PIANO 78RPM RECORDS: K1 - K158

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

Since 1972



Auction Number 144 ­- AUCTION Closing Date: Monday, 13 June, 2010



Regarding AUCTION #144 (Closing Date: Monday, 13 June , 2011), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

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Nos. K1 – K158 are Piano 78rpm records



K1. MARGUERITE de VALMALÈTE: Le Tombeau de Couperin (Ravel), 4s. 2-10” EL green French Polydor 522754/55, POM-1932. M-A, Exemplary! MB 45, the Pair.

"This is another kind of playing altogether – a luminous, dazzling pianism, full of delicacy, passion, polish, exquisitely shaped, with hushed, shaded pianissimos….[This is] the first Ravel 'Tombeau de Couperin' ever recorded….[a] marvelous performance. Although the Marquise de Valmalète could summon forth a very beautiful tone and could establish an enchanting mood, she was at her best in fast, toccata-like movements which she executed with fearless brio and assurance, her big technique carrying the music forward with intoxicating effect."
– David Mulbury, AMERICAN RECORD GUIDE, Nov./Dec., 2005


K2. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – La Cathédrale engloutie (Debussy), 2s. 10” EL green French Odéon 166.150, POM-1928. A, lovely copy has, Sd. 2 only, faint pap. rubs, faintly audible. MB 15

K3. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – Danseuses de Delphes / Minstrels (Debussy). 10” EL red Decca-Odeon 20091, POM-1928. M-A MB 10

K4. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – La fille aux cheveux de lin / Children’s corner – La sérénade interrompue (both Debussy). 10” EL red Decca-Odeon 20090, POM-1929. M-A MB 10

K5. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – Valse romantique) Estampes – Pagodes (both Debussy). 12” EL red Decca-Odeon 25427, POM-1929. M-A, Exemplary! MB 12

K6. MARIUS FRANÇOIS GAILLARD: Préludes, Book II – La Puerta del vino / General Lavine, eccentric (Debussy). 10” EL Green French Odéon 166.262, POM-1929. M-A, Exemplary! MB 15

K7. MARIUS FRANÇOIS GAILLARD: Suite Bergamasque – Prélude / Pour le Piano – Toccata (both Debussy). 12” EL Green French Odéon 171.081, POM-1929. M-A MB 15

K8. MARIUS FRANÇOIS GAILLARD: Pour le Piano – Sarabande (Debussy), 2s. 10” EL green French Odéon 166.175, POM-1928. M-A, Exemplary! MB 12

K9. MARIUS FRANÇOIS GAILLARD: Rêverie / Estampes – Jardins sous la pluie (both Debussy). 12” EL Green French Odéon 171.057, POM-1928. M-A, Exemplary! MB 15

K10. MARIUS FRANÇOIS GAILLARD: Mazurka / La plus que lente (both Debussy). 12” EL red Decca-Odeon 25428, POM-1929. M-A, Exemplary! MB 12

K11. MARIUS FRANÇOIS GAILLARD: Ballade slave (Debussy), 2s. 10” EL red Decca-Odeon 20092, POM-1928. M-A MB 10

K12. YVONNE LEFÉBURE: Variations, Interlude et Final on a theme by Rameau (Dukas), 4s. 2-12” EL PW V 12088/89, POM-1936. M-A, appears unplayed! MB 15, the Pair.

“Yvonne Lefébure was one of the premier French pianists and teachers of the 20th century. A prodigy, she studied with Maurice Emmanuel (with whose family she remained close throughout her life) and Charles-Marie Widor at the Paris Conservatoire. She has also studied with Marguerite Long, first at a private school called the Conservatoire Femina-Musica (which provided Nadia Boulager with her first official teaching post) and then in Long's preparatory class at the Conservatoire (1ère médaille). Alfred Cortot is said to have had the greatest influence over her playing.”

K13. NADIA BOULANGER & DINU LIPATTI: Waltzes, Op.39, Nos. 1, 2, 5, 6, 10, 14 & 15 (Brahms), 2s. (Complete, as recorded). 12” EL Disque Gram. DB 5061, only form of issue, 1937. M-A, Exemplary. MB 15

K14. NADIA BOULANGER (Pf.), w.IRÈNE & NATHALIE KEDROFF: Klänge; Die Meere / NADIA BOULANGER, w.NATHALIE KEDROFF & de POLIGNAC: Die Schwestern; NADIA BOULANGER, w.JEAN de POLIGNAC, IRÈNE KEDROFF, HUGUES CUÉNOD & DODA CONRAD: Der Gang zum Liebchen (all Brahms) (in French). 12” EL Disque Gram. DB 5060, only form of issue, 1937. M-A, Exemplary! MB 15

K15. NADIA BOULANGER & DINU LIPATTI, w.JEAN de POLIGNAC, IRÈNE KEDROFF, HUGUES CUÉNOD & DODA CONRAD: Liebeslieder Walzer, Op.52 (Brahms), 6s. 3-12” EL PW Disque Gram DB 5057/59, only form of issue, 1937. M-A, Exemplary! MB 45, the Trio.

“Boulanger, who liked to be known as ‘Mademoiselle’, made her conducting début in 1912. She was the first woman to conduct several major symphony orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Philadelphia Orchestra, and in England the Hallé Orchestra of Manchester and the BBC Symphony Orchestra. In 1938 she directed the first performance of Stravinsky’s Dumbarton Oaks Concerto in Washington, DC. As a performer she made few recordings. In 1937 HMV issued three sets of discs featuring her: Jean Françaix’s Piano Concerto in D, which she conducted; Brahms’ Liebeslieder Waltzes, in which she and Dinu Lipatti were the duo pianists with a vocal ensemble; and the first recordings of any music by Monteverdi: a selection of his madrigals, which she directed.”

“The Romanian classical pianist, Dinu Lipatti, was born into a musical family: his father was a violinist, his mother a pianist, and his godfather was the violinist and composer George Enescu. He finished second at the 1934 Vienna International Piano Competition, which led to Alfred Cortot, who thought he should have won, resigning from the jury in protest. Lipatti subsequently studied under Alfred Cortot, Nadia Boulanger (with whom he recorded a number of Johannes Brahms' Liebeslieder waltzes in the four-hand arrangement), Paul Dukas (composition) and Charles Munch (conducting) in Paris.”


K16. ROBERT LORTAT: Études, Opp.10 & 25 (Chopin), 16s. 8-12” EL Viva-Tonal Col. 67965/72-D, POM-1931, in Orig. Album 163. M-A, a gleaming copy. MB 65, the Set.

K17. ROBERT LORTAT: Les 24 Préludes, Op. 28 (Chopin), 8s. 4-12” EL early PW & Viva-Tonal Col. 67540/43-D, POM-1928, in handsome hand-made album. M-A, gleaming copy has, Sd. 8 only, sev. wee pap. scrs. MB 35, the Set.

“Robert Lortat had a lifetime bond with Fauré, to whom he wrote in 1912 requesting a meeting. Fauré dedicated his twelfth nocturne to Lortat, who participated in the first performance of Fauré’s Quintet No 2. Unfortunately it would appear that Lortat did not record any Fauré; all his recordings are of Chopin. As he had performed complete cycles of the 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 Étude Op. 10 No. 12 is played in a similar fashion to Ignaz Friedman where Lortat rolls the left hand figure upward to the top note which he slightly suspends. Altogether he seems to improve as he progresses, so that the last few of Op. 25 are given excellent, bravura performances.”

K18. MARCEL MAAS: Toccata & Fugue in c (Bach), 4s. 2-12” EL early PW Col. 68131/32-D, blue shellac pressing, in Orig. Album. M-A, Exemplary! MB 35, the Set.

“The Toccata in C minor receives a reading distinguished by superb voicings, colour and vivacity, by well-sprung internal rhythms and by calibrated dynamics – buoyant and imaginative Bach playing.”
– Jonathan Woolf, Program Notes to Biddulph CD


K19. ALFRED CORTOT: La Leggierezza, ‘Take’ 1, 1919 Version (Liszt). 12” AC Vla 74589, POM-8 Jan., 1919, the first of 2 ‘Takes’. M-A, Exemplary! MB 10

K20. ALFRED CORTOT: La Leggierezza, ‘Take’ 6, 1923 Version (Liszt) / Jeux d’eau, ‘Take’ 5, 1923 Version (Ravel). 12” AC Vla 6065, POM-27 Feb. / 1 March, 1923. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10

“From [the sessions of 1919] come some extraordinary discs including a stunningly delicate étude by Liszt, ‘La Leggierezza’, and a technically assured ‘Étude en forme de valse’ by Saint-Saëns. In fact, Horowitz was so impressed by Cortot’s performance of this work he asked [Cortot’s] advice on the technical aspects of it.”
– Jonathan Summers, A-Z OF PIANISTS


K21. ALFRED CORTOT: Étude en forme de valse (1919 Version) (Saint-Saëns). 12” AC Vla 74588, POM-9 Jan., 1919. M-A, Exemplary! MB 10

K22. ALFRED CORTOT: Étude en forme de valse (1931 Version) (Saint-Saëns) / La Leggierezza, 1931 Version (Liszt). 12” EL LVDP DB 1535, POM-13 May, 1931. M-A, Exemplary! MB 15

K23. ALFRED CORTOT: Seguidilla (1919 Version) (Albéniz). 10” AC Vla 64819, only form of issue, 7 Jan., 1919, ‘Take’ 1 of 2 issued ‘Takes’. M-A, Exemplary! MB 12

K24. ALFRED CORTOT: Seguidilla (1923 Version) / Malagueña (both Albéniz). 10” AC Vla 560, POM-27 / 28 Feb., 1923, Sd.1 offers ‘Take’ 5 of 2 issued ‘Takes’. M-A, Exemplary! MB 12

K25. ALFRED CORTOT: Malagueña (Albéniz). 10” AC Vla 64846, POM-28 Feb., 1923, ‘Take’ 8 of 3 issued ‘Takes’. M-A, Exemplary! MB 10

K26. ALFRED CORTOT: Melodie polonaise, Op.74, #5 (1919 Version) (Chopin-Liszt). 10” AC Vla 64973, POM-26 Jan., 1919. M-A, Exemplary! MB 10

K27. ALFRED CORTOT: Melodie polonaise, Op.74, #5 (1923 Version) (Chopin-Liszt) / Préludes – Book I – Minstrels; La Fille au cheveux de lin (Debussy). 10” AC Vla 562, POM-28 Feb., 1923 / 26 Jan., 1919. M-A, Exemplary! MB 15

K28. ALFRED CORTOT: Au bord d’une source (Liszt) / Pathetic study, Op.8, #12 (Scriabin). 10” AC Vla 982, POM-2 Jan. / 5 Feb., 1923. M-A, Exemplary! MB 10

K29. ALFRED CORTOT: Litany (Schubert-Cortot) / Impromptu in F-sharp, Op.36 (Chopin). 12” EL (AC label) Vla 6502, only form of issue, 21 March, 1925; very brief catalogue life. M-A, Exemplary! MB 12

"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


K30. ALFRED CORTOT: Waltz in c-sharp, Op.64, #2 / Étude in A-flat, Op.25, #1; Étude in c, Op.25, #12 (all Chopin). 10” EL Vla 1101, only form of issue, 21 March, 1925, very brief catalogue life. M-A, Exemplary! MB 12

K31. ALFRED CORTOT: Berceuse, Op.57 (Chopin). 12” AC Vla 74623, only form of issue, 27 Jan., 1920, ‘Take’ 5 of 2 issued ‘Takes’. M-A, Exemplary! MB 12

K32. ALFRED CORTOT: Guten Abend, gut’ Nacht (Wiegenlied) (Brahms) / Sous le palmier (Albéniz). 10” EL Orth Vla 1271, POM-21 March, 1925 / 27 Oct., 1926, only form of issue, Sd.2. M-A, Exemplary! MB 12

K33. ALFRED CORTOT: Black Keys Étude in G-flat, Op.10, #5; Butterfly Étude in G-flat, Op.25, #9 (1920 Version) (Chopin). 10” AC Vla 64989, POM-22 April, 1920. M-A, Exemplary! MB 10

K34. ALFRED CORTOT: Black Keys Étude in G-flat, Op.10, #5; Butterfly Étude in G-flat, Op.25, #9 (1923 Version) / Tarantelle, Op. 43 (all Chopin). 10” AC Vla 561, only form of issue, 27 / 28 Feb., 1923, Sd.1 offers ‘Take’ 6 of 2 issued ‘Takes’; Sd.2 offers ‘Take’ 10 of 2 issued ‘Takes’. M-A, Exemplary! MB 15

K35. ALFRED CORTOT: Les 24 Préludes, Op.28 (1926 Version) (Chopin), 8s. 4-12” EL Orth Vla 6715/18, POM-1926, in Orig. Album M-20, w.Brochure. M-A, Exemplary! MB 35, the Set.

K36. ALFRED CORTOT: Les 24 Préludes, Op.28 (1933-34 Version) (Chopin), 8s. 4-12” EL Scroll V 8813/16, on ‘Z’-type shellac, POM-1934, in Orig. Album M-282, w.Brochure. M-A, Exemplary! MB 35, the Set.

“No one has played Chopin’s twenty-four Préludes with such mercurial beauty, and yet with such a sense of the set as one continuous work (he recorded it three times, but the 1933-34 version [above] is the most impressive.”
– Robert Philip, PERFORMING MUSIC IN THE AGE OF RECORDING, p.187


K37. ALFRED CORTOT: Ballade in A-flat, Op.47 (Chopin), 2s. 12” EL Scroll V 7335, on ‘Z’ shellac, POM-1929. A, lovely copy has faintest pap. rubs, inaud. MB 10

K38. ALFRED CORTOT: Ballade in f, Op.52 (Chopin), 2s. 12” EL Scroll V 7336, on ‘Z’ shellac, POM-1929. A, lovely copy has faintest pap. rubs, inaud. MB 10

K39. ALFRED CORTOT: Préludes – Book I – La Fille au cheveux de lin; Minstrels (Debussy). 10” AC Vla 64956, POM-8 Jan., 1919. M-A, Exemplary! MB 10

K40. ALFRED CORTOT: Tarantelle, Op.43 (Chopin). 10” AC Vla 64910, POM-11 Jan., 1919, ‘Take’ 3 of 2 issued ‘Takes’. M-A, Exemplary! MB 10

K41. ALFRED CORTOT: Scherzo, Op.16, #2 (Mendelssohn) / Bourrée (for the left hand only) (Saint-Saëns). 10” AC Vla 1016, only form of issue, 5 Feb. / 1 March, 1923; although assigned S/S numbers, they were not used. M-A, Exemplary! MB 15

K42. ALFRED CORTOT: Jeux d’eau, ‘Take’ 2, 1920 Version (Ravel). 12” AC Vla 74659, POM-28 Jan., 1920, ‘Take’ 2 of 2 issued ‘Takes’, issued USA only. M-A, Exemplary! MB 12

K43. ALFRED CORTOT: Invitation to the waltz, 1923 Version (Weber). 12” AC Vla 74798, POM-6 Feb., 1923, ‘Take’ 7 of 2 issued ‘Takes’. M-A, Exemplary! MB 12

K44. ALFRED CORTOT: Rondo capriccioso – Presto (Mendelssohn). 12” AC Vla 74810, POM-6 Feb., 1923, issued USA only. M-A, Exemplary! MB 12

K45. ALFRED CORTOT: Étude in a, Op.25, #11 / Impromptu in A-flat, Op.29 (both Chopin). 12” AC Vla 6417, POM-1 March, 1923 / 28 Dec., 1922, issued USA only. M-A, Exemplary! MB 12

K46. ALFRED CORTOT: Papillons (Schumann), 4s. 2-10” LVDP DA 1442/43, POM-4 July, 1935. M-A, choice copy of preferred LVDP pressing. MB 20, the Pair.

“Nowhere is [Cortot’s] remarkable marriage of intellect and instinct heard to finer effect: the spontaneity of phrasing and rhythmic buoyancy equalled by a breath-taking dynamic range and subtle tonal palette. It is playing of consummate elegance and cultivation, yet shot through with mercurial flashes….it is pure indulgence to treasure ‘Papillons’ above all other of Cortot’s Schumann performances….a performance of sublime simplicity, unrivalled by any other version.”
– Bryan Crimp, ARSC, Vol. XIII, #1, 1981


K47. ALFRED CORTOT: Sonatina in F-sharp, 3s. / Sd.4 = Jeux d’eau, 1933 Version (both Ravel). 2-12” EL LVDP DB 1533/34, POM-1933. M-A, choice copy of preferred LVDP pressing. MB 20, the Pair.

K48. ALFRED CORTOT: Prélude, Aria & Final (Franck), 6s. 3-12” EL Scroll V & Orth Vla 7712/14, partially on ‘Z’ shellac, POM-1932, in Orig. Album AM-163, w.Brochure. M-A, lovely copies; Sds. 2 & 5 only have faintest pap. rubs, inaud. MB 35, the Set.

K49. ALFRED CORTOT: Rigoletto – Paraphrase de concert, 1920 Version (Verdi-Liszt). 12” AC Vla 74636, POM-28 Jan., 1920, ‘Take’ 1 of 2 issued ‘Takes’. M-A, Exemplary! MB 12

K50. ALFRED CORTOT, w.International String Quartet: Quintet in f (Franck), 8s. 4-12” EL Scroll V 6849/52, on ‘Z’ shellac, POM-1927, in Orig. Album M-38, w.Brochure. M-A, Exemplary! MB 45, the Set.

K51. ALFRED CORTOT, w.Ronald Cond. London Phil.: Concerto in a (Schumann), 8s. 4-12” EL Scroll V 8313/16, on ‘Z’-type shellac, POM-1934, in Orig. Album M-39, w.Brochure. M-A, Exemplary! MB 35, the Set.

“Once one had heard Cortot's tone, it could never be forgotten. Magda Tagliaferro thought ‘his sound was pure enchantment, whether the music was soft or loud’. Yvonne Léfebure, who for years was Cortot's chief assistant, wrote ‘when you listened to Cortot play, you realised that what he was doing at the piano was not like what other people were doing’. In a Cortot performance there could be a new flash of insight, and the audience felt included in a special moment. Through his long career he marvelled at the beauty and plasticity of the masterpieces of the piano literature, and, from many accounts, even in old age he transcended a broken body in playing with an often heart-breaking intimacy and poignancy. At his best, everything he touched was heightened with an uncanny elegance. He was so romantic, truly the most youthfully romantic of the great pianists. He had an inspired sense of rubato, and one inflection within a phrase can haunt the listener for days. For Cortot, music was aspiration, a reaching for the unknown. He searched for elusive lights and shadows. His playing was the difference between poetry and prose. Magda Tagliaferro declared 'the images that he conjured up were absolutely visionary’."
– David Dubal


K52. EMMA BOYNET: Histoires – Le petit âne blanc / La marchande d’eau fraiche (both Jacques Ibert). 10” EL Scroll V 4315. M-A, Exemplary! MB 55

K53. EMMA BOYNET: Sonata in C – Rondo (Haydn) / Allein Gott in der Höh’ sei Her! (Bach). 10” EL Scroll V 4336. M-A, lovely copy has, Sd. 1 only, pinpoint pressing bump. MB 65

K54. 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” EL Schirmer 2531/33, in Orig.Album 10. M-A, appears unplayed! MB 75, the Set.

K55. EMMA BOYNET, w.Gordon String Quartet: Piano Quintet in d (Fauré), 8s. 4-12” EL Schirmer 2527/30, in Orig.Album 9, w.Notes. M-A, appears unplayed! MB 75, the Set.

K56. RICARDO VIÑES: Images – Poissons d’or (Played by the dedicaté) (Debussy) / Scherzo in A-flat (Borodin). 10” EL PW French Col. LF 41, POM-1930. M-A, Exemplary! MB 45

“Fortunately, Viñes recorded the work dedicated to him by Debussy, ‘Poissons d’or’. This and ‘La Soirée dans Grenade’ are examples of his art where the Columbia microphone has captured all his subtle shadings and lightness of touch. The shimmering performance of ‘Poissons d’or’ is probably his best disc.”
– Jonathan Summers, A-Z OF PIANISTS


K57. RICARDO VIÑES: Piezas caracteristicas – Torre bermeja (Albéniz) / Estampes – La Soirée dans Grenade (Debussy). 12” EL PW Eng. Col. D 15245, POM-1930. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 35

K58. RICARDO VIÑES: Chants d’Espagne – Orientale / Seguidillas (Albéniz). 10” EL PW French Col. LF 42, POM-1930. A-/M-A, lovely copy has, Sd. only, sev. lt. superficial scrs, inaud. MB 25

K59. RICARDO VIÑES: Granada (Albéniz) / Le parc d’attractions (Blancafort). 12” EL PW French Col. LFX 73, POM-1930. M-A, Exemplary! MB 45

“Although Ricardo Viñes (1875—1943) was active during the ‘golden age’ of pianism, he deliberately pursued an entirely different musical path from his fellow practitioners. He is perhaps best categorized with the Catalan school of pianists, a group of formidable players that included Albéniz, Granados, Malats, Mompou, and de Larrocha. It goes without saying that Viñes became one of the leading interpreters of the Spanish piano literature. However, his affinities also extended to many French, Russian, and South American composers of the day. Generally eschewing the familiar Austro-German and Slavic repertoire of most pianists, Viñes campaigned tirelessly for new and recent works, introducing them throughout Europe and South America.

Viñes’ earliest teacher was Juan Pujol in Barcelona. 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. (Of the latter group, Francis Poulenc took piano lessons from Viñes; another pupil was Marcelle Meyer.)
– Donald Manildi


K60. VLADIMIR HOROWITZ: Six Sonatas (Scarlatti), 4s. 2-12” EL RCA 12-0586/87, only form of issue, 1946 & 1947, in Orig. Album MO 1262. M-A, a gleaming copy. MB 15, the Set.

K61. VLADIMIR HOROWITZ: 32 Variations in c (Beethoven), 3s. / Sd.4 = Nun freut, euch lieben Christen (Bach). 2-10” EL Scroll V 1689/90, on ‘Z’-type shellac, POM-6 May, 1934. M-A, Exemplary! MB 15, the Pair.

K62. VLADIMIR HOROWITZ: Arabesque in C (Schumann), 2s. 10” EL Scroll V 1713, on ‘Z’ shellac, POM-6 May, 1934. M-A, Exemplary! MB 12

K63. VLADIMIR HOROWITZ: Mazurka in f, Op.7, #3 (Chopin) / Fantaisiestücke – Traumeswirren (Schumann). 10” EL Scroll V 1654, on ‘Z’-type shellac, POM-15 Nov., 1932. M-A, Exemplary! MB 12

K64. VLADIMIR HOROWITZ: Capriccio Concert Étude in f (Dohnányi) / Valse oubliée #1 in F-sharp (Liszt). 10” EL Scroll V 1455, on ‘Z’-type shellac, POM-4 Dec., 1928 / 25 Feb., 1930. M-A, Exemplary! MB 12

K65. VLADIMIR HOROWITZ: Danse exotique (Demeny-Horowitz) / Études d’exécution transcendante d’après Paganini – Étude #2 in E-flat (Liszt-Busoni). 10” EL Orth Vla 1468, POM-4 March, 1930. M-A, appears unplayed! MB10

K66. VLADIMIR HOROWITZ: Pastourel; Toccata in B-flat (both Poulenc) / Étude XI pour les arpèges composés (Debussy). 12” EL Scroll V 8996, on ‘Z’-type shellac, POM-11 Nov., 1932 / 6 May, 1934. M-A, appears unplayed! MB 15

K67. VLADIMIR HOROWITZ: Sonata #1 in E-flat (Haydn), 4s. 2-12” EL Scroll V 8489/90, on ‘Z’ shellac, POM-11 Nov., 1932. M-A, lovely copy has, Sds. 3 & 4, faintest pap. rubs, inaud. MB 15, the Pair.

K68. VLADIMIR HOROWITZ: Mazurka in c-sharp, Op.50, #3 / Étude in c-sharp, Op.10, #4; Étude in G-flat, Op.10, #5 (all Chopin). 12” EL Scroll V 14140, POM-2 June, 1935, on ‘Z’-type shellac. M-A, Exemplary! MB 12

K69. VLADIMIR HOROWITZ: Carmen – Variations (1928 Version) (Bizet) / Mazurka in c-sharp, Op.30, #4 (1928 Version) (Chopin-Horowitz). 10” EL Electrola DA 982, POM 2 April / 26 March, 1928. M-A, lovely copy has, Sd.1 only, faintest pap.rub, inaud.; minuscule label tear, Sd.1. MB 10

K70. VLADIMIR HOROWITZ: Carmen – Variations (Bizet-Horowitz) (1947 Version) / Mazurka in f, Op.7, #3 (Chopin). 12” EL RCA 12-0427, POM-22 Dec., 1947. M-A MB 12

“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


K71. VLADIMIR HOROWITZ: Pictures at an Exhibition, 7s / Sd. 8 = By the water (both Mussorgsky). 4-12” EL red vinyl RCA 18-0233/36, POM-1947. M-A, choice copy of preferred vinyl pressing appears unplayed! MB 35, the Set.

“Horowitz’s finale to this work is overpowering in sheer sonorous impact: that so much music can pour from one instrument or that two hands can manage so many notes seems scarcely credible.”
– NEW YORK SUN, 29 March, 1947


K72. VLADIMIR HOROWITZ, w.Coates Cond. London S.O.: Concerto #3 in d, 9s / Sd. 10 = Horowitz: Prelude #6 in g, Op.23, #5 (both Rachmaninoff). 5–12” EL Orth Vla 7462/66, POM-30 Dec., 1930 / 12 June, 1931, partially on ‘Z’ shellac, in Orig. Album M-117, w.Brochure. M-A, a gleaming copy. MB 35, the Set.

K73. VLADIMIR GEORGES BOSKOFF, w.Cloëz Cond. Paris Phil.: Concerto #19 in F, K.459 (Mozart), 6s. 3-12” EL Viva-Tonal Col. G-68025/27-D, POM-12 Oct., 1930, in Orig. Album 170. M-A, a gleaming copy. MB 35, the Set.

K74. SERGE PROKOFIEV: Suggestion diabolique; Étude, Op.52; Contes de la vieille grand’mère, Op.31, Nos. 2 & 3; Visions fugitives; Sonatine pastorale in C; Gavotte, Op.25, #2; Gavotte, Op.32, #3; Paysage, Op.59; Sonata #4 in c – Andante (all Played by the Composer), 8s. 4-12” EL PW V 15029/32, POM-1935, in Orig. Album M-477, w.Brochure. M-A, gleaming copy has, Sd. 1 only, infinitesimal pap. scr. MB 75, the Set.

K75. SERGE PROKOFIEV, w.Coppola Cond. London S.O.: Concerto #3 in C (Played by the Composer), 6s. 3-12” EL Orth Vla 7772/74, on ‘Z’-type shellac, POM-1932, in Orig. Album M-176, w.Brochure. M-A, choice copy has, Sd. 2 only, faintest pap. scuff, inaud. MB 35, the Set.

“From the very beginning there is a welcome straightforwardness to Prokofiev’s performance….Altogether an indispensable performance that is ‘historic’ in all the best senses of the word….Prokofiev’s playing was much admired by his contemporaries, not least by Poulenc.”
– Nigel Simeone, INTERNATIONAL PIANO QUARTERLY, Autumn, 2000


K76. KONSTANTIN IGUMNOV: Barcarolle (June), OP.37a, #6 / Autumn Song (October), OP.37a, #10 (Tchaikovsky). 12” EL USSR 015351/52, recorded 1947. M-A, Exemplary! MB 15

“Konstantin Igumnov was a Russian virtuoso pianist and the teacher of many famous Russian pianists. Igumnov studied under Nikolai Zverev, and at Moscow Conservatory under Alexander Siloti and Pavel Pabst. He took theory and composition courses from Sergei Taneyev, Anton Arensky and Mikhail Ippolitov-Ivanov. In 1898-99 he was pianoforte teacher at the Tiflis music-school of the Russian Music Society. From 1899 he was Professor at the Moscow Conservatory, where his life's work was carried out. Among his many students were Lev Oborin, Maria Grinberg, Bella Davidovich, and many others.”

K77. BELLA DAVIDOVITCH: Ballade #4 in f, Op.52 / Étude #5 in G-flat; Étude #15 in F (all Chopin). 12” EL dark-green Le Chant du Monde 5.039 (PPS 4091/99). A to M-A, lovely copy has faintest pap. rubs & very occasional superficial pap. mks., inaud. MB 20

“At an early age, Bella Davidovitch entered the Moscow Conservatory where she studied with Konstantin Igumnov and Yakov Flier. In 1949, she shared the first prize with Halina Czerny-Stefańska at the 4th International Frederick Chopin Piano Competition. This launched her on a very successful career in the Soviet Union and Eastern Europe, in which she appeared with every major Russian conductor and performed as a soloist with the Leningrad Philharmonic Orchestra for 28 consecutive seasons.”
– Jonathan Summers, A-Z OF PIANISTS


K78. LEV OBORIN: Étude in E-flat, Op.10, #6 (Chopin) / EMIL GILELS: Chant sans parôles – Souvenir de Hapsal (Tchaikovsky). 10” EL red CCCP Aprelevski Zavod 17787/18101, recorded 1950/’40, resp. M-A MB 15

“In 1921, Oborin was accepted into Moscow Conservatory as a student of piano and composition. He completed his piano studies in 1926. In the same year, news reached Moscow of the First International Frédéric Chopin Piano Competition, to be held in Warsaw in 1927, and his piano teacher Konstantin Igumnov immediately thought of him. After winning first prize in the competition, he gave concerts in Poland and in Germany. Until 1945 he performed exclusively in Russia and taught at the Moscow Conservatory at the same time. In 1935 he played his first concert with the violinist David Oistrakh, with whom he continued to collaborate all of his life. Aram Khachaturian dedicated his Piano Concerto in D flat to Oborin. During the years 1941 to 1963, Oborin played in a trio with the violinist David Oistrakh and cellist Sviatoslav Knushevitsky, achieving international fame. He gave first public performances of the works of several modern composers, including Khachaturian, Shebalin, Myaskovsky, Prokofiev (including the Violin Sonata No. 1 with Oistrakh), and Shostakovich.”

K79. HEINRICH NEUHAUS: Poem in F-sharp, Op.32, #1 / Poem in D, Op.32, #2; Poem, Op.59 (all Scriabin). 10” EL red CCCP Aprelevski Zavod 8309/10, recorded 1939. M-A MB 15

“Heinrich Neuhaus was a Soviet pianist and pedagogue of German extraction. He taught at the Moscow Conservatory from 1922 to 1964; he was largely self-taught. In 1902 he gave a recital with the 11-year-old Mischa Elman, and in 1904 gave concerts in Dortmund, Bonn, Cologne and Berlin. Subsequently he studied with Leopold Godowsky in Berlin. In 1914 Neuhaus started teaching in Elisavetgrad and later Tbilisi and Kiev (where he befriended Vladimir Horowitz). In 1922 he began teaching at the Moscow Conservatory where he was also director between 1935 and 1937. His pupils there included Yakov Zak, Sviatoslav Richter, Emil Gilels, Anatoly Vedernikov, Tikhon Khrennikov, Anton Ginsburg, Alexei Lubimov, Radu Lupu, and numerous others.”

K80. VLADIMIR SOFRONITSKY: Prelude in C, Op.31, #1 / Prelude in D, Op.39, #2; Prelude in C, Op.48, #2 (all Scriabin). 10” EL red CCCP Aprelevski Zavod 20974/75, recorded 1951. M-A MB 15

“From 1916 to 1921, Sofronitsky studied in the Petrograd Conservatory under Leonid Nikolayev, where Dmitri Shostakovich, Maria Yudina, and Elena Scriabina, the eldest daughter of the deceased Alexander Scriabin, were among his classmates. He met Scriabina in 1917 and married her in 1920. Sofronitsky was highly appreciated as an outstanding pianist by the composer Alexander Glazunov and the musicologist and critic Alexander Ossovsky. In 1920, Sofronitsky married the oldest daughter of Scriabin, Elena. While he had already divulged a sympathy for the piano music of the recently deceased mystic composer - – as attested by Yudina - – he now had a greater intellectual and emotional connection to Scriabin's works through his wife, also a talented pianist, and through the Scriabin in-laws. Not surprisingly, Sofronitsky recorded a large number of Scriabin works and also compositions by Chopin, Rachmaninov, Schumann, Prokofiev, and others. His recorded performances from the 1940s are generally more representative than those from the last decade.”

K81. LEFF POUISHNOFF: Sonata in G, 9s / Sd. 10 = Impromptu, Op.142, #2 (both Schubert). 5-12” EL Viva-Tonal Col. 67440/44-D, in Orig. Album 92. M-A, a gleaming copy. MB 35, the Set.

“Leff Pouishnoff was born in Russia, at Odessa, on 11 October, 1891, and started to play the piano before he was four, teaching himself, it is said, by watching his sister. By the time he was five, he had already played at a public concert. After a few years of study at Kiev, he entered the Conservatoire at St. Petersburg, where he had such famous professors as Esipoff for the piano, and Liadov, Glazounov and Rimsky-Korsakov for composition. He was a distinguished pupil, and when he left the Conservatoire he had won both the gold medal and the Rubinstein Prize. His first important engagement was a tour, in 1911, with Leopold Auer, the violinist, and a year or two later he became a professor at Tiflis. He left Russia in 1920, and travelled extensively. On one of his world tours he was the first professional concert pianist to be heard in Persia (Iran). He was well known in America, and gave over a hundred recitals in Australia. In the early 1920s he made London his permanent home and became a British citizen in 1931."
– GRAMOPHONE, July, 1959


K82. SERGEI RACHMANINOFF: Hungarian Rhapsody #2 in c-sharp (Liszt), 2s. 10” AC etched label Edison H & D 82169 (6739/40), only form of issue, 22 April, 1919. M-A MB 15

K83. SERGEI RACHMANINOFF: Serenade (Played by the Composer) / Scherzo (Borodin). 10” EL Scroll V 1762, POM-3 Jan., 1936 / 23 Dec., 1935, on ‘Z’-type shellac. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K84. SERGEI RACHMANINOFF: Carnaval (Schumann), 6s. 3-12” EL Scroll V 7187/89, POM 1929, on ‘Z’ shellac, in Orig. Album M-70, w.Brochure. M-A, Exemplary! MB 95, the Set.

K85. SERGEI RACHMANINOFF & FRITZ KREISLER: Sonata in A (Schubert), 6s. 3-12” EL PW V 8216/18, POM-20 & 21 Dec., 1928, in Orig. Album M-107, w.Brochure. M-A, appears unplayed! MB 45, the Set.

K86. SERGEI RACHMANINOFF & FRITZ KREISLER: Sonata #3 in c (Grieg), 6s. 3-12” EL Scroll & Orth V 8112/14, POM-15 Sept., 1928, on ‘Z’-type shellac; last disc only on ‘Z’ shellac, in Orig. Album M-45, w.Brochure. A to M-A, lovely copy has, Sds 1 & 4 only, few lt. mks, inaud. MB 25, the Set.

"Both Rachmaninoff and Kreisler had that thing which nobody has anymore – a type of elegance that seems to have died out. There's a certain kind of humanity in the performance that can bring tears to the eye. It happens very quickly – it can happen in a single phrase."
– John Browning


K87. SERGEI RACHMANINOFF, w.Stokowski Cond. Philadelphia Orch.: Rhapsody on a Theme of Paganini (Played by the Composer), 6s. 3-12” EL Scroll V 8553/55, POM-24 Dec., 1934, on ‘Z’-shellac & ‘Z’-type shellac, in Orig. Album M-250. M-A; Sds. 1-4 are pristine; Sds. 5 & 6 have lt. rubs & scuffs, inaud. MB 45, the Set.

K88. SERGEI RACHMANINOFF, w.Stokowski Cond. Philadelphia Orch.: Concerto #2 in c (Played by the Composer), 10s. 5-12” EL Scroll & Orth V 8148/52, POM-1929, on ‘Z’-shellac, in Orig. Album M-58, w.Brochure. M-A, lovely copy has occasional faintest pap. rubs, inaud.; Sds. 9 & 10 only have scuffs, inaud. MB 45, the Set.

K89. SERGEI RACHMANINOFF, w.Ormandy Cond. Philadelphia Orch.: Concerto #3 in d (Played by the Composer), 9s. 5-12” EL PW V 17481/85-S, in Orig. Album M-710, POM-1939-40, w.Brochure. M-A, appears unplayed! MB 25, the Set.

K90. SERGEI RACHMANINOFF, w.Ormandy Cond. Philadelphia Orch.: Concerto #4 in g (Played by the Composer), 8s. 4-12” EL V 11–8615/18,POM-20 Dec., 1941, in Orig. Album DM-972. M-A, appears unplayed! MB 25, the Set.

“…we have been left in the recordings of Sergei Rachmaninoff a bequest that is a historically significant musical experience of unique power, beauty and logic.”
– Gregor Benko, RACHMANINOFF ON RECORDS


K91. IDA KREHM: Etude in B flat major (‘Etude in Ninths’), Op. 65, No. 1 / Sonata No.5 in F sharp major, Op. 53 (both Scriabin). 10” EL Paraclete Music 30, only form of issue, 1942, privately recorded, East Haven, CT. M-A MB 15

“The Canadian pianist Ida Krehm was born in Toronto in 1912 of Russian parents. She studied in Canada with Ernest J. Farmer, Norah Drewett de Kresz, Viggo Kihi, and theory with Healey Willan. She made her first concert appearance in 1924 and five years later moved to Chicago where she continued her studies with Rudolf Ganz. In 1936 she married Joseph Richard Pick, a Chicago pianist, composer, and textile broker. A year later she won the Schubert Memorial Award, the National Federation of Music Clubs Prize, and the Naumburg Foundation Award. As a result, she appeared with the Philadelphia Orchestra conducted by Eugene Ormandy and made her New York début at Town Hall. Her Canadian professional début took place in 1939 at Hart House, University of Toronto. She toured widely after that, appearing as soloist with the Cleveland, Chicago, Hallé, Toronto, London Philharmonic, Suisse Romande, Royal Philharmonic, and many other orchestras. She introduced many significant works by Kabalevsky, Tansman, Benda, Dello Joio, Surinach, and others, including Bloch’s Scherzo fantasque in 1950 with the Chicago Orchestra. When Samuel Yaffe created Paraclete Music in the early 1940s, he invited Ida Krehm to be among a handful of pianists to record the very first comprehensive anthology of Scriabin’s piano works. As a result, in 1942 she recorded Scriabin’s Sonata No.5 in F sharp major, Op. 53, and the very first recording of Scriabin’s Etude in B flat major (‘Etude in Ninths’), Op. 65, No. 1.”

K92. JOSEF LHÉVINNE: An der schönen, blauen Donau (Johann Strauss), 2s. 12” EL Orth Vla 6840, POM 21 May, 1928. M-A, Exemplary! 15

“[Lhévinne’s] first recording for Victor was made in 1928, the almost infamous disc of Johann Strauss’s waltz ‘An der schönen, blauen Donau’. This arrangement by nineteenth-century pianist Adolf Schulz-Evler became Lhévinne’s most popular encore. The recording has never been surpassed in charm, panache and rhythmic aplomb, and probably never will be.”
– Jonathan Summers, A-Z OF PIANISTS


K93. JOSEF LHÉVINNE: Polonaise in A-flat, Op.53 (Chopin), 2s. 10" EL Scroll V 1765, on ‘Z’-type shellac, only form of issue, 6 Jan., 1936. M-A MB 25

K94. 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” EL RCA 8868, POM-10 June, 1935. MINT MB 12

K95. JOSEF LHÉVINNE: Étude in b, Op.25, #22 / Préludes, Op.28, Nos. 16 & 17 (Chopin). 12” EL RCA 14024, POM 10 June, 1935 / 6 Jan., 1936. M-A, Exemplary! MB 15

K96. JOSEF LHÉVINNE: Toccata in C, Op.7 / Frühlingsnacht (both Schumann). 12” EL Scroll V 8766, on ‘Z’-type shellac, POM 7 June, 1935. M-A, Exemplary! MB 25

K97. JOSEF LHÉVINNE & ROSINA LHÉVINNE: Nocturnes – Fêtes (Debussy), 2s. 10" EL Scroll V 1741, on ‘Z’-type shellac, only form of issue, 11 June, 1935. A, lovely copy has faintest pap. rubs & 1 faint pap.scr, inaud. MB 20

“One of the greatest pianists of the 1920s and 1930s, Lhévinne is remembered by a handful of exemplary recordings that have enshrined his name in the annals of pianistic history….Lhévinne had one of the most extraordinary techniques of any pianist who recorded. His discs of Chopin’s études are continually astonishing for their ease and effortless fluency combined with tremendous power and force when required.”
– Jonathan Summers, A-Z OF PIANISTS


K98. OSSIP GABRILOWITSCH: Gavotte (Glazounov). 12” AC S/S Special vinyl Pressing of Unpublished Mx. C 31706-2, POM 13 Jan., 1925. MINT MB 45

K99. OSSIP GABRILOWITSCH: En automne (Moszkowski) / Novelette, Op.99, #9 (Schumann). 10” EL AC Vla 1042, only form of issue, 29 May, 1924. M-A MB 15

K100. OSSIP GABRILOWITSCH: Shepherd’s Hey (Grainger) / Le Roi s’amuse – Passapied (Delibes). 10” EL AC Label Vla 1095, only form of issue, 12 May, 1925. M-A MB 15

K101. OSSIP GABRILOWITSCH & FLONZALEY QUARTET: Piano Quintet in E-flat Op.44 (1923/24 Version) (Schumann), 4s (Complete, as recorded). 2-AC 12" Vla 6462/63, POM-20 Dec., 1923 & 25 Feb., 1924. M-A, Exemplary! Rare 1923/’24 Version, soon deleted and replaced by the famous 1927 Performance. MB 25, the Set.

K102. OSSIP GABRILOWITSCH & FLONZALEY QUARTET: Piano Quintet in E-flat (1927 Version) (Schumann), 8s. 4-12" EL Scroll V 8120/23, on ‘Z’ shellac, POM 21 Dec., 1927, in Orig. Album M-28, w.Brochure. M-A MB 65, the Set.

“Apart from the few sides [Gabrilowitsch] made as conductor of the Detroit Symphony Orchestra in 1928, he made both an acoustic (1923-1924, abridged) and electric (1927) recording of Schumann’s Piano Quintet in E-flat, Op.44, with the Flonzaley Quartet. The 1927 version shows a palpable rapport between the musicians, and demonstrates what an exceptional chamber music player Gabrilowitsch was….”
– Jonathan Summers, A-Z OF PIANISTS


K103. OSSIP GABRILOWITSCH & HAROLD BAUER: Suite for Two Pianos – Valse (Arensky) / Impromptu – Rococo (Schütt). 12” EL PW V 8162, only form of issue, 13 June, 1928 / 19 Sept., 1929. M-A, Exemplary! MB 15

“Gabrilowitsch was a refined and polished pianist; everything is revealed and clarity and precision, yet underlined with warmth and poetry. For an artist of his great talent he made very few recordings….Gabrilowitsch used to tour with Harold Bauer giving two-piano recitals, and his most famous recording is the Waltz from the Suite for Two Pianos, Op.15, by Arensky. As New York Times critic Harold Schonberg so memorably wrote, ‘…a lovelier piano disc has never been made’.”
– Jonathan Summers, A-Z OF PIANISTS


K104. HAROLD BAUER: Moonlight Sonata #14 in c-sharp, 3s / Sd. 4 = Gavotte in F (both Beethoven). 2-12” EL Scroll V 6591/92, on ‘Z’-type shellac, POM-1926. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 20, the Pair.

K105. HAROLD BAUER: Fantasiestücke (Schumann), 8s. 4-12” EL PW V 14486/89, POM-1935, in Orig. Album M-379, w.Brochure. M-A, appears unplayed! MB 25, the Set.

K106. HAROLD BAUER: Harold Bauer at the Piano: Bach, Handel, Scarlatti, Couperin, Mendelssohn, Schumann, Chopin, Brahms, Schubert & Debussy, 10s. 5-10” EL Schirmer 2001/05, in Orig. Album 1. M-A, Exemplary! MB 95, the Set.

K107. HAROLD BAUER: Sonata in f (Brahms), 8s. 4-12” EL Schirmer 2536/39, only form of issue, 1939, in Orig. Album 14. M-A, appears unplayed! MB 65

“The music-publishing firm of Schirmer, for whom Bauer was working as an editor, had its own record label, and in 1939 Bauer made a series of records for it, most importantly of the Piano Sonata in f, Op.5, by Brahms. It is justly recognized as one of the best versions of the sonata and has even been described in print as ‘unquestionably one of the great piano recordings of the century’.”
– Jonathan Summers, A-Z OF PIANISTS


K108. HAROLD BAUER & FLONZALEY QUARTET: Piano Quintet in f, Op.34 (Brahms), 10s. 5-12" EL Orth Vla 6571/75, POM-21 & 23 Dec., 1925, in Orig. Album M-10. M-A, Exemplary! MB 35, the Set.

K109. HAROLD BAUER & FLONZALEY QUARTET: Piano Quintet in f, Op.34 (Brahms), 10s. 5-12" EL Scroll V 6571/75, on ‘Z’ shellac, POM-21 & 23 Dec., 1925, in Orig. Album M-10, w.Brochure. M-A, appears unplayed! MB 75, the Set.

K110. RUDOLF FIRKUSNY: Bohemian Dances, Book I – #2 in a / #4 in B-flat (Smetana). 12” EL Czech HMV DB 5300. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 25

“Firkušný started his musical studies with the composers Leoš Janáček and Josef Suk, and the pianist Vilém Kurz. Later he studied with Alfred Cortot and Artur Schnabel. He began performing on the continent of Europe in the 1920s, and made his débuts in London in 1933 and New York in 1938. He escaped the Nazis in 1939, fled to Paris, later settled in New York and became a U.S. citizen.”
– Jonathan Summers, A-Z OF PIANISTS


K111. STANISLAS NIEDZIELSKI: Mazurka in c-sharp, Op. 63, #3; Mazurka in F, Op. 68, #3 / Mazurka in G, Op.50, #1; Mazurka in C, Op.67, #3 (all Chopin). 10” EL PW plum HMV B 3550, POM-14 June, 1930. M-A MB 15

“Stanislas Niedzielski (1905-1975) was born in Warsaw and studied with Sliwinski and Opienski, before taking lessons from Paderewski in Switzerland. At the age of twenty he gave his first concert in London, which launched his international career. He toured all over the world, including frequent performances in South Africa. Although his repertoire was varied and extensive, he is today perhaps best known for his impassioned performances of Chopin's music.”
– Nalen Anthoni, Naxos CD liner notes


K112. MORIZ ROSENTHAL: Piano Music of Chopin, 8s. 4-EL 12” Scroll V 14301/04, on ‘Z’-type shellac, POM 1936, in Orig.Album AM-338, w.Brochure. M-A, pristine copy is unplayed! Exceedingly elusive, especially on ‘Z’-type shellac! MB 75, the Set.

K113. MORIZ ROSENTHAL: Waltz in c-sharp, Op.64, #2 / Waltz in e, Op.Posth. (both Chopin). 12” EL PW Parl. E11043, POM-28 April, 1930. M-A, a gleaming copy. MB 15

K114. MORIZ ROSENTHAL: Mazurka in D, Op.33, #2 / Mazurka in B, Op.63, #1 (both Chopin). 10” EL PW V 1951, POM-22 Oct., 1937. M-A, a gleaming copy. MB 15

K115. MORIZ ROSENTHAL: Soirée de Vienne #6 in A (Schubert-Liszt), 2s. 10” EL PW V 1854, POM-25 May, 1936. M-A, a gleaming copy. MB 12

K116. MORIZ ROSENTHAL: Carnaval de Vienne (1930 Version) (Johann Strauss-Rosenthal), 2s. 12” EL red Decca-Odeon G-25839 (21706/07), POM-3 May, 1930. A/A-, lovely copy has faintest pap. rubs, inaud. MB 12

K117. MORIZ ROSENTHAL: Carnaval de Vienne (1935 Version) (Johann Strauss-Rosenthal), 2s. 12” EL V 11-8175, POM-23 Nov., 1935. M-A, appears unplayed! MB 12

K118. MORIZ ROSENTHAL: Prélude #6 in b; Prélude #11 in B; Prélude #7 in A; Prélude #23 in F / Étude #1 in C; Nouvelle étude in A-flat (all Chopin). 12” EL gold lateral cut Edison 47004 (N754B / N838B), only form of issue, 1929 (and apparently his sole published Edison sides). B-, very decent copy has numerous lt. rubs & scrs, mainly cosmetic. This plays beautifully, despite a slightly hazy reproduction. Exceedingly rare. MB 75

K119. MORIZ ROSENTHAL, w.Weissmann Cond.: Concerto #1 in e (Chopin), 10s. 3-10” EL PW Parl. R 902/04 & 2-12” EL PW Parl. E11113/14, POM-1930 & 1931, in Orig. Parlophone Album. M-A, a gleaming copy. MB 35, the Set.

“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.”
– Jonathan Summers, A-Z OF PIANISTS


K120. FINI VALDEMAR HENRIQUES (as Pianist): Billedbogen – Bolden; Dukkens Vuggevise; Den Lille Jokey / Den Lille Soldat; Sommerfuglen (Played by the Composer). 10” EL plum HMV X.4833. Henriques, a pupil of Joachim, was known primarily as a composer who made a few discs as a violinist. This appears to be his sole piano recording. M-A MB 30

K121. LIZA FUCHSOVA: Fantasy on Czech Folksongs (Smetana), 2s. 10” EL plum HMV JO 31. M-A, appears unplayed! MB 12

K121½. LIZA FUCHSOVA: Oves / Czech Festival (both Smetana). 12” EL plum HMV JOX 2. M-A, appears unplayed! MB 12

“Another stunning pianist in danger of being forgotten is Liza Fuchsova who was born in Brno in 1913 and who studied there and at the Prague Conservatory, teaching there after graduating. She later settled in the UK in 1939 as a refugee from the Nazis. She was a truly sensational pianist and a charming, smart and elegant woman. Those who knew her said that she was and will remain the best Janáček pianist of all, and she was connected with the Society of the Promotion of New Music. Humphrey Searle wrote the fiendishly difficult Toccata from his Op 14 for her. She was superb in chamber music and the pianist for the Dumka Trio and an excellent teacher. She died in London in 1977.”
– Dr. David C. F. Wright


K122. WANDA LANDOWSKA (Harpsichord): 20 Sonatas (Scarlatti), 14s. 7-12” EL LVSM DB 11.205/11, POM-1939, in handsome handmade Album. M-A, Exemplary! MB 45, the Set.

"Almost needless to say, the playing is full of vigorous gestures and individual ideas. She was no respecter of text and there are little repeats here and there which are no more indicated than they are necessary. Yet such matters seem something of an irrelevance, since they only reflect an attitude of the time adopted by a celebrated pioneer of the harpsichord revival in the twentieth century. No, what charms me in Landowska's recital is her affecting poetic insight into Scarlatti's music; she is not just rediscovering the proper conjunction of composer and instrument, she believes in it and feels it intensely."
– GRAMOPHONE, Aug., 1994


K123. WANDA LANDOWSKA (Harpsichord): La Poule; La Joyeuse / Les Sauvags; Menuet majeur; Menuet mineur; Les Tricotets (all Rameau). 12” EL LVSM DB 4990, POM-1935. M-A, Exemplary! MB 12

K124. WANDA LANDOWSKA (Harpsichord): Toccata in D (Bach), 3s / Sd. 4 = 2 Magnificat (Pachelbel). 2-12” EL LVSM DB 5047/48, POM-1936. M-A, Exemplary! MB 20, the Pair.

K125. WANDA LANDOWSKA (Harpsichord): Italian Concerto in F, 3s / Sd. 4 = Three Little Preludes & Fugue (both Bach). 2-12” EL Scroll V 14232/33, POM-1936, on ‘Z’-type shellac. M-A, Exemplary! MB 20, the Pair.

K126. WANDA LANDOWSKA (Harpsichord): Chromatic Fantasy & Fugue in d; Six Little Preludes; Partita in B-flat (all Bach), 8s. 4-12” EL Scroll V 14144/47, POM-1935, on ‘Z’-type shellac, in Orig. Album M-323, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K127. WANDA LANDOWSKA (Harpsichord): Goldberg Variations (1933 Version) (Bach), 12s. 6-12” EL PW Disque Gram. DB 4908/13, POM-1933, in Orig. Album, w.Brochure. M-A, Exemplary! MB 45, the Set.

K128. WANDA LANDOWSKA (Harpsichord): Goldberg Variations (1945 Version) (Bach), 12s. 6-12” EL RCA 11–8939/44, POM-1945, in Orig. Album DM-1022, w.Brochure. M-A, Exemplary! MB 25, the Set.

K129. WANDA LANDOWSKA (Harpsichord): Das Wohltemperirte Clavier, Book I – Préludes & Fugues 1-8 (Bach), 12s. 6-12” EL RCA 12-1051/56, POM-1949, in Orig. Album DM-1338. M-A, Exemplary! MB 25, the Set.

K130. WANDA LANDOWSKA (Harpsichord): Couperin Recital, 12s. 6-12” EL PW Disque Gram. DB 4941/46, POM-1934, in Orig. Album, w.Brochure. M-A, Exemplary! MB 45, the Set.

"Wanda Landowska's harpsichord recital of last evening at the Town Hall was as stimulating as a needle shower. Indeed, the sound of that princely instrument, when it is played with art and fury, makes one think of golden rain and of how Danaë’s flesh must have tingled when she found herself caught out in just such a downpour….She played everything better than anybody else ever does. That is to say that the way she makes music is so deeply satisfactory that one has the feeling of a fruition, of a completeness at once intellectual and sensuously auditory beyond which it is difficult to imagine anything further.”
– Virgil Thomson, NEW YORK HERALD TRIBUNE, 22 Oct., 1942


K131. PAUL BAUMGARTNER: Wanderer Fantasia in C (Schubert), 6s. 3 12” EL plum HMV C.4879/81. M-A, appears unplayed! MB 20, the Set.

“Born in Altstätten, Switzerland, Paul Baumgartner studied piano and composition with Walter Braunfels in München and with Eduard Erdmann in Köln where he subsequently taught. Fleeing from the rise of the Nazis he took up residence in Basel, in Switzerland again, where he taught in the conservatory. A fine pianist, he was one of the musicians who rallied around Casals and played in the first Casals festival.”

K132. GERHARD PUCHELT: Sonata in A, Op.120, 3s / Sd. 4 = Scherzo in B-flat (both Schubert). 2-12” EL plum Electrola EH 1403/04. M-A, appears unplayed! MB 20, the Pair.

“Puchelt may be considered one of the founders of Romantic Revival in Germany. Tireless, he played less known romantic repertoire and also published several books concerned with his discoveries. Gerhard Puchelt belonged to the group of best known and highly acclaimed artists in Germany in the 50s and 60s.”

K133. ARTUR SCHNABEL, w.Barbirolli Cond. London S.O.: Concerto #27 in B-flat, K.595 (Mozart), 8s. 4-12” EL Orth Vla 8475/78, on ‘Z’ shellac, POM-2 May, 1934, in Orig.Album M-240. M-A, Exemplary! MB 35, the Set.

K134. ARTUR SCHNABEL, w.Sargent Cond. London Phil.: Concerto #2 in B-flat (Beethoven), 8s. 4-12” EL Scroll V 8901/04, POM-5 April, 1935, on ‘Z’-type shellac, in Orig. Album AM-295, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K135. HARRIET COHEN: Das Wohltemperierte Klavier, Book I – Prelude and Fugue #4 in c-sharp (Bach), 2s. 12” EL dark-blue Eng. Col. DX 1650, POM-1947. M-A, appears unplayed! MB 10

K136. EVELYN HOWARD-JONES: Das Wohltemperierte Klavier, Book I – Preludes and Fugues, Nos. 10 – 17 (Bach), 8s. 4-12” EL Viva-Tonal Col. 67823/26-D, POM-1929, in Orig. Album 147. M-A, appears unplayed! MB 45, the Set.

K137. EDWIN FISCHER: Preludes and Fugues Nos. 35 – 43 (Bach), 14s. 7-12” EL Scroll V 14235/41, on ‘Z’-type shellac, in Orig. Album M-334, w.Brochure. M-A, choice copy (w.sl. worn & mended album). MB 65, the Set

K138. EDWIN FISCHER: Chromatic Fantasy and Fugue in d, 3s / Sd.4 = Das Wohltemperirte Clavier – Prelude and Fugue in D (both Bach). 2 12” EL Scroll V 8680/81, POM-1931, on ‘Z’ shellac. M-A, appears unplayed! MB 25, the Pair

“Not many pianists can equal the beauty of Fischer’s pianissimos and chordal playing – one completely forgets that there are hammers involved in the creation of these sounds.”
– Farhan Malik, INTERNATIONAL PIANO QUARTERLY, Winter, 2001


K139. EDWIN FISCHER: Chaconne in G (Handel), 2s. 10” EL Scroll V 1597, POM-1931, on ‘Z’-type shellac. M-A MB 15

K140. EDWIN FISCHER: Appassionata Sonata in f (Beethoven), 6s. 3 12” EL Scroll V 8792/94, POM-1935, on ‘Z’-type shellac, in Orig. Album M-279, w.Brochure. M-A MB 25, the Set.

K141. EDWIN FISCHER Plays & Cond.: Musical Offering on a theme of Frederick the Great – Ricercare in Six Voices (Bach-Fischer), 2s. 12” EL Scroll V 8660, POM-1933, on ‘Z’ shellac. M-A, appears unplayed! MB 15

K142. EDWIN FISCHER (Playing & Cond.): Concerto in d (Bach), 6s. 3-12” EL Scroll V 8570/72, on ‘Z’ shellac, in Orig. Album M-252. M-A, pristine copy is unplayed! MB 45, the Set.

K143. EDWIN FISCHER Plays & Cond.: Concerto in d, K.466 (Mozart), 8s. 4-12” EL Scroll & Orth V 8321/24, on ‘Z’ shellac, in Orig. Album M-223. M-A, choice copy has, Sd. 1 only, long, very lt. nr, inaud. MB 35, the Set.

K144. EDWIN FISCHER, w.Barbirolli Cond.: Concerto in E-flat, K.482 (Mozart), 8s. 4-12” EL Scroll V 14093/96, on ‘Z’-type shellac, in Orig. Album AM-316, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K145. WALTER GIESEKING: Suite française #5 – Gigue / Jesus bleibet meine Freunde (both Bach). 10” EL MasterWorks Col. 17150-D, POM-4 May, 1939, New York. M-A, appears unplayed! MB 10

K146. WALTER GIESEKING: Arabesque #1 in E / Arabesque #2 in G (both Debussy). 10” EL MasterWorks Col. 17145-D, POM-4 May, 1939, New York. M-A, appears unplayed! MB 10

K147. WALTER GIESEKING: Reflets dans l’eau / Soirée dans Grenade (both Debussy). 12” EL early PW Col. 68575-D, POM-9 Feb., 1936, London. M-A, Exemplary! MB 12

K148. WALTER GIESEKING: Suite bergamasque (Debussy), 4s. 2-12” EL MasterWorks Col. 68033/34-D, POM-1931, Central Hall, Westminster, in Orig. Album X-8. M-A, Exemplary! MB 15, the Set.

K149. WALTER GIESEKING: Gaspard de la nuit (Ravel), 4s. 2-12” EL MasterWorks Col. 69658/59-D, POM-31 Jan., 1937 / 11 Aug., 1938, London / Berlin, in Orig. Album X-141. M-A, Exemplary! MB 15, the Set.

K150. WALTER GIESEKING: Gaspard de la nuit – Ondine (Ravel) / Images – Poissons d’or (Debussy). 12” EL MasterWorks Col. 69020-D, POM-31 Jan., 1937, London. M-A, Exemplary! MB 10

K151. WALTER GIESEKING: Miroirs #4 – Alborada del gracioso (Ravel), 2s. 10” EL MasterWorks Col. 17137-D, POM-8 Nov., 1938, Berlin. M-A, appears unplayed! MB 10

K152. WALTER GIESEKING: To the spring; Butterfly / Wedding day at Troldhaugen (all Grieg). 12” EL dark-blue German Odeon O-7804, POM-1927, Berlin; Gieseking’s signature embossed in inner margin, both sides. M-A, choice copy has, very end Sd. 2, few insignificant pap. mks, inaud. MB 12

K153. WALTER GIESEKING: Intermezzo in b, Op.117, #2 / Romance in F, Op.118, #5 (both Brahms). 12” EL pale-blue German Col. LWX 337, POM-1939, Berlin. M-A, choice copy has few faint ‘damp’ spots, inaud. MB 12

K154. WALTER GIESEKING: Sonata #16 in B-flat, K.570 (Mozart), 4s. 2-12” EL MasterWorks Col. 68998/99-D, POM-30 Sept., 1938, Berlin, in Orig. Album X-79. M-A, Exemplary! MB 15, the Set.

K155. WALTER GIESEKING: Kinderszenen (Schumann), 4s. 2-12” EL PW French Col. LFX 858/59, POM-1939, Berlin (never issued USA). M-A, choice copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 15, the Pair.

K156. WALTER GIESEKING: Waldstein Sonata #21 in C, 5s / Sd. 6 = Bagatelle in E-flat (both Beethoven). 3-12” EL MasterWorks Col. 69476/78-D, POM-11 Aug., 1938, Berlin, in Orig. Album X-358. M-A, Exemplary! MB 25, the Set.

“[Gieseking] had a unique command of suspended motion with vibration, like that of a hummingbird hovering over a flower….Such playing is the ultimate in mastery and sensuous elegance, the result of a scrupulous care that marks genius.”
– Abram Chasins, SPEAKING OF PIANISTS, p.113


K157. OTTO SCHULHOF: Parodie einer Dorfmusik / Spieluhr (both Played by the Composer). 10” EL plum Scandinavian HMV GA 5008. A to M-A, lovely copy has, Sd. 1 only, lt. scuff, ever-so-faintly audible. MB 15

K158. ERNST TOCH, w.Kaufman Quartet: Quintet for Piano and Strings (Played by the Composer), 8s. 4-12” EL PW Col. 71149/52-D, in Orig. Album M-460. M-A, appears unplayed! MB 35, the Set.

“Ernst Toch was considered one of the great avant-garde composers in the pre-Nazi era. Pulitzer Prize for Music in 1956 for his Third Symphony (Pittsburgh Symphony Orchestra on 2 December, 1955).”