Piano & Organ 78rpm records

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Auction Number 148 ­- AUCTION Closing Date: Saturday, 15 April, 2017



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Section II - Piano & Organ 78rpm records Nos. J0034 – J0112

J0034. MARCEL DUPRE (Organ of Queen’s Hall, London): Pièce Héroique (Franck), 2s. 12” Scroll V 9121, POM- POM-21 June, 1926, on ‘Z’ shellac. M-A, as New! MB 20

J0035. MARCEL DUPRE (Organ of Alexandria Palace, London): ‘In thee is joy’– Organ Prelude / ‘Dorian Mode’ Toccata in d (both Bach). 12” Scroll V 7421, POM-17 March, 1930, on ‘Z’ shellac. M-A, as New! MB 20

“In 1920, Dupré performed from memory the complete organ works of J. S. Bach in a series of ten recitals at the Paris Conservatoire, an achievement that brought him world recognition. His American début soon followed in 1921, and the first transcontinental tour of America in 1922. In 1926 he was appointed Professor of Organ at the Paris Conservatoire, succeeding Eugené Gigout, and later served from 1954 to 1956 as Director of the Conservatoire. In 1934 he succeeded his long time friend and mentor, Charles-Marie Widor, as organist of the Church of St Sulpice in Paris, a post he held until the last day of his life.”


– Naxos


J0036. CHARLES-MARIE WIDOR (Playing organ of Saint Sulpice): ‘Gothique’ Symphony #9 (Played by the Composer), 4s. 2-12” vinyl Symposium 1010/11 (HMV matrices 2W 1571/74), POM-1932. MINT MB 35, the Pair.

J0037. CHARLES-MARIE WIDOR, (Playing organ of Saint Sulpice): Symphony #5-Toccata (Played by the Composer), 2s. 12” HMV DB 4586 (2W1569/70), POM-1932, Paris. M-A, as New! MB 15

J0038. ALBERT SCHWEITZER (Organ of Queen’s Hall, London): Prelude & Fugue in e (Bach), 2s. 12” Scroll V 9741, on ‘Z’ shellac. M-A, choice copy has, Sd.2 only, faintest pap.scr, inaud. MB 15

J0039. ARTHUR RUBINSTEIN, w.Barbirolli Cond. London S.O.: Concerto #1 in b-flat (Tschaikowsky), 8s. 4-12” Scroll V 7806/09, POM-9 & 10 June, 1932, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0040. IGNACE JAN PADEREWSKI: Mazurka in A-flat, Op.59, #2 / Mazurka in D, Op.33, #2 (Chopin). 10” Scroll V 1541, POM-13 Oct. / 23 Dec., 1930, on ‘Z’-type shellac. M-A, beautiful copy has faintest rubs, inaud. MB 15

J0041. IGNACE JAN PADEREWSKI: Grand Valse brilliante in E-flat, Op.18 (Chopin) / Valse caprice (Rubinstein). 12” Scroll V 6877, POM-22 May,1928, on ‘Z’ shellac. M-A, as New! MB 15

J0042. IGNACE JAN PADEREWSKI: Prelude in A-flat, Op.28, #17 / ‘Raindrop’ Prelude in D-flat, Op.28, #15 (Chopin). 12” Scroll V 6847, POM-22 May, 1928, on ‘Z’-type shellac. M-A, beautiful copy has faintest rubs, inaud. MB 12 

J0043. IGNACE JAN PADEREWSKI: ‘Revolutionary’ Étude in c, Op.10, #12 / Black Keys Étude in G-flat, Op.10, #5 (Chopin). 10” Scroll V 1387, POM-22 / 24 May, 1928, on ‘Z’ shellac. M-A, as New! MB 15

J0044. IGNACE JAN PADEREWSKI: Moment Musical in D-flat, Op.94, #2 (Schubert), 2s. 12” Scroll V 7508, POM-13 May, 1931, on ‘Z’ shellac. M-A, as New! MB 20

J0045. WILHELM BACKHAUS: ‘Pathétique’ Sonata in c (Beethoven), 4s. 2-12” Scroll V 6771/72, , POM-28 Jan., 1927, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0046. WILHELM BACKHAUS, w.Barbirolli Cond. New S.O.: Concerto in a (Grieg), 6s. 3-12” Scroll V 8235/37, POM-23 Oct., 1933, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0047. HAROLD BAUER: SUITE BERGAMASQUE - Clair de lune (Debussy) / Novelette in D, Op.21, #2 (Schumann). 12” Scroll V 7122, POM-21 March / 8 April, 1929, on ‘Z’ shellac. M-A, choice copy has faintest pap.scuff, inaud. MB 12

J0048. HAROLD BAUER: ‘Moonlight’ Sonata #14 in c-sharp, 3s / Sd. 4 = Gavotte in F (both Beethoven). 2-12” Scroll V 6591/92, POM-13 July, 1926, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0049. HAROLD BAUER & FLONZALEY QUARTET: Quintet in f, Op.34 (Brahms), 10s. 5-12” Scroll V 7067/71, POM-21 & 23 Dec., 1925, on ‘Z’ shellac. M-A, as New! MB 85, the Set.

J0050. ARTUR SCHNABEL, w.Sargent Cond. London S.O.: Concerto #1 in C, 9s. / Sd.10 = Für Elise (both Beethoven). 5-12” Scroll V 7674/48, POM-23 March 1932, on ‘Z’ shellac, M-A, as New; Sd.1 only has faintest pap.scuff, inaud. MB 45, the Set

J0051. ARTUR SCHNABEL, w.Sargent Cond. London S.O.: ‘Emperor’ Concerto #5 in E-flat (Beethoven), 10s. 5-12” Scroll V 7644/48, POM-24 March 1932, on ‘Z’ shellac, M-A, as New! MB 65, the Set.

J0052. EDWIN FISCHER: ‘Wanderer’ Fantasy in C (Schubert), 6s. 3-12” Scroll V 8376/78, POM-22 & 24 May, 1934, on ‘Z’ shellac. M-A, as New; Sd.1 only has faintest pap.scuff, inaud. MB 45, the Set.

J0053. SERGEI RACHMANINOFF: Barcarolle, Op.10 (Played by the Composer) / Waltz in A-flat, Op.64, #3 (Chopin). 10" H & D etched label Edison 82202, only form of issue, 19 / 23 April, 1919. M-A, as New! MB 35

J0054. SERGEI RACHMANINOFF: Polka de W. R. / Prelude in c-sharp (both Played by the Composer). 10" H & D etched label Edison 82187, only form of issue, 23 April, 1919. M-A, lovely copy has faintest rubs, inaud. MB 35

J0055. SERGEI RACHMANINOFF: Sonata #9 in D, K-311 – Theme & Variations (Mozart) / Waltz in A-flat, Op.42 (Chopin). 10" H & D paper label Edison 82197, only form of issue, 18 April, 1919. M-A, as New! MB 45

J0056. SERGEI RACHMANINOFF: Hungarian Rhapsody #2 in c-sharp (Liszt), 3s. / Sd.4 = Pastorale Sonata (Scarlatti-Taussig). 2-10" H & D etched label Edison 82169/70, only form of issue, 23 / 19 April, 1919. M-A, lovely copy has, Sds 2 & 3 only, faintest rubs, inaud., hardly worth mention. MB 65, the Pair.

“Edison proved lucky in snatching up Rachmaninoff, having fled revolutionary Russia to the US, before Victor or Columbia could get a hold of him. Here, Rachmaninoff recorded for the first time ever on Diamond Disc. Rachmaninoff made his first recordings for Edison Records on their ‘Diamond Disc’ records, since they claimed the best audio fidelity in recording the piano at the time. Rachmaninoff did not consider himself a great pianist and believed his own performances to be variable in quality; he therefore requested to personally approve any recorded performances to be commercially issued. Despite this, the Edison Company issued multiple alternative ‘takes’ of Rachmaninoff's recordings, a common occurrence in the gramophone record industry at the time, possibly for reasons of simple carelessness or because of the ease of mass production of records from multiple masters. Rachmaninoff was so angered by this that he left Edison and subsequently started recording for the Victor Talking Machine Company and its successor, RCA Victor.”


- The New World Encyclopedia


J0057. SERGEI RACHMANINOFF: Sonata in b-flat, 7s. / Sd.8 = Waltz in e, Op. posth. (Chopin). 4-10” Scroll V 1493/96, POM-18 Feb., 1930, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0058. SERGEI RACHMANINOFF: Minuet, Op.14, #1 (Paderewski) / Nocturne in E-flat, Op.9, #2 (Chopin). 12” Scroll V 6731, only form of issue, 5 April, 1927, on ‘Z’ shellac. M-A, as New! MB 25

J0059. SERGEI RACHMANINOFF: Prelude in c-sharp (played by the Composer) / Songs without Words – Spinning Song (Mendelssohn). 10” Scroll V 1326, POM-4 / 28 April, 1928, on ‘Z’-type shellac. M-A, beautiful copy has faintest rubs, inaud. MB 12

J0060. SERGEI RACHMANINOFF: Waltz in c-sharp, Op. 64, #2) / Waltz in A-flat, Op. 64, #3) (both Chopin). 10” Scroll V 1245, POM-5 April, 1927, on ‘Z’-type shellac. M-A, as New! MB 12

J0061. SERGEI RACHMANINOFF: Impromptu in A-flat, Op.90, #4 (Schubert) / Sarabande (Bach). 12” Scroll V 6621, POM-29 /16 Dec., 1925, on ‘Z’ shellac. M-A, beautiful copy has faintest rubs, inaud. MB 12

J0062. SERGEI RACHMANINOFF, w.Stokowski Cond. Philadelphia Orch.: Rhapsody on a Theme of Paganini (Played by the Composer), 6s. 3-12” Scroll V 8556/58, POM-24 Dec., 1934, on ‘Z’ shellac. M-A, as New! MB 65, the Set.

J0063. SERGEI RACHMANINOFF, w.Stokowski Cond. Philadelphia Orch.: Concerto #2 in c - Movements 2 & 3 only (Complete, as recorded) (Played by the Composer), 6s. 3-12” Vla 8064/66, POM-3 Jan., 1924. A-, lovely copy has a few very lt.rubs & occasional superficial mk, inaud. Elusive late AC-era issue, soon replaced by the 1929 Version! MB 75, the Trio.

J0064. OLGA SAMAROFF: Little Organ Book - Fugue in g (Bach-Samaroff) / ROMAN SKETCHES – The White Peacock (Griffes). 12” Scroll V 7384, POM-19 June / 24 Oct., 1930, on ‘Z’ shellac. M-A, as New! MB 20 

J0065. ISABELLE YALKOVSKY: Prélude in a (Debussy) / Alt Wien (Godowsky). 10” Orth Vla 4115, only form of issue, 11 March, 1929. M-A, as New. MB 10

“Isabelle Yalkovsky attended the Juilliard School of Music, where she studied with Olga Samaroff. After making her début with the New York Philharmonic she gave concerts throughout the United States and Canada, appearing as soloist with the Philadelphia, San Francisco, Boston and other orchestras. She taught at Juilliard and for the last ten years of her life at the Manhattan School of Music, where she was head of piano pedagogy.”
- Naxos’ Woman at the Piano


J0066. AIMEE MARIE ROGER-MICLOS: Mazurka #4 (Godard) / Waltz in F-flat, Op.64, #1 (Chopin). 10½” Milano Fonotipia 39253/54 [XPh 735/36]. A to M-A, an exceptional copy. MB 125

J0067.AIMEE MARIE ROGER-MICLOS: Waltz #7 in c-sharp, Op.64, #2 (Chopin) / Scherzo in e, Op.16, #2 (Mendelssohn). 10½” Milano Fonotipia 39932/33 [XPh 2236/38]. A-, lovely copy has faint rubs & sl.grainey surface, inaud. MB 95

J0068. AIMEE MARIE ROGER-MICLOS: Nocturne #5 in F-sharp, Op.15, #2 (Chopin) / FANTASIESTÜKE - Traumeswirren, Op.12, #7 (Schumann). 10½” Milano Fonotipia 39930/31 [XPh 2235/39]. A-, lovely copy has faint rubs, inaud.; Sd.1 has tiny scr, faintly audible. MB 95

“Born in 1860, Aimée Marie Roger-Miclos had a major career and she took on big concerti as well as championing chamber and solo music. It’s of the highest interest to hear the metrical freedom, and the intelligent caprice of her phrasing of the Chopin Waltzes, especially Op. 64, #1. Rubati are extremely pronounced but imagination is the key and the clarity and colour of her playing pays testament to her teaching and to well-established French traditions. Her Godard is intoxicatingly personalised whilst the desynchronised hands are perhaps most evident in the second of the waltzes she essays, Op.64, #2. Her Mendelssohn remains warmly textured and tonally unexaggerated whilst the extracts from the two Liszt Hungarian Rhapsodies indicate the more venturesome capacities she possessed. These Fonotipias sound very well – none of that Paris turntable instability that afflicted so many other sessions for the French branch of G&T.”
- Jonathan Woolf, musicwebInternational


J0069. 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. A to M-A MB 75

J0070. ALINE VAN BARENTZEN (Pf.): PIEZAS ESPAÑOLAS - Andaluza; w.Piero Coppola Cond.): NOCHES EN LOS JARDINES DE ESPAÑA, 5s. (both de Falla). 3-12” Scroll V 11729/31, POM-7 / 11 June, 1928, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

“Aline Isabelle van Barentzen still holds the record as the youngest pianist, at 11 years old, to have won the First Prize at the Paris Conservatory. Her teachers the Paris Conservatory included Marguerite Long and Delaborde. Later she studied in Berlin with Heirich Barth and Ernst von Dohnanyi, and in Vienna with Leschetizky. With Paris as her home she became friends with many of the leading musicians and composers of the early twentieth century, including Enesco, Poulenc, Messaien, Roussel, and Villa Lobos, whose works she often premiered. She became a French citizen in the 1930s and spent the war in Paris, playing concerts as part of the effort to boost morale. At one time she had an active repertoire of over 500 works. Her extensive early training resulted in complete technical mastery; when she went to study with Leschetizky he declared himself satisfied with her technique and spent his time on interpretation.”


- Rose Eide-Altman


J0071. GEORGE COPELAND: PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE; SUITE BERGAMASQUE – Clair de lune; ESTAMPES – Soirée dans Grenade; LES PRÉLUDES, Book I – La cathédrale engloutie; LES PRÉLUDES, Book II – Général Lavine – Eccentric; Canope; La Terrace des audiences au clair de lune; Ondine; Bruyères (all Debussy), 10s. 2-10” Scroll V 1643/44; 3-12” Scroll V 7962/64, only form of issue, 21 March, 1933, on ‘Z’ shellac, in Orig.Album M-198, w.Brochure. A to M-A, beautiful copy has occasional faint rub, inaud. MB 45, the Set.

J0072. GEORGE COPELAND: CADENA DE VALSES – Serenata (Nin); Malagueñas (Lecuona); Igualada (Zuera); Malagueña (Albéniz); Aragon (Longas); Danzas gitanas – Sacro-Monte (Turina); Pochadas andalouses – Canto flamenco (Infante); EL AMOR BRUJO – Escena & Canción del fuego fatuo (de Falla); LA ROMERIA DE LOS CORNUDOS – Romanza de Solita (Pittaluga), 8s. 2-10” PW V 1623/24; 2-12” OrthVla 7781/82, only form of issue, 3 March, 1933, partially on ‘Z’ shellac, in Orig.Album M-178, w.Brochure. M-A MB 45, the Set.

J0073. GEORGE COPELAND: L’AUTOMNE – Adieu (Milhaud) / Gnossienne #1 (Satie). 10” Scroll V 1629, POM-21 March, 1933, on ‘Z’-type shellac. M-A, as New! MB 15

J0074. GEORGE COPELAND: POUR LE PIANO - Sarabande / PETITE SUITE – Menuet (both Debussy). 12” Scroll V 14201, only form of issue, 24/17 April, 1936, on ‘Z’-type shellac. M-A, beautiful copy has, very beg.Sd.1 only, few infinitessimal dust scrs, inaud. MB 12

J0075. GEORGE COPELAND: LES PRÉLUDES, Book-II – Canope / Ondine (Debussy). 10” Scroll V 1643, POM-21 March, 1933, on ‘Z’ shellac. M-A, as New! MB 12

J0076. GEORGE COPELAND: LES PRÉLUDES, Book I - Voiles / LES PRÉLUDES, Book II – La Puerta del vino (Debussy). 12” PW V 14904, only form of issue, 16 / 17 April, 1936. M-A, lovely copy has, Sd.1 only, infinitessimal pap.scr, faintly audible initial turns. MB 10

J0077. GEORGE COPELAND: BAILETE, OP.79 – Fandango (Turina) / Saudades das selvas Brasileiras #2 (Villa-Lobos). 10” PW V 2111, only form of issue, 6 May, 1938. M-A, as New! MB 12

J0078. GEORGE COPELAND: El Puerto (Lehmberg) / DANZAS ESPAÑOLAS – La playera (Granados). 10” Scroll V 1823, only form of issue, 17 April, 1936, on ‘Z’-type shellac. M-A, as New! MB 12

J0079. GEORGE COPELAND: CHRIST LAG IM TODESBANDEN – Jesus Christus, Gottes Sohn / ENGLISH SUITE #5 in E – Sarabande; Passepied I & II (Bach). 12” PW V 15183, only form of issue, 6 May, 1938. M-A, as New! MB 12

J0080. ROGER MACHADO: Allegro de Concierto, Op.46 (Granados), 2s. 10” French Col. LF 246, only form of issue, 1947. M-A MB 25

J0081. GUIOMAR NOVAES : Nocturne in B-flat (Paderewski). 12” Vla 74676, POM-3 April, 1920. A to M-A, choice copy has faintest rubs, inaud.; original owner’s name written on label. MB 15

J0082. GUIOMAR NOVAES : IPHIGENIA IN AULIS - Gavotte (Gluck-Brahms). 12” Vla 74618, POM-9 April, 1920. A to M-A, choice copy has faintest rubs, inaud. MB 15

J0083. GUIOMAR NOVAES: L’Hymne National Brésilien (1920/’23 Version) (Gottschalk), 2s. 12” Vla 6372, POM-3 April, 1920 / 12 June, 1923, sole issue, Sd.2. A to M-A, choice copy has faintest rubs, inaud. MB 45

J0084. EDOUARD RISLER: Hungarian Rhapsody #11 in a (Liszt), 2s. 11” green paper label H & D Pathé 9535, only form of issue, 1917. M-A, superb copy. MB 125

J0085. EDOUARD RISLER: Scherzo in e (Mendelssohn) / Sonata in A-flat, Op.26 – Allegro Finale (Beethoven). 11” green paper label H & D Pathé 9532, only form of issue, 1917. M-A, superb copy. MB 125

J0086. ALFRED CORTOT: Invitation to the Waltz (Weber), 2s. 10” Scroll V 1201, POM-27 / 28 Dec, 1926, on ‘Z’-type shellac’ ‘Takes’ 2 / 6 of 2 issued ‘takes’, both sides. M-A, beautiful copy has faintest rubs, inaud. MB 12

J0087. ALFRED CORTOT: Ballade in g, Op.23 (Chopin), 2s. 12” Scroll V 6612, POM-27 Dec, 1926, on ‘Z’-type shellac’. M-A, beautiful copy has faintest rubs, inaud. MB 12

J0088. ALFRED CORTOT: Impromptu #1 in A-flat, Op.29; Impromptu #2 in f-sharp, Op.36; Impromptu in G-flat, Op.51 / Sd.4 = Fantaisie Impromptu in g-sharp, Op.Posth. (all Chopin). 2-12” Scroll V 8238/38, POM-5 July, 1933, on ‘Z’ shellac. M-A, as New; sides 3 & 4 only have faintest rubs, inaud. MB 25, the Pair.

J0089. ALFRED CORTOT: Waltz in c-sharp, Op. 64, #2 / Waltz in A-flat, Op. 64, #3 (both Chopin). 10” Scroll V 1245, POM-5 April, 1927, on ‘Z’-type shellac. M-A, as New! MB 12

J0090. ALFRED CORTOT: Berceuse, Op. 57, (Chopin) / Harmonius Blacksmith (Handel). 12” Scroll V 6752, POM-28 Dec. / 27 Oct., 1926, on ‘Z’ shellac. A to M-A, beautiful copy has faintest rubs, inaud.; Sd.2 only has wee ec into 1st grooves, positively not affecting performance. MB 12

J0091. ALFRED CORTOT, w.Landon Ronald Cond. London Phil.: Concerto in a (Schumann), 8s. 4-12” Scroll V 8317/20, POM-12-13 March, 1934, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0092. CLARA HASKIL: Theme and variations on Abegg, op. 1 (Schumann), 2s. 12” plum Philips A 11213 G, POM-1951. M-A MB 20

J0093. CLARA HASKIL: Variations in f (Haydn), 2s. 10” burgundy Bruns.-Polydor 35035 (5848/49bdp), POM-23 Jan., 1934. M-A, pristine copy of preferrred Columbia pressing. MB 12

“I first heard Clara Haskil’s name mentioned by Dinu Lipatti after a recital he gave in Switzerland. When I congratulated him on his Mozart playing, Lipatti said, ‘In two weeks’ time you must hear Clara play Mozart. Then you will realize how far the rest of us are from the truth’. I was young at the time, but the name stuck in my mind. Who was this mysterious Clara?

As Clara sat down the music materialized as if from nowhere. Her arm seemed to glide over the keyboard without preparation, just as a flat stone skims across the water. This was so typical of her playing; nothing seemed to start or end, and everything became timeless. Admiration and international fame came late in life for Clara Haskil, in a career beset by poor health and the adversities of a world war. Dinu Lipatti described her playing as ‘the sum of perfection on earth’, Wilhelm Backhaus called it ‘the most beautiful in the world’, Tatyana Nikoleyeva burst into tears when she first heard Haskil...."


- Peter Feuchtwanger


J0094. 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 MB 75

J0095. FERRUCCIO BUSONI: Etude in G-flat, Op.10, #5 / Nocturne in F-sharp, Op.15, #2 (both Chopin). 12” pale-blue Eng. Col. L 1432, only form of issue, 27 Feb., 1922, London. A to M-A, lovely copy has a few superficial mks, inaud. MB 55

J0096. FERRUCCIO BUSONI: Etude in e, Op.25, #5 (Chopin) / WELL-TEMPERED CLAVIER, Book I – Prelude & Fugue #1 (Bach). 12” pale-blue Eng. Col. L 1445, only form of issue, 27 Feb., 1922, London. A to M-A, choice copy has, Sd.1 only, faintest edge rub, inaud. MB 65

J0097. FERRUCCIO BUSONI: Prelude in A, Op.28, #7; Etude in G-flat, Op.10, #5 (Chopin) / Organ Prelude (Bach-Busoni); Eccosaises (Beethoven-Busoni). 12” pale-blue Eng. Col. L 1470, only form of issue, 27 Feb., 1922, London. A to M-A, choice copy has faintest rubs, inaud. MB 65 [Busoni’s complete recorded discography, a total of eight sides!]

J0098. FERRUCCIO BUSONI: Hungarian Rhapsody #13 in a (Liszt), 2s. 12” pale-blue Eng. Col. L 1456, only form of issue, 27 Feb., 1922, London. M-A, a gleaming copy! MB 45

J0099. ARTHUR FRIEDHEIM: Moonlight Sonata in c-sharp, Op.27, #2 (Beethoven), 2s. 12” dark-blue Eng. Col. 410, only form of issue, 31 Dec., 1912. A to M-A, choice copy has faintest rubs, inaud. MB 25

J0100. ARTHUR FRIEDHEIM: Sonata #1 in C – Perpetuum mobile (Weber) / Sonata in b-flat – Funeral March (Chopin). 12” Tri-Color Col. A5416, POM- 29 Dec., 1911 / 29 April, 1912. A to M-A, choice copy has, Sd.2 only, light rubs, inaud. MB 20

J0101. ARTHUR FRIEDHEIM: Scherzo #2 in b-flat, Op.31 (Chopin), 2s. 12” Tri-Color Col. A5458, POM- 31 Dec., 1912. A to M-A, choice copy has faintest rubs, inaud. MB 20 

J0102. EMIL von SAUER: Fantaisie-Impromptu, Op.66 / Waltz in A-flat, Op.42 (both Chopin). 12” dark-blue German Odeon O-6817 (xxB 8261/64), POM-14 Dec., 1928. A to M-A, bright copy has occasional faintest rub & a very few minuscule dust scrs, ever-so-faintly audible. MB 95

J0103. HANS LEYGRAF: Allegro Barbaro / Rondo #1 (both Bartók). 10” plum HMV X.7330, POM-1945. MINT MB 10

“Hans Leygraf was born in 1920 in Stockholm as the son of German-Austrian parents. He studied piano in Stockholm with the Schnabel-student Gottfrid Boon, and with Anna Hirzel-Langenhan in Switzerland. In addition, he studied composition and conducting at the Universities of Munich and Stockholm. At the age of 9 he made his debut as a soloist with the Stockholm Philharmonic Orchestra; at the age of 12 he gave his first piano recital. After the war he performed throughout Europe, as well as in the Soviet Union, USA and Far East. He had appearances with the Vienna Philharmonic Orchestra, in London, Hamburg and Munich, with the London Symphony Orchestra and the BBC Orchestra under conductors like Blomstedt, Celebidache, Dohnanyi, Dorati, Ehrling, Fricsay, Gielen, Kempe, Sawallisch, Solti, and Szell.


– Dorette Leygraf


J0104. MISCHA LEVITZKI: La campanella (1925 Version) (Paganini-Liszt), 2s. 10” early Col. 2039-M, POM-12 Oct., 1925. M-A, outstanding copy of choice pressing. MB 10

J0105. MISCHA LEVITZKI: Hungarian Rhapsody #6 in D-flat (Liszt), 2s. 12” gold Flags Label Col. A-6232, POM-7 Jan, 1923. M-A, choice bright copy has occasional faintest rub, inaud. MB 15

J0106. MISCHA LEVITZKI: Valse de Concert / Waltz in A (both Played by the Composer); Troika en traineaux (Tschaikowsky). 12” gold Flags Label Col. 65024-D, POM-22 May, 1924. M-A, superlative bright copy! MB 15

J0107. MISCHA LEVITZKI: Waltz in e (Chopin) / ORFEO - Dance of the blessed spirits (Gluck). 12” gold Flags Label Col. 65030-D, POM-8 April, 1924 / 18 Dec., 1923. M-A, bright copy has occasional faintest rub, inaud. MB 15

J0108. MISCHA LEVITZKI: Waltz in D-flat; ‘Black Keys’ Etude / Etude in A-flat, Op.25, #1 (all Chopin); La Jongleuse (Moszkowski). 12” gold Flags Label Col. 65000-D, POM-19 / 20 Dec., 1923. A-, very decent copy has lt.rubs & lt.grey on peaks, inaud.; Sd.2 only has edge patina. MB 10

J0109. MISCHA LEVITZKI: Marche Militaire (Schubert), 2s. 10” Tri-Color Col. A3949, POM-27 Jan., 1923. M-A MB 10

“The eleven-year-old Levitzki won a scholarship to study at the Institute of Musical Art in New York (which was later to become the Juilliard School of Music) for two years with the Polish pianist and teacher Sigismond Stojowski who had been a pupil of Paderewski. He studied with Dohnányi for three years between 1911 and 1915, in 1913 and made his Berlin début at the Bechstein Hall and the following year gave a two-piano recital there with Dohnányi as well as playing in Belgium. During 1915 and 1916 Levitzki played in Germany, Vienna, Budapest and Norway and then returned to New York. Levitzki made his New York début in 1916 at the Aeolian Hall. Between 1916 and 1930 he made twelve trans-continental tours visiting over a hundred American cities. It was not until 1927 that Levitzki made his London début. Levitzki made his first recordings during the end of the acoustic era. His remaining recordings were all made for HMV in London between 1927 and 1933.”


- Jonathan Summers, Naxos’ A–Z of Pianists


J0110. FRANK LA FORGE: Gavotte (Played by the Composer) / Le Papillon (Lavallée). 10” GP Victor 64083, only form of issue, 6 Jan., 1908. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0111. FRANK LA FORGE: Etude de Concert (MacDowell). 2” GP V 74101, only form of issue, 19 Nov., 1907. A-, bright copy has occasional faintest rub, inaud. MB 12

J0112. FRANK LA FORGE: Scarf dance (Chaminade) / Concerto #5 in E-flat – Adagio (Beethoven). 12” Pat.’12 blue Victor 55030, only form of issue, 27 Sept. / 2 Oct., 1912. A to M-A, lovely copy has faintest rubs, inaud. MB 12

“Frank La Forge toured Europe, Russia, and the United States as an accompanist to Marcella Sembrich. He taught a number of important American singers, including Marian Anderson, Lawrence Tibbett, Marie Powers, Emma Otero and Richard Crooks and served as accompanist for many vocal stars and instrumentalists of the day including Johanna Gadski, Ernestine Schumann-Heink and Margaret Matzenauer. These are unusual examples of his solo performances.”


- Wikipedia