnership with violinist Louis Kaufman for Concert Hall. The conductor, Gustave Bret appears to have also been an organist and composer. In 1933 he directed a recording of the Vivaldi-Bach Concerto for four keyboards.”
– The ShellackophileM0144. FRANCIS POULENC:
Caprice pour piano / Deux novelettes pour piano
(Played by the Composer). 12” Master Works Col. 68919-D, POM-1932. M-A MB 15M0145. FRANCIS POULENC
& GEORGES AURIC:
PARADE – Suite
(Arr. Piano, Four Hands), 3s / Sd. 4 = Deux morceaux en forme de poire (both Satie).
2-12” green French Boîte à Musique 16/17, only form of issue, 1937. M-A MB 25, the Pair.M0146. FRANCIS POULENC
, w.Lamorlette & Dhérin: Trio for Piano, Oboe & Bassoon (Played Composer), 4s. 2-12” PW Eng. Col. L 2223/24, POM-1928. M-A MB 25, the Pair.M0147. MARGUERITE LONG:
Nocturne #6 in D-flat (Fauré), 2s.
12” Master Works Col. 68935-D, POM-14 May, 1935. M-A MB 12M0148. MARGUERITE LONG:
La plus que lente / Estampes – Jardins sous la pluie
(both Debussy). 12” Eng. Col. LFX 24, POM-6 / 12 Nov., 1929. M-A MB 10M0149. MARGUERITE LONG:
Arabesque #1 in F / Arabesque #2 in G (Debussy).
10” early PW Col. 17033-D, POM-10 July, 1930, on Royal Blue Shellac. M-A MB 12M0150. MARGUERITE LONG:
Fantaisie in f, op. 49 (Chopin), 4s.
2-10” PW Eng. Col. D13112/13, POM-11 May, 1929. A to M-A MB 12, the Pair.M0151. MARGUERITE LONG:
Saudades do Brasil – Paysandu; L’Automne - Alfama (Milhaud); w. DARIUS MILHAUD
Cond.: Piano Concerto (Cond. by the Composer), 4s.
2-12” Master Works Col. 68737/38-D, POM-10 May / 5-6 April, 1935,
in Orig. Col. Album X-67. M-A MB 25, the Set.M0152. MARGUERITE LONG:
Mazurka, Op.59, #3;
w. Philippe Gaubert Cond. Paris Conservatoire Orch.: Piano Concerto #2 in f, 7s.
(both Chopin). 4-12” Viva-Tonal Col. 67800/03-D, POM-6 Nov. / 28 June, 1929,
in Orig. Album 143, w.Brochure. M-A MB 35, the Set.M0153. MARGUERITE LONG
, w. Paul Paray Cond. Colonne Orch.:
Symphonie sur un chant montagnard français, Op.25 (D'Indy), 6s. 2-12” early PW Col. 68280/81-D, on Royal Blue Shellac, plus 1-12” Eng. Col. LX 362, POM-24 May, 1934,
in Orig. Col. Album 211, w,brochure. M-A; Sd.3 has ec to 1st groove. MB 25, the Set.M0154. MARGUERITE LONG
, w. Philippe Gaubert Cond. Paris Conservatoire Orch.:
Ballade for piano and orchestra in f-sharp, Op. 19 (Fauré), 4s.
2-12” PW Eng. Col. LFX 54/55, POM-9 Dec., 1929. M-A MB 10, thePair.M0155. MARGUERITE LONG
, w. Philippe Gaubert Cond. Paris Conservatoire Orch.:
Concerto #23 in A, K.488 (Mozart), 6s. 3-12” Master-Works Col. 68566/68-D,
POM-13 Dec., 1935, in Orig. Album 261, w.Brochure. M-A MB 25, the Set.M0156. MARGUERITE LONG
, w. MAURICE RAVEL
Cond. London S.O.:
Piano Concerto in G (Cond. by the Composer), 5s.; Sd.6 = PEDRO de FREITAS-BRANCO
Cond.: Pavane pour une Infante défunte (Ravel). 3-12” Viva-Tonal (style) Col. 68064/66-D,
POM-14 April, 1932, in Orig. Album 176. M-A MB 25, the Set.M0157. GUIOMAR NOVAËS:
L’Hymne National Brésilien (1920/’23 Version) (Gottschalk), 2s. 12” Vla 6372, POM-3 April, 1920 / 12 June, 1923, sole issue, Sd.2.
M-A, superb copy has faintest rubs, inaud. MB 45
“Guiomar Novaës enjoyed one of the most successful and durable pianistic careers of the 20th Century….She 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 DobsonM0158. CARLOS VALDERRAMA:
Inca Rhapsodie, #5 (Played by Composer), 2s. [Carlos Valderrama was a Peruvian pianist and composer, who travelled to villages and persuaded the indigenous people to play for him their tribal music. Inca music,
he said is based on only five notes, played on hollow bamboo rods resembling
flutes but yards in length.] 10" H & D paper label Edison 80721 [7437-A/7440-B],
only form of issue, 1920. M-A, as New! MB 35M0159. CARLO ZECCHI:
Arpeggio in E (Paganini-Liszt);
Etude in G-flat, Op.10, #5 / Mazurka #25 in b, Op.33, #4 (both Chopin).
10” red French Ultraphone BP 1487, POM-1936. M-A MB 15M0160. CARLO ZECCHI:
Concerto in G (Vivaldi); Sonatina in G – Gigue (Scarlatti), 2s.
12” dark-blue Cetra CB.20350, only form of issue, 2 May, 1937. M-A MB 15
“Zecchi’s keyboard style was refined, poised and very graceful, somewhat akin to that of Arturo Benedetti Michelangeli, yet with more warmth. He made his first recordings for Odéon in Paris around 1927. While in Moscow in 1928 he recorded for the Russian label Muz Trust, the precursor of Melodiya. In 1935 Zecchi was again recording in Paris, this time for Ultraphone. From these sessions come excellent accounts of [Chopin, Ravel & Liszt].”
- Jonathan SummersM0161. MORIZ ROSENTHAL:
Carnaval de Vienne (1930 Version)
(Johann Strauss-Rosenthal), 2s. 12” red Decca-Odeon G-25839 (21706/07),
POM-3 May, 1930. M-A, choice copy has, Sd.2, faintest pap. rubs, inaud. MB 12M0162. MORIZ ROSENTHAL:
Carnaval de Vienne (1935 Version)
(Johann Strauss-Rosenthal), 2s. 12” V 11-8175, POM-23 Nov., 1935. M-A MB 12M0163. MORIZ ROSENTHAL:
Hungarian Rhapsody #2 in c-sharp (Liszt), 2s.
12” Royale 104, RR's, 1930, Ultraphon. M-A MB 12M0164. MORIZ ROSENTHAL:
Soirée de Vienne #6 in A (Schubert-Liszt), 2s.
10” PW V 1854, POM-25 May, 1936. M-A MB 10M0165. MORIZ ROSENTHAL:
Mazurka in D, Op.33, #2 / Mazurka in B, Op.63,
(both Chopin). 10” PW V 1951, POM-22 Oct., 1937. M-A MB 12M0166. MORIZ ROSENTHAL:
‘Black Keys’ Étude in G-flat, Op.10, #5;
Mazurka in c-sharp, Op.63, #3 / Étude in C, Op.10, #1; Mazurka in G, Op.67, #1
(all Chopin). 12” PW Parl. E11161, POM-1931.
A-, fine copy has few lt.superficial scrs, inaud. MB 12M0167. MORIZ ROSENTHAL:
Waltz in c-sharp, Op.64, #2 /
Waltz in e, Op.Posth. (both Chopin). 12” PW Parl. E 11043,
POM-28 April, 1930. M-A MB 12M0168. MORIZ ROSENTHAL:
Nocturnes, Mazurkas, Waltzes,
Préludes & Chant polonais (Zyczenie), 8s. 4-12” Scroll V 14297/14300, POM-1936
[these are some of the best of Rosenthal’s discs as he was caught in excellent sound],
in Orig. Album M-338, w.Brochure. M-A MB 35, the Set.
“…at the age of ten, Rosenthal began studies with a pupil of Chopin, Karl Mikuli, who at that time was director of the Lemberg Conservatory. From Mikuli, Rosenthal learnt the secret of a perfect legato as passed to him by Chopin. When his family moved to Vienna in 1875 Rosenthal began lessons with Liszt pupil Rafael Jossefy, learning from him the detached, brilliant technique of the Liszt school, and it was the combination of these two teachers that gave Rosenthal his comprehensive technique of vast range and diversity. In October 1876, on a visit to Vienna, Liszt heard Rosenthal and immediately accepted him as a pupil. He also made friends with the greatest musicians of the time including Johann Strauss, Saint-Saëns,
Tchaikovsky, Brahms and particularly Anton Rubinstein with whom the young Rosenthal would often travel.
Rosenthal sustained a career through the first three decades of the twentieth century. Rosenthal was appointed guest professor at the Curtis Institute of Music in Philadelphia, where his students included Charles Rosen. Rosenthal was still before the public at the age of eighty, although by this time the titanic thunderings of his youth were replaced by the most subtle of shadings, a wondrously beautiful tone and exquisite poise and control. At the height of his career Rosenthal was unsurpassed as a pianist. Not only did he have the greatest technique, allied to a poetic musical insight, but he was also a great thinker who believed that the study of literature, the visual arts, poetry and nature was of extreme importance to musicians.
Rosenthal recorded his paraphrase on themes of Strauss, the ‘Carnaval de Vienne’, a number of times, the best being the recording for Parlophone made in May 1930. Rosenthal’s recordings of Chopin are some of the finest on disc.
Now aged eighty, Rosenthal recorded just two titles, the Tarantella in A flat Op. 43 by Chopin, and Liszt’s arrangement of Chopin’s song ’My Joys’. This last recording is a distillation of a lifetime’s knowledge of playing the piano and is exquisitely beautiful.”
- Jonathan SummersM0169. JOSEF LHÉVINNE:
Polonaise in A-flat, Op.53 (Chopin), 2s.
10" Scroll V 1765, only form of issue, 6 Jan., 1936. M-A MB 20M0170. JOSEF LHÉVINNE:
Toccata in C, Op.7 / Frühlingsnacht (both Schumann).
12” Scroll V 8766, POM-7 June, 1935. M-A MB 25M0171. JOSEF LHÉVINNE:
Toccata in C, Op.7 / Frühlingsnacht (both Schumann).
12” PW V 8766, POM-7 June, 1935. M-A MB 20M0172. JOSEF LHÉVINNE:
Étude in g-sharp, Op.25, #6; Étude in E-flat, Op.10, #6 /
Étude in a, Op.25, #11 (all Chopin). 12” PW V 8868, POM-10 June, 1935. M-A MB 12M0173. JOSEF LHÉVINNE:
Étude in g-sharp, Op.25, #6; Étude in E-flat, Op.10, #6 /
Étude in a, Op.25, #11 (all Chopin). 12” RCA 8868, POM-10 June, 1935. MINT MB 10M0174. JOSEF LHÉVINNE:
Étude in b, Op.25, #22 / Préludes, Op.28, Nos. 16 & 17 (Chopin). 12” RCA 14024, POM-10 June, 1935 / 6 Jan., 1936. M-A MB 15M0175. JOSEF LHÉVINNE:
An der schönen, blauen Donau (Johann Strauss), 2s.
12” PW V 6840, POM 21 May, 1928. M A MB 12M0176. JOSEF LHÉVINNE
& ROSINA LHÉVINNE:
Nocturnes - Fêtes (Debussy), 2s.
10" Scroll V 1741, only form of issue, 11 June, 1935. M-A MB 20M0177. ALEXANDER BRAILOWSKY:
Rondo a capriccio in G, Op.129 (Beethoven) /
Pastorale et Capriccio (1939 Version) (Scarlatti). 12” Disque Gram. DB-3705, POM-1939. M-A MB 10M0178. ALEXANDER BRAILOWSKY:
Perpetuum mobile (Weber) /
Pastorale et Capriccio (1926 Version) (Scarlatti). 12” black & silver French Polydor 95.141, POM-1926. M-A MB 10M0179. ALEXANDER BRAILOWSKY:
Barcarolle in F#, Op.60 (Chopin), 2s.
12” gold Bruns. 90414, POM-1934, choice Columbia pressing.
M-A, choice copy has wee eddge crunch, Sd.1 only, far from grooves. MB 10M0180. ALEXANDER BRAILOWSKY:
Ständchen - Leise flehen meine lieder / Gnomenreigen (both Schubet-Liszt). 10” red & silver French Polydor 90.175, POM-1931. M-A MB 10M0181. ALEXANDER BRAILOWSKY:
Fantasiestücke, Op.12, #7 (Schumann) /
Scherzo in e, Op 16, #2 (Mendelssohn). 10” red & silver French Polydor 90.173,
POM-1931. M-A MB 10M0182. ALEXANDER BRAILOWSKY:
Hungarian Rhapsody #6 In D-Flat (Liszt), 2s.
10” red & silver French Polydor 90.146, POM-1929. M-A MB 10M0183. ALEXANDER BRAILOWSKY:
Polonaise in A flat major, Op. 53 (Chopin), 2s.
10” black & gold French Polydor 90.196, POM-1932. M-A MB 10M0184. ALEXANDER BRAILOWSKY:
Prélude, Op.11, #10; Étude, Op.8, #12
(both Scriabin) / El Amor Brujo – Danza ritual del fuego (de Falla).
12” dark-blue German Gram. 95142, POM-1928. M-A MB 10M0185. ALEXANDER BRAILOWSKY:
Moment Musical in f; Op. 94, #3 (Schubert) /
Lieder ohne Worte - La Fileuse (Mendelssohn) / Sds. 3 & 4 = Tannhäuser - Overture (Wagner), 3s. 2-12” black & silver French Polydor 95.419/20, POM-1929. M-A MB 10M0186. ALEXANDER BRAILOWSKY:
Liebesträume / Sonetto 104 del Petrarca in E
(both Liszt). 12” black & silver French Polydor 95.203, POM-1926. M-A MB 10M0187. ALEXANDER BRAILOWSKY:
Der Fliegende Höllander - Fantaisie (Wagner), 2s.
10” red & silver French Polydor 90.027, POM-1928. M-A MB 10M0188. ALEXANDER BRAILOWSKY:
Sonata #3 in b (Chopin), 6s.
3-12” PW V 15373/75, POM-1938, in Victor Album AM 548. M-A MB 25, the Set.M0189. ALEXANDER BRAILOWSKY
, w.Steinberg Cond.RCA S.O.: Concerto #1 in e (Chopin), 8s. 4-12” RCA 12-0968/71, POM-1949, in RCA Album DM 1317. M-A, choice copy of late beveled-edge pressing (rarely seen in 78rpm format). MB 25, the Set.
“Alexander Brailowsky, the Russian‐born concert pianist whose interpretation of the works of Chopin brought him worldwide acclaim, was the first to present the entire 169 piano works of Chopin in a cyclic format within a framework of six separate recitals. He performed this feat before capacity audiences in New York, Brussels, Zurich, Mexico City, Buenos Aires, Montevideo and Paris. One reviewer noted at the end of Mr. Brailowsky's Chopin series in New York in 1938 that ‘there are few enough pianists who have the prodigious memory, the physical strength, the comprehensive technique required for such an undertaking; there are far fewer who have - plus all these - the requisite musicianship’. Olin Downes of THE NEW YORK TIMES described the youthful pianist as a ‘born virtuoso in the, highest sense of that word….He feels instinctively the resources of the piano and makes of It an instrument that sings and throbs with color’. As guest soloist with major symphony orchestras, Mr. Brailowsky was noted for his large repertory. And in a series of 17 recitals in eight weeks in Buenos Aires he never repeated a single work.
- THE NEW YORK TIMES, 26 April, 1976M0190. IGOR STRAVINSKY:
Serenade in A (Played by the Composer), 4s.
2-10” early PW Col. 17051/52-D, POM-1934. M-A MB 15, the Pair.M0191. IGOR STRAVINSKY:
Piano Rag-Music (Played by the Composer) /
Cond. Racz, Charmy, Volant, Ginot, Juste, Lavaillotte, Godeau,
Foveau, Deveny, Tudesq & Jean-Paul Morel: Rag-Time (Cond. by the Composer).
12” early PW Col. 68300-D, on Royal Blue Shellac, POM-1934. M-A MB 20M0192. IGOR STRAVINSKY
& SAMUEL DUSHKIN
(Vln): Petrouchka – Danse russe (Played by the Composer) / Samuel Dushkin, Gromer, Durant, Vacellier & Grandmaison: Pastorale (Stravinsky). 10” Eng. Col. LB 15, POM-6 April, 1933. M-A MB 10M0193. IGOR STRAVINSKY
& SAMUEL DUSHKIN
Duo Concertant (Played by the Composer), 4s. 2-10” early PW Col. 17040/41-D,
on Royal Blue Shellac, POM-6 April, 1933. M-A MB 20, the Pair.M0194. IGOR STRAVINSKY
, w.Ansermet Cond. Straram Orch.:
Capriccio (Played by the Composer), 6s. 3-12” Viva-Tonal Col. 67870/72-D,
POM-1930, in Orig. Col. Set 152. M-A MB 20, the Set.M0195. CONRAD ANSORGE:
Romance #1 in B-flat (Schumann) / Glanes de Woronince [as ‘Mélodies polonaises’] (Chopin-Liszt). 12” red Decca-Odeon 25520 (20865-2/20869), POM-1928. M-A, pristine copy has, beg. Sd.1, microscopic dust scr, w.3 faint ticks. MB 75M0196. IGNAZ FRIEDMAN:
Mazurka, Op.33, #2 / Prélude, Op.20, #19; Etude, Op. 28, #8 (all Chopin). 10” gold Flags Label Col. 30011-D (81597/81658), POM-15 / 31 March, 1924.
Beautiful, quiet pressing. M-A, a gleaming copy! MB 20
"Ignaz Friedman’s boundless technique, juicy tone, and larger-than-life temperament truly justify his standing alongside other so-called Golden Age piano legends such as Hofmann, Rachmaninov, Lhévinne, and Moiséiwitsch."
- Jed Distler, ClassicsToday.com, 12 March, 2003M0197. ARTHUR FRIEDHEIM:
Hungarian Rhapsody #6 in D-flat (Liszt), 2s.
12” dark-blue Eng. Col. 482 (30937/36674, POM-8 Jan., 1912 / 24 Feb., 1913.
A to M-A MB 35
“What is most fascinating is [Arthur Friedheim’s] projecting Liszt in a classic, Apollonian manner, seeking to remind all of Liszt’s legitimate right to a realm within music’s pantheon….Friedheim’s too-few recordings and lucid perceptive writing conveys with striking modernity the essence of how a progressive mind and devoted artist interacted with the central cultural figure of his age and the after-effects of this experience translated into sound and words.”
- Allan EvansM0198. JAN SMETERLIN:
Mazurka in b / Mazurka in C, both Op.33;
Valse brilliante in F, Op.34 (all Chopin). 10” dark-green German Polydor 22363, POM-1929.
M-A, albeit Sd. 2 only has faintest rubs, inaud. MB 25
“Mr. Smeterlin treats Chopin’s music like the old friend it is to him, with a warmth and love that sometimes becomes sentimental, and with a rhythmic freedom that borders on the capricious. It is an old- school approach, full of of individuality…special effects in the music that no one else does.”
- Raymond Ericson, THE NEW YORK TIMES, 20 Jan., 1967M0199. LUISE GMEINER:
Intermezzo, Op.118, #4 / Rhapsodie, Op.119, #4 (both Brahms). 12” dark-blue German Telefunken E 2220, only form of issue, 17 Feb., 1937. [Luise Gmeiner, a pupil of Isidore Philipp, was the sister of Lula Mysz-Gmeiner.] M-A MB 35M0200. SIXTEN EHRLING
(as Pianist), w.Frykberg Cond. Stockholm Conservatory Orch.: Concerto #1 in e (Wiklund), 8s. 4-12” HMV DB 11021/24, POM-1949.
MINT MB 25, the Set.
“Ehrling was the foremost Swedish conductor of the twentieth century, able to deliver performances both of Scandinavian music, with which he was closely identified, and of the more general repertoire with conviction, technical security and a high degree of musical integrity. He was greatly respected as a teacher of conducting and counted amongst his pupils many who went on to enjoy significant careers. Of his recordings, which were limited in number, the most distinguished is the complete set of Sibelius symphonies, made for the Swedish label Metronome in the early 1950s with the Stockholm Philharmonic Orchestra. This set has been praised for its uncompromising portrayal of all the different moods of Sibelius the symphonist.”
– Jonathan SummersM0201. ARTUR SCHNABEL:
Toccata in c; Toccata in D (both Bach), 8s.
4-10” PW V 2080/83, POM-24 Nov. 1937, in Orig. Album DM 532, w.Brochure.
M-A MB 35, the Set.M0202. ARTUR SCHNABEL:
Sonata #21 in A, Op.120 (Schubert), 9s.
5-12” S/S HMV Special shellac Pressings of Mx. 2EA 4543-51-1 M,
POM-14-15 Jan., 1937. M-A MB 45, the Set.
“Alfred Brendel has recalled how Schnabel was perhaps the first pianist to give the A major Sonata its due, adding: ‘Even today, his 1937 recording transmits the freshness of an exhilarating discovery’.”
- Richard Osborne, GRAMOPHONE, May, 1992
“Most of the first performances of [Schubert’s] pieces took place at chamber music evenings in someone's house. The early mixture of teenage passions and homey charm developed in those parlors set the scene for his greatest music….it grows well there.
Peter Schickele, Minnesota Public Radio HomeM0203. WILHELM KEMPFF:
Sonata #12 in A-flat, Op.26 (Beethoven), 6s.
3-12” black PW German Polydor 66684/86, POM-1927. M-A MB 20, the Set.M0204. WILHELM KEMPFF:
'Les adieux' Sonata #26 in E-flat, Op.81a (Beethoven), 4s.
2-12” black PW German Polydor 66687/88, POM-1928. M-A MB 20, the Pair.M0205. WILHELM KEMPFF:
‘Hammerklavier’ Sonata #29 in B-flat, Op.106 (Beethoven), 10s.
5-12” burgundy Bruns.-Polydor 95020/24, POM-1936, in Orig. Brunswick Album BP-4.
M-A, pristine copy of preferrred Columbia pressing. MB 35, the Set.M0206. WILHELM KEMPFF:
‘Hammerklavier’ Sonata #29 in B-flat, Op.106 (Beethoven), 10s.
5-12” black German Polydor 67359/63, POM-1936. M-A MB 25, the Set.M0207. WILHELM KEMPFF:
Sonata #30 in E, Op.109 (Beethoven), 4s.
2-12” black German Polydor 67091/92, POM-1936. M-A MB 20, the Pair.
“Mr. Kempff developed a style characterized by nobility, structural clarity and deeply serious intent - which did not preclude a dewy, lyrical tone. Indeed, Mr. Kempff recorded prolifically until he was well into his 80s; his legacy includes complete renditions of the Beethoven and Schubert sonatas; concertos by Mozart and Beethoven; Liszt, Brahms, Chopin and Schumann compilations, and Bach's ‘Goldberg’ Variations and selections from the ‘Well-Tempered Clavier’. Mr. Kempff made his solo debut in 1917 at the Berliner Singakademie with a program that included Beethoven's ‘Hammerklavier’ Sonata and Brahms' Variations on a Theme by Paganini. The following year, he made his first appearance as a soloist with the Berlin Philharmonic, beginning an association that would last about half a century. Harold Schonberg wrote ‘When the music lies perfectly in his hands, Mr. Kempff can be a persuasive and even noble interpreter. Only a fine artist could have outlined the theme and the following first variation of Beethoven's Opus 109 with such simplicity and wisdom. And in the slow movement of the 'Hammerklavier' there was a grand design’…."
- THE NEW YORK TIMES, 25 May, 1991M0208. FANNY DAVIES:
Davidsbündlertänze (Schumann), 6s.
3-12” Viva-Tonal Col. 67797/99-D, POM-1930 on Royal Blue Shellac,
in Orig. Col. Album 142, w.brochure. M-A MB 85, the Set.M0209. FANNY DAVIES:
Kinderszenen (Schumann), 4s.
2-12” PW Eng. Col. L 2321/22, POM-2 Feb., 1929, issued UK & Australia only.
M-A, lovely copy; Sd 2 only has lt. scuffs & scrs, ltly audible, thus A-B. MB 20, the Pair.M0210. FANNY DAVIES
, w.Ansermet Cond. Royal Phil.: Concerto in a (Schumann), 8s.
4-12” PW Eng. Col. 9616/19, POM-15-16 June, 1928, issued UK only,
in Orig. Eng. Col. tie-back Album. M-A MB 65, the Set.
“The performance of Schumann’s Piano Concerto is so fresh and spontaneous that it is a surprise to learn that Davies was in her late sixties when she recorded it. If one reads the reminiscences of any of Clara Schumann’s pupils, the same ideas of interpretation abound, and it is in this recording that they are preserved and demonstrated….The performance style of this concerto has changed over the years, distorting the work into an overblown romantic warhorse, but listening to the simplicity and purity of Davies, one cannot help but imagine that this must be close to the way the work would have sounded in Schumann’s time.”
- Jonathan SummersM0211. GEORGE MALCOLM
(Harpsichord): Bach goes to town (Alec Templeton) /
Bach before the mast (Played by the Composer). 10” Parl.R.3776,
only form of issue, 1953. M-A MB 15
"The day before George Malcolm was due to record on the harpsichord Alec Templeton’s 'Bach Goes To Town', the producer rang up and asked what they could put on the other side of the record. 'Oh, I’ll bring something', he said and sat up all night writing a brilliant fugue in the style of Bach with a subject based on the sailor’s hornpipe, a three-minute number that should have been called 'Bach Goes to Sea' but became 'Bach Before the Mast'. A brilliant piece, and typical of a great all-round musician. This taxing piece is an arrangement of the well-known British tune 'The Sailor's Hornpipe' somewhat in the style of the first movement of the Bach 'Italian Concerto'."
- BaroqueMusic.orgM0212. ALEC TEMPLETON:
Topsy Turvy Suite #1 – Bach goes to town /
Topsy Turvy Suite #2 – Soldier’s minuet (both Played by the Composer).
10” Gramophone Shop GSV 1010, only form of issue, 1938. M-A MB 10M0213. ALEC TEMPLETON:
Topsy Turvy Suite #3 – Undertaker’s toccata /
Ghost rhapsody (both Played by the Composer). 10” Gramophone Shop GSV 1011,
only form of issue, 1938. M-A MB 10M0214. ALEC TEMPLETON:
Voyage à la lune / Mother’s lullaby; Friendship (all Played by the Composer). 10” Gramophone Shop GSV 1013, only form of issue, 1938. M-A MB 10M0215. ALEC TEMPLETON:
The lost chord (as written by Sir Arthur Sullivan,
and as it might have been written for a Gilbert & Sullivan opera) / Alec Templeton
in his impression of an amateur performance of Gilbert & Sullivan’s H.M.S. Pinafore.
10” Gramophone Shop GSV 1008, only form of issue, 1938. M-A MB 10M0216. ALEC TEMPLETON:
Longing / Pines (both Played by the Composer).
10” Gramophone Shop GSV 1012, only form of issue, 1938. M-A MB 10M0217. ALEC TEMPLETON: MUSICAL PORTRAITS
, incl. Bach tours Radio City;
Mozart Matriculates; As Brünnhilde's Battle Cry might be sung by an American Crooner; Opera Presentation of 'South of the Border'; A sultry day in New York;
Sousa and Strauss in reverse (all Played & Sung by the Composer), 6s.
3-10” black PW V 26492/94, only form of issue, 23 Jan., 1940, in Orig. Album P-19.
[In every respect, this delightful set is an unforgettable treasure!] M-A MB 15, the Set.M0218. ALEC TEMPLETON
accompanying ELEANOR STEBER:
Vienna in the Springtime / Roses in Wintertime (both Acc.by the Composer).
10” RCA 10-1473, POM-1949. M-A, choice beveled-edge pressing MB 12
“Two of the most delightful of Alec Templeton's original compositions are sung by Eleanor Steber with the composer himself at the piano. ‘Vienna in the Springtime’ and ‘Roses in the Wintertime’ draw upon the music of Richard Strauss and Johann Strauss, and familiar melodies are woven into the score by Templeton's agile pianism. This disc should prove popular with Miss Steber’s and Mr. Templeton's host of fans.”
- THE NEW RECORDS, Vol. 17, #I, March, 1949M0219. ALEC TEMPLETON
, w.Kostelanetz Cond.: Rhapsody in blue, 3s. / Sd 4 = Kostelanetz Cond.: Love walked in (both George Gershwin). 2-12” green PW Col. 7379/80, POM-11 Feb., 1941, in Orig. Col. Album MX-196. M-A MB 15, the Set.
“Alec Templeton was a Welsh composer, pianist and satirist. Blind from birth, he studied at London's Royal Academy. In 1936, he moved from Wales to the United States as a member of Jack Hylton's Jazz Band, where he played with a number of orchestras and gave his first radio performances on The Rudy Vallée Show, The Chase and Sanborn Hour, Kraft Music Hall and The Magic Key. Signing a recording contract with RCA Victor in 1939, he made a string of amusing sides including ‘Man with New Radio’, ‘Mendelssohn Mows 'em Down’, and a pseudo-operatic rendering of ‘And the Angels Sing’ (written by the Italian composer Ziggy Elmano). A set of three 78rpm records called Musical Portraits was issued by RCA Victor as catalog number P-19; it continued in the catalog until the late ‘40s, and included ‘Mozart Matriculates’. It is often said that no one can convincingly satirise something unless he both understands and loves that which he intends satirising. That was never truer than in the case of Alec Templeton: he was a superb musical satirist and he took aim at the very musical forms he knew and loved best….he left behind a host of imitators, which is perhaps the sincerest form of flattery….he also left a rich recorded legacy.”
- Greg Cormick, Program Notes to Templeton’s Flapper CDM0220. JACQUES PRESS:
DISconcerto (Played by the Composer), 2s. 10” green
Alco S111, only form of issue, 1948, in frayed Original Printed Jacket. M-A MB 20
“Born in Russia in 1903, Jacques Press began studying piano at the age of six and later studied composition in Paris. He played piano for silent movies during his teens, lived for a short time in Istanbul and Paris, and toured Europe with his own orchestra in 1924-25. He immigrated to the U.S. in 1926. After 12 years as an arranger for several large New York City movie houses, he moved to Hollywood, where he was active as a composer and arranger of songs and scores for films.”
- HeBu MusikverlagM0221. DANA SUESSE: BLUE MOONLIGHT
– Nine Piano Compositions
(Played by the Composer), 6s. [In her early years, Suesse would ask the audience for a theme, and then proceed to take that theme, weaving it into something of her own.]
3-12” Schirmer Records 5503/05, only form of issue, 1940, in Orig. Schirmer Album #12.
M-A, albeit Sds.3 & 5 have infinitessimal scuffs, inaud. MB 25, the Set.
"In May 1934 Paul Whiteman asked Suesse to compose a short instrumental along the same lines as her successful 'Jazz Nocturne'. 'Blue Moonlight' received its premiere in October, 1934, when she appeared on George Gershwin's radio program. On December 13 Dana recorded an abridged version with Whiteman's Concert Orchestra for RCA-Victor Records. Four years later Suesse adapted it for a popular song, recorded by the Glenn Miller Orchestra.
- Ednay ArkspayM0222. DANA SUESSE
, w.Casper Reardon (Harp) & Chauncey Morehouse (Percussion): YOUNG MAN WITH A HARP - Suite for Harp and Orchestra (Played by the Composer), 4s. 2-12” Schirmer Records 2525/26, only form of issue, 12 April, 1940, in Orig. Schirmer Album #8. M-A MB 25, the Set.
“Casper Reardon was part of the first classes of Carlos Salzedo, along with Lucile Lawrence, Florence Wightman, Edna Phillips, Alice Chalifoux, Flora Greenwood and several others. He played in the Cincinnati Symphony Orchestra, then moved to New York and started swinging, then died young and suddenly, breaking a lot of hearts. He was a student of Carlos Salzedo at the Curtis Institute of Music where he had won a scholarship, had spent five years, 1926-31, in Cincinnati where he played with the Cincinnati Symphony and taught harp students of the Cincinnati Conservatory of Music. Coming to New York, Mr. Reardon played swing music on his instrument with great success making many appearances and appearing twice with Paul Whiteman’s Orchestra when it combined with the Philadelphia Orchestra.
- THE NEW YORK TIMES, 10 March, 1941