Slav, Hungarian & Scandinavian Vocal 78rpm records

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Since 1972

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

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Section VII - Slav, Hungarian & Scandinavian Vocal 78rpm records
Nos. J1026 – J1108

J1026. KAROLINA PIETRASZEWSKA (as CAROLINA PIETRACEWSKA): BALLO – Re dell’abisso. 12” V 76005 (1479ľc), POM-1908, Never Doubled. A to M-A, exceptional copy has wee pressing bump & faintest rubs, inaud. [Carolina Pietracewska made her 1906 début at the Warsaw Opera House in DIE WALKÜRE. In 1908 she appeared at La Scala where under the baton of Toscanini.] MB 35

J1027. NIKOLAI & MEDEA MEI FIGNER: Le Crucifix (in French) (J. B. Faure) / Do not tempt me needlessly (Glinka). 10” black St Petersburg Angel Gram. G.C. 24057/58 (369/70x), POM-1901. A-, lovely copy has few faintest scrs, positively inaud. MB 395

"The thing that distinguished Figner right from the beginning was his presentation of recitative, something that was uncommon in Italian `opera of that period. There was not a single word that didn’t have the maximum bearing on the musical line and not a single note that was not linked with the word. Figner was convinced that a well sung recitative prepared the ground for the following monologue, aria or verses, even ensemble….The second characteristic of Figner’s singing was his accurate gauging of light and shade, of the difference a rich sound on a note and a covered tone, the effect of vivid contrasts. As though anticipating the genius of Chaliapin in his economical use of tonal quality, Figner knew how to captivate an audience by means of the delight in a word uttered as though for the first time."

- Sergei Levik, THE LEVIK MEMOIRS, p.168

“Medea Mei-Figner’s voice is warm and attractive. The registers are equalised but she frequently tends to separate off her chest voice. Tschaikowsky was often invited by the couple Figner to their residence in Italy. The great soprano Oda Slobodskaya admired her very much. Medea Mei-Figner is certainly one of the best sopranos from the Russian acoustical era and her voice got on well with the recording process.”

- Andrea Shum-Binder, subito-cantabile

J1028. MARIA DMITRYEVNA TURTSCHANINOVA: A LIFE FOR THE TSAR – I do not grieve about that, dear friend (Glinka). 10” flush black Moscow G& T G.C. 23156 (571x), only form of issue, 1901. A-B, lovely copy has very lt.rubs & occasional minuscule scr, positively inaud.; microscopic nd & faint ndl run at very beginning, well before performance. A tiny pressing bump is very faintly audible, merely a few turns. Excellent copy of this ultra-rare disk. MB 295

J1029. KAPITON ZAPOROZHETS: LES HUGUENOTS - Lutheran chorale / Piff, paff, piff (in Russian) (Meyerbeer). 10” black ‘Art’ Label Serena 10021/22, only form of issue, c.1910. A-B, lovely copy has lt.rubs, a few superficial mks & wee pressing bumps, only very occasionally and minimally audible. MB 95

“Kapiton Denisovich Zaporozhets made his operatic début as a member of the Zimin Private Opera Company, performing there from 1909 to 1920. While there, on 7 October 1909, he created the role of General Polkan in the world premiere of Rimsky-Korsakov’s LE COQ D’OR. He toured with the Royal Opera in 1909 and performed the role of Pimen at the Paris Opéra in a production of BORIS GODUNOV. From 1910 to 1914 he sang at the Bolshoi Opera. In 1913 he appeared in two famous productions of KHOVANTSCHINA, one at the Théŕtre des Champs Elysées and again at the Drury Lane Opera in London, in both instances singing Khovansky to Chaliapin’s Dosifei. He made further guest appearances in Rome and in the United States before WW I. After this and during the Russian Revolution he left Russia to reside in Paris. He sang repeatedly at the Monte Carlo in such roles at Kontchak in PRINCE IGOR, Ramfis, Sparafucile, Colline and Gudal in Rubinstein’s THE DEMON. He made guest appearances at the Teatro Colón in 1924, most notably in their premiere of PIQUE DAME. In 1926 he became closely associated with the Opéra Russe Ensemble and was heard in Paris as Sparafucile, Varlaam and in a celebrated production of Rimsky-Korsakov’s THE LEGEND OF THE INBVISIBLE CITY OF KITEZH”.
– Harold Bruder, Program Notes for the VRCS 2006 Issue

J1030. LYDIA LIPKOVSKA: Lipkovska Waltz (Troilin) / ROMÉO - Je veux vivre. 12” Tri-Color Col.A5294, POM-8 / 5 April, 1911. A to M-A, a glorious copy has 2 minuscule pressing bumps, very faintly audible, albeit noisy surfaces. MB 20

J1031. LYDIA LIPKOVSKA: RIGOLETTO - Caro Nome / LUCIA - Ardon gl'incensi. 12” Tri-Color Col.A5295, POM-5 April, 1911. A to M-A, a glorious copy, albeit noisy surfaces. MB 20

"Lipkowska's voice was a light lyric soprano of wide compass and if her coloratura technique hardly rivalled Nezhdanova never mind Tetrazzini, the tone was notably pure and smooth. Her records reflect her wide-ranging musical taste."

- Michael Scott

J1032. LYDIA LIPKOVSKA & RAMÓN BLANCHART: DON GIOVANNI – La ci darem la mano / BARBIERE – Dunque io son. 12” Tri-Color Col.A5297, POM-5 April, 1911. A-, fine copy has very lt.rubs, inaud, albeit noisy surfaces. MB 20

J1033. LYDIA LIPKOVSKA & RAMÓN BLANCHART: LA TRAVIATA – Pura siccome un angelo / LYDIA LIPKOVSKA & GEORGE BAKLANOV: RIGOLETTO – Figlia! Mio padre! 12” Tri-Color Col.A5296, POM-5 April / 3 Jan., 1911. A to M-A, a glorious copy, albeit noisy surfaces. MB 20

“Lipkovska made her début in 1904 at St. Petersburg singing the role of Gilda in RIGOLETTO opposite Nikolai Figner. From 1906 to 1917 season, Lipkovskaya performed at the St. Petersburg Mariinsky Theatre. In 1908, 1911 and in 1929 she made guest appearances at the Moscow Bolshoi Theatre. In the 1915-1916 season she appeared in Kiev. In 1909 she sang with great success at La Scala, Milan where she appeared in LAKMÉ, LA TRAVIATA and I PURITANI. The same year she also performed in Paris (Grand Opera), London (Covent Garden) and Boston, where she sang in LUCIA DI LAMMERMOOR opposite her husband, Georgy Baklanov. From 1908 to 1912 she sang at the MET where she made her début as Gilda in RIGOLETTO. In the same period (1910-1911) she appeared at the Théâtre National de l'Opéra-Comique, Paris. In 1910 she sang at the Rome Opera and then at La Scala in LA SONNAMBULA and in other operas under Arturo Toscanini. She had a beautiful silvery, but warm voice and an amazing vocal range (she could easily sing F in the 3 rd octave). Her technical ability was perfect and allowed her to perform even the most difficult passaggi with ease.”
- Ashot Arakelyan

J1034. NINA TARASOVA: Vniz po matushke po Volge / Solovushko (both Russian Folk). 10” black V 78928, POM-29 Jan., 1924 / 4 Feb., 1925. A to M-A, superb copy has, Sd.1 label only, wee identification mk. [Intriguing renditions from this popular Russian artist from the WW I period who garnered rave reviews.] MB 10

J1035. THALILA SABANIEVA & ANNA CRIONA: At the seashore (Grodsky) / PIQUE DAME – Alas my chosen swain (Act II) (Tschaikowsky). 12” Orth Vla 9303, only form of issue, 14 Nov., 1928. A to M-A, lovely copy has very sl.grainey surface, positively inaud.; Sd.2 only has minuscule internal pressure patina, of absolutely no consequence. [A most appealing and charming record by two little-known artists.] MB 15

“The lyrico-colortura soprano Sabanieva, at the beginning of her career and without great experience, had this power to reach an audience’s feelings through her silvery voice, something that is not always given to more famous and experienced arists, later to become an outstanding singer and actess, she was enchanting…..”
Sergej Jurevich Levik, MEMOIRS OF AN OPERA SINGER, p.237

J1036. JAN KIEPURA, w.Otto Herz (Pf.): On your lips of coral (Marczewski) / Prayer for Poland (Chopin). 12” PW Col.71412-D, only form of issue, 1 / 2 Aug., 1941. A to M-A, choice copy has, Sd.2 only, tiny label sticker & faintest rubs, inaud. MB 15

J1037. VERA MANSINGROVÁ (Vera Mansinger), w.Jiri Singer (Pf.): Ej, Hory / Tece Voda, tece (both Czech Folksongs, arr. Singer). 10” plum PW Czech HMV AM 2164, only form of issue, 1928. M-A, a gleaming copy. Voluptuous soprano voice, sensitively phrased and beautifully recorded! MB 35

J1038. OTTOKÁR MARÁK: Máj (Der Mai (Bendl). 10” black Prague G & T G.C.-72058, POM-1903-04. A-B, very decent copy has faint rubs & lt grey on peaks & few minuscule scrs, ltly audible; very faded label. [Marák ends this lovely song with a heavenly diminuendo!] MB 12

J1039. OTTOKÁR MARÁK: Jako andél ty jsi krasná / Andulko safärocá. 10” black Prague G & T G.C.-72208/07, POM-1906. A-B, very decent copy has faint rubs & lt scuffs, just barely ltly audible. MB 12

J1040. OTTOKÁR MARÁK: Caro mio ben (Giordani) / LA BOHEME – Che gelida manina (in Italian). 10” black Prague Gram.Concert G.C. 2-52655/59, POM-1908. A-, very decent copy has lt rubs & cosmetic mks, inaud. MB 10

J1041. OTTOKÁR MARÁK: O sole mio (di Capua) / Mattinata (Leoncavallo) (both in German). 10” black Gram.Concert G.C.-4-42455/54, POM-16 May, 1910. A-, lovely copy has faint rubs, inaud. MB 10

J1042. OTTOKÁR MARÁK: Tece voda proti vode / Hájku, hájku (Czech Folksongs). 10” dark-green Concert Gram. 272294/95, POM-1906. A-/A+, beautiful copy has, Sd.1 only, tiny ltly audible scr. MB 10

J1043. OTTOKÁR MARÁK: LOHENGRIN – Atmest du nicht / O Elsa nur ein Jahr (Bridal Chamber scene, end) (in Czech). 10” dark-green Concert Gram. 272251/52, POM-1907. A-, beautiful copy has lt rubs & tiny ltly audible scrs.; minor label scrs. [What a poetic Lohengrin Marák must have been!] MB 12

J1044. OTTOKÁR MARÁK: PAGLIACCI – Vesti la giubba / BOHUMIL BENONI: OTELLO – Credo (both in Czech). 10” black Pat.’10 [5 line] V 16623, POM-1907/’06, resp. A to M-A, beautiful copy has faintest rubs; Sd.1 only has few entirely superficial scrs, positively inaud. MB 12

J1045. OTTOKÁR MARÁK: IL TROVATORE – Di quella pira / Deserto sulla terra (in Czech). 10” black Prague G & T G.C.-72542/46, POM-1907. A-B, very decent copy has faint rubs & few minuscule scrs, ltly audible. MB 12

J1046. OTTOKÁR MARÁK: MANON LESCAUT – Donna non vidi mai / TOSCA – E lucevan le stelle (both in German). 10” dark-green Concert Gram. G.C.-4-42347/48, POM-12 Oct., 1909. A-, beautiful copy has lt rubs, inaud. MB 12

J1047. OTTOKÁR MARÁK: MANON – Ah! fuyez (1911 Version) / L’ELISIR – Una furtiva lagrima (both in German). 12” Pat.’12 blue V 55037, POM-26 Aug., 1911, Original ‘A’ Plate Issue Issue. A to M-A, choice copy has faintest rubs, inaud. MB 15

J1048. OTTOKÁR MARÁK: MANON – Ah! fuyez (1907 Version, (in German) [Marák must have been so beautiful as Des Grieux!] / Prazsky Elitno Orch.: Kde domov muj (Skroup); Hej sliovane, Narodni hymny. 10” black V 16628, POM-1907/’06, resp. A-, a quite wonderful copy with lt.grey on peaks, positively inaud.; this plays as M-A. MB 10

J1049. OTTOKÁR MARÁK: CAVALLERIA – Brindisi / OTOKAR MARÁK & ADELAIDE ANDREJEWA [VON SKILONDZ]: LA TRAVIATA – Brindisi (both in German). 10” blue Victor 45088, [Victor pantograph], RRs, 4 sept., 1912. A to M-A, lovely copy has occasional faintest pap. rub, inaud. MB 8

J1050. OTTOKÁR MARÁK: RIGOLETTO – Parmi veder le lagrime / La donna č mobile (1905 Version) (both in Czech). 10” plum Czech Concert Gram. 872, POM-1905. A to M-A, fabulous copy has faintest rubs, inaud. MB 15

J1051. OTTOKÁR MARÁK: RIGOLETTO – Questa o quella / La donna č mobile (1910 Version) (both in Czech). 10” plum Austrian Concert Gram. AM 262, POM-1910. A to M-A, beautiful copy has, end Sd.1, minuscule scr, barely visible – certainly only very faintly audible. MB 15

J1052. OTTOKÁR MARÁK: PRODANÁ NEVESTA – Utis se, Marenko / Czech Chorus: Toc se holko (Smetana). 10” plum Czech HMV 1807, POM-1907. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J1053. OTTOKÁR MARÁK: PRODANÁ NEVESTA – Jak mozna verit (1933 Version) / OTTOKÁR MARÁK & MILA KOCOVÁ: Verné nase milováni (Smetana). 10” red PW Czech Ultraphon B 10718, POM-1 July, 1933. A to M-A MB 20

J1054. OTTOKÁR MARÁK: HUBICKA – Kdybych vedel jak svou vinu smyt / DALIBOR – Kdyz Zdenek muj (1933 Version) (both Smetana). 10” red PW Czech Ultraphon B 10717, POM-1 July, 1933. A to M-A MB 20

J1055. OTTOKÁR MARÁK: CARMEN – Air de la fleur (in Czech) / DALIBOR – Kdyz Zdenek muj (1929 Version) (Smetana). 10” red Czech Parlophon B 13572, only form of issue, 1929. A-B, fine copy has few lt.scrs & minuscule pressing bumps, very ltly audible; seriously faded & illegible labels. MB 10

J1056. OTTOKÁR MARÁK & MARJA BOGUCKÁ: LES CONTES D’HOFFMANN – C’est une chanson d’amour / LA TRAVIATA – Un dě felice, eterea (both in Czech). 10” black Concert Gram. G.C.-74175/74, POM-1910. B-, very decent unworn copy has lt. rubs & various scrs, very faintly audible. MB 10

J1057. OTTOKÁR MARÁK & EMIL POLLERT: MARTHA – Wie das schnattert / OTTOKÁR MARÁK, EMIL POLLERT & MARIE SLECHTOVÁ: PRODANÁ NEVESTA – Utis se, Matenko (Smetana). 12” plum Czech HMV AN 257, POM-1911. A+, lovely copy has faintest rubs, inaud. MB 15

“[Marák] remained [as first tenor with the Prague National Opera] more than twenty years and sang over fifteen hundred performances…. It was a voice of characteristic timbre, lyric in quality….”


J1058. EMIL POLLERT: EUGEN ONÉGIN - Ein jeder kennt (Prince Gremin's Aria, Act 3) (Tschaikowsky) / DALIBOR – Ctyricet let jiz tom u bude (Smetana). 10” plum Austrian Concert Gram. 302, POM-1905-06. M-A MB 20

J1059. EMIL POLLERT: JAKOBIN – Beurgrave’s Aria (Act I) (Dvorák) / DALIBOR – Ach, jak tézky zalárnika zivot (Smetana). 10” plum Czech HMV AM 2176. B/A-, lovely copy has lt.rubs, inaud.; Sd.1 only has 1 ‘stressed’ groove requiring sl.heavier stylus to pass. MB 20

J1060. EMIL POLLERT: NA STARÉM LIDLE - Kvetou, Kvetou / EMIL POLLERT, KOCOVÁ, KOZLIKOVÁ, KRÁSOVÁ, SCHUTZ & VÁVRA: - PSOHLAVCI - Má hanci zlatá [‘one of the most popular Czech operas of its time, evidence that sentimental Czech nationalism was still very much alive’ – John Tyrrell] (both Karel Kovarovic; both set to Karel Sipek). 10” Mezinárodni Diskotéka Divadla Hudby 5012 (SW2703/2670) (BW2705-2/2670-2). M-A MB 20

J1061. EMIL POLLERT: RUSALKA – Beda, beda (Dvorák) / PRODANÁ NEVESTA – Kazdy jen tu svou (Smetana). 12” plum Czech HMV AN 323, POM-1930, [the latter not to be confused with the 1933 Complete Recording]. M-A, as New! MB 20

J1062. EMIL POLLERT: HUBICKA – Jen dál / EMIL POLLERT, NORDENOVÁ, KOZLIKOVÁ, KRÁSOVÁ, VÁVRA & ST. MUZ: PRODANÁ NEVESTA –Rozmysli si Marenko (Sextet) (both Smetana). 12” plum Czech HMV AN 322, POM-1930, [the latter not to be confused with the 1933 Complete Recording]. M-A, as New, (w.Gramola half-label affixed). MB 20

“Emil Pollert was one of the most important representatives of Kovařovicova and Ostrčil eras at the National Theatre, débuting there in 1898 as the Hermit in DER FREISCHÜTZ, where he became the ideal representative of mainly comic roles. After the retirement of prominent bassist Vaclav Kliment, Pollert took his place at the center of the stage, representing a total of 221 roles in more than 5,000 performances. Besides performing in other operatic roles, he sang Kecal in THE BARTERED BRIDE throughout his life in all productions of the opera. With Kecal he participated in tours to Warsaw, Bucharest and Vienna. He developed the character in detail, not only singing but acting, with special emphasis on gesture, facial expressions and body positioning. Critics praised both his forceful comic and accurate vocal performance. In contemporary modern works he created a distinctive figure in Janáček's operas: in THE CUNNING LITTLE VIXEN and in THE MAKROPULOS CASE. Emil Pollert is permanently engraved in the memory and hearts of viewers. In a new 1925 production of the ZAR UND ZIMMERMANN, a review spared no superlatives. Also noted was his Baron Ochs in Strauss' DER ROSENKAVALIER. According to in the press testimony, Pollert in this role surpassed even renowned German artists who in their opinion figure too caricatured. Similar awards were accorded the singer's Beckmesser in Wagner's DIE MEISTERSINGER. From the world of contemporary modernism, Pollert excelled in the role of the Doctor in Berg's WOZZECK and was noteworthy in the works of Karel Kovarovic [above].”

Prague National Theatre

J1063. FERENCZ SZÉKELYHIDY, w.Béla Bartók (Pf.): Katona vagyok én / Megégett ráczország; Arról alul (all Hungarian Folksongs, arr. Béla Bartók). 10” plum PW Czech HMV AM 1690, only form of issue, 1928. A ro M-A, lovely copy has mended hlc, inaud.; Sd.2 only has faint rubs; offered due to importance & rarity. MB 15

“In 1909 Székelyhidy made his début at the Operaházban in LÁSZLÓ HUNYADI and remained as the leading tenor of this opera house until 1945. In 1911 and 1912 he made guest appearances at the Bayreuth Festival. Between 1933 and 1944 he taught singing at the Liszt Ferenc Zenemvészeti Egyetem where Sándor Kónya was one of his students. Zoltán Kodály wrote a few songs for him. His repertoire included Don Ottavio, Don José, Canio, Almaviva in IL BARBIERE DI SIVIGLIA, Walter von Stolzing in DIE MEISTERSINGER, Parsifal, the Duke in RIGOLETTO and Erik in DER FLIEGENDE HOLLÄNDER.”

- Liszt Academy, Budapest

J1064. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Istenem, Istenem; Ha kimegyek arr’a magas tetörë / Fekete föld; Asszonyok, asszonyok (all Hungarian Folksongs, arr. Béla Bartók). 10” plum PW Czech HMV AM 1671, only form of issue, 1928. M-A, a gleaming copy. MB 55

J1065. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Kitrákotty mese / Szomorú füzfának (both Hungarian Folksongs, arr. Kodály). 10” plum PW Czech HMV AM 1672, only form of issue, 1928. A to M-A, choice copy has very occasional pap. mk, inaud. MB 45

J1066. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Rossz feleség / Elkiáltom magamat; Egy nagy orrú bóha (all Hungarian Folksongs, arr. Kodály). 10” EL PW plum Czech HMV AM 1673, only form of issue, 1928. A to M-A, choice copy has faintest rubs, positively inaud. MB 45

J1067. MÁRIA BASILIDES, w.Béla Bartók (Pf.): Meghalok, meghalok; Szöllöhegyen keresztül / Körtéfa – Virágos kenderem elázott (all Hungarian Folksongs, arr. Kodály). 10” plum PW Czech HMV AM 1675, only form of issue, 1928. M-A, gleaming copy has, Sd.2 only, faintest rubs, positively inaud. MB 45

J1068. MÁRIA BASILIDES, w.Vilmos Komor Cond.: SZÉKELY FONÓ (The Spinning Room of the Székélys) – Szomorú füzfának (Creator Record, 24 April, 1932, Budapest) / A rossz feleség (Kodály). 10” plum Hungarian HMV HUC 108 (ODK 212/213) M-A MB 45

J1069. MÁRIA BASILIDES, w.Béla Berkes Cond.: Nem akar az ökörcsorda legelni érik a, érik a Buzakalász / Cserebogár zöldre van a rágsoskapu festve (both Hungarian Folk). 10” dark-blue PW Eng. Col. D 31036, POM-1928. M-A MB 25

J1070. MÁRIA BASILIDES, w.Meyerowitz Cond. Berlin Staatsoper Orch.: SAMSON ET DALILA – Printemps qui commence / Mon coeur s’ouvre ŕ ta voix (in German). 12” dark-blue Lindström Parlophon P.9258, POM-21 March, 1928. A to M-A, lovely copy has faintest rubs, inaud. Gorgeous performances! MB 35

J1071. MÁRIA BASILIDES: Geistliches Wiegenlied (Brahms) / Ave Maria (Bach-Gounod). 12” red Decca-Odeon 25257, POM-7 Nov.,1928 / 15 Aug., 1929. M-A, choice copy has, Sd. 2 only, faint rub, positively inaud. MB 15

J1072. MÁRIA BASILIDES: Nacht und Träume / Der Kreuzzug (both Schubert). 10” dark-blue PW Parl. R 1234, POM-3 April, 1929. M-A, a gleaming copy. MB 25

J1073. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / XERXES – Ombra mai fu (Handel). 12” red Decca–Odeon 25017, POM-7 Nov.,1928,‘Take’ 2, Sd.1. A to M-A, pristine copy has various minuscule pressing bumps. MB 20

J1074. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / Xerxes – Ombra mai fu (Handel). 12” purple PW Parl. E 10757, POM-7 Nov.,1928, ‘Take’ 1, Sd.1. M-A, superlative copy! MB 25

“In 1911, the Hungarian contralto Märia Basilides entered at the Budapest Volksoper for the first time on the stage; she made her début in the Nougučs’ QUO VADIS?. In 1915 she was engaged at the National Opera of Budapest, where she was so popular that in 1934 she was appointed a lifelong member of this house. She created Kodály’s SZÉKELY FONÓ (The Spinning Room of the Székélys) on 24 April, 1932. Guest performances led her to great successs at the Berlin State Opera, as well as the State Operas of Dresden and Munich, the Opera of Prague and the Opera House in Antwerp. She also made guest appearances in Brussels (1929), The Hague (1929) and in Bucharest, and there were very successful concerts in Berlin in 1927-1929, and in London in 1930. One of her last stage performances was in 1945 in Budapest as the Old Countess in Tschaikowsky’s PIQUE DAME.

Mária Basilides was an excellent concert and Lieder singer. In 1937 she sang in a Cathedral concert at the Salzburg Festival. She also performed successfully as an oratorio singer in such works as Mozart’s Requiem, Bach’s ST. MATTHEW PASSION, and oratorios by Handel. She was one of the first singers to perform the re-discoveries of Hungarian folk music by Béla Bartók and Zoltán Kodály, which had a great influence on the entire musical life of their time in Hungary.”

- Liszt Academy, Budapest

J1075. JARMILA NOVOTNÁ: PSOHLAVCI – Zeleni Hájové (Kovarovic) / HUBICKA – Skrivánci Pisen (Smetana) (in Czech). 10” plum PW Czech HMV AM 418, only form of issue, 8 June, 1926. A to M-A, beautiful copy has faintest rubs, inaud. Exceedingly rare early Novotná at age 19, her sole acoustic record, only the second copy we’ve ever seen! MB 25

J1076. JARMILA NOVOTNÁ, w.Jan Masaryk (Pf.): 15 Songs of Lidice (Czech Folk Songs), 6s. 3-12” V 11-8318/20, only form of issue, 1942, New York (except for 2 Sides, otherwise issued only on HMV, those being dubbings), in Orig. Album M-936. M-A MB 25, the Set.

“Jarmila Novotná made her Metropolitan début in LA BOHEME in 1940, singing with Jussi Björling. That year Downes also praised her ‘great’ Violetta at the Met: ‘She conceived the music, from first note to last, dramatically, and portrayed the character with an aristocratic sensibility and simplicity. The word and the tone were indissoluble; the phrasing was that of the finest musician’. In her years at the Metropolitan Opera, Miss Novotna sang 193 performances and won consistent praise for her expressiveness and musicianship.

Miss Novotná studied with Emmy Destinn and made her début at the age of 17 with the Prague National Opera. She continued her studies in Milan and became a member of the Vienna State Opera from 1933 to 1938, eventually singing opera and concerts in most of the major houses of Europe. Toscanini brought her to the attention of the Met after she sang Pamina under his direction in Salzburg in 1937. She came to New York in 1940, arriving, she noted years later, the day Hitler marched into Prague. During the war years she recorded ‘Songs of Lidice’ [above], in memory of the victims of the Nazi massacre, present[ing] folk songs of her native land; the piano accompaniments are by Jan Masaryk, the son of the former president of Czechoslovakia.”
- Edward Rothstein, THE NEW YORK TIMES, 10 Feb., 1994

J1077. GIUSEPPE KASCHMANN: ERNANI – O dei verd’anni miei. 12” flush red Milano G & T 052032 (Con697), Original 1903 Issue. M-A, lovely copy with exceptionally bright label has faintest rubs & a minor pressing ‘crease’ which appears to be endemic in matrix, inaud.; 3 wee pressing bumps, only one of which is positively audible a few turns. MB 295

J1078. GIUSEPPE KASCHMANN: ERNANI – O dei verd’anni miei / HAMLET – Brindisi. 10” silver & blue IRCC 214, RRs-1903, from Milano G & Ts. Numbered Copy #65; Kaschmann’s photo is affixed to Sd. 1 label. M-A/A-, clean copy with no wear has, Sd.2 only, sev. scrs, positively ltly audible. MB 15

“Giuseppe Kaschmann (Josip Kašman) studied singing with Ivan Zajc in the Croatian capital of Zagreb. He also took lessons from Alberto Giovannini in Udine. His first public performance occurred in Zagreb in 1869. He was cast in the lead role in a production of the first full scale Croatian opera, ZAJC’S MISLAV, on 2 October 1870. Six years later he made his Italian operatic début as Don Alphonse (Donizetti’s LA FAVORITE) in Turin. Before long, he had established himself as one of the best baritones in Italy, making an impressive début at La Scala in the 1878–1879 season (DON CARLO.) It was during this phase of his career that he seems to have altered the Croatian spelling of his name to Giuseppe Kaschmann. He reached the peak of his success in the 1880s and 1890s, building an international reputation and performing at such important venues as Bayreuth in PARSIFAL and TANNHÄUSER and the Metropolitan Opera in 1883 and 1896, as well as continuing to appear at La Scala. Audiences in Spain, Portugal, Russia, Monaco, Egypt, Brazil, and Argentina also had an opportunity to hear him perform during his prime, but he never sang in London. He was particularly renowned for his performances in operas by Verdi and Wagner, though his greatest role was probably Hamlet in Thomas’ opera. In 1903, he made five recordings in Milan for G & T. These are extremely rare and sought-after. They show that he possessed a fluent and flexible Italianate voice, which was characterized by a prominent vibrato and aristocratic phrasing. Reputedly he was an accomplished actor exhibiting a memorable stage presence. He was singing many major roles until he was nearly sixty, and continued to perform as late as 1921–1922, though by this stage of his career he switched to the buffo repertoire of Rossini, Donizetti, and other composers of comic opera. He also taught singing and his finest student was the celebrated buffo Salvatore Baccaloni.”

- Ward Marston

J1079. NINA KOSHETZ: Estrellita / Serenata Mexicana (both Ponce). 10” PW V 4040, POM-12 / 5 April, 1928. [A great Desert Island Record – exquisitely beautiful!] A to M-A, lovely copy has faintest rubs, inaud. MB 15

“Koshetz clamours with a passionate Russian melancholy, then passes a veil over the voice as a deep sigh comes from the soul.…the ‘Estrellita’…deliciously floated, and [one] has to acknowledge the collectors’ devotion is justified.”

- J.B. Steane, THER GRAND TRADITION, p.308

J1080. NINA KOSHETZ: To the Sun (Sung by the Composer) / Over the Steppe (Gretchaninoff). 10” purple Bruns. 10139, POM-1922. M-A, choice copy has, Sd.1 only, minor label ‘crease’. MB 45

J1081. NINA KOSHETZ: None but the lonely heart / At the ball (both Tschaikowsky). 10” gold Bruns. 15029, POM-1922. A-, lovely copy has faint rubs, inaud.; Sd.1 only has very ltly audible tiny scr; Sd.2 label Autographed in black ink by Koshetz. MB 45

J1082. NINA KOSHETZ: Winds are blowing / Ol' Mamo (both Ukranian). 10” purple Bruns. 10140, POM-1922. M-A, a spectacular copy! MB 45

J1083. NINA KOSHETZ: The rose and the nightingale (as 'Eastern Romance') (Rimsky-Korsakov) / Humoresque (Moussorgsky). 10" gold Bruns. 15031, POM-1922. M-A, a pristine copy. MB 45

J1084. NINA KOSHETZ: Kaddish (arr. Ravel) / Eili! Eili! ('Take' 4). 12” PW Disque Gram.DB 1205, POM-6 / 12 April, 1928. [Profoundly moving experiences!] A-, very decent copy has cosmetic rubs, positively inaud. MB 25

J1085. NINA KOSHETZ, w.Celius Dougherty (Pf.): Eleven Songs (Rachmaninoff), 8s. 4–12” Schirmer 55108/11, in Original Schirmer Album 16, only form of issue, 1941. M-A MB 45, the Set.

J1086. NINA KOSHETZ: PRINCE IGOR - Arioso of Jaroslavna (Borodin) / SADKO - Berceuse (Rimsky-Korsakov). 12” PW V 9233, on ‘Z’ shellac, POM-12 / 13 April, 1928. M-A, a pristine copy. MB 25

J1087. NINA KOSHETZ: SOROTCHINSKI FAIR - Parassia's Reverie (Moussorgsky) / PIQUE DAME - It is midnight (Tschaikowsky). 12” purple Bruns.30106, issued USA only, 1922 (Koshetz’s only 12” Brunswick). A-, lovely copy has faint rubs, inaud. Exceedingly Elusive! MB 45

“Nina Koshetz made her official American début as a soloist with the Detroit Symphony Orchestra under Ossip Gabrilowitch in 1920 and was warmly received. Mary Garden invited her to sing the role of Fata Morgana in Prokofiev’s THE LOVE FOR THREE ORANGES. She was now in demand for concerts and recitals by Stokowski, Koussevitzky, Rodzinski and Klemperer. Considered as one of her greatest achievements in the 1920s was the series of four New York Town Hall recitals celebrating for the most part Russian’s greatest song writers in which Pierre Luboshutz, Walter Damrosch and Samuel Chotzinov all accompanied her. She became the authoritative voice for the Russian emigré composers. In 1924 she returned to Félia Litvinne, now living in Paris and Koshetz received further vocal training by the famous soprano. In 1927, commemorating her 15 years in music, she gave a recital devoted entirely to songs dedicated to her. The composer Gretchaninov renewed the collaboration with her and both were enthusiastically admired.”

- Andrea Shum-Binder, subito-cantabile

J1088. GERSHON SIROTA: Adoin oilom / Odom yasoido meator. 12” black V 35450 (168/169Hp), POM-1903. A to M-A, exceptionally bright copy has very faintest rubs, inaud.; slight warp does not affect playing. MB 20

J1089. GERSHON SIROTA: Schlosch esrei midoisch. 10” black Victor G & T Monarch 61082 (414z), POM-1902. A to M-A, beautiful copy has faintest rubs, inaud.; uncommonly bright label. [Very brief catalogue life!] MB 25

J1090. GERSHON SIROTA: Umipnel chatoenu. 10” red Pat.’12 V 61107 (417z-Ao-2), POM-1902. A to M-A, exceptionally bright copy. [Very brief catalogue life!] MB 25

J1091. GERSHON SIROTA: Himoze Iopu. 10” red GP V 61100 (1682z), POM-1903. A to M-A, exceptionally bright copy has faintest rubs, inaud., hardly worth mention. [Very brief catalogue life!] MB 25

J1092. GERSHON SIROTA: Mimkoimoi hu jifen. 10” black Victor G & T 61105 (410z), POM-1902. A-, very decent copy has lt.rubs, inaud.; uncommonly bright label. [Very brief catalogue life!] MB 25

J1093. GERSHON SIROTA: Jaale. 10” red GP V 61102 (1681z), POM-1903. A-, very decent copy has lt.rubs, inaud.; sl.faded label. [Very brief catalogue life!] MB 20

J1094. GERSHON SIROTA: Rezei (1903 Version). 10” red Pat.’08 V 61101 (1683z), POM-1903. A toM-A, lovely copy has faintest rubs, inaud., hardly worth mention. [Very brief catalogue life!] MB 25

J1095. GERSHON SIROTA: Kawokores rohe adre. 10” red Pat.’12 V 64231 (7109L), POM-1908. M-A, lovely copy has faintest rubs, inaud. MB 15

J1096. GERSHON SIROTA: Kawokores rohe adre / Eil molei rachmin. 10” black V 17745 (7109/10L), POM-1908. A, lovely copy has, faintest rubs, inaud.; Sd.2 only, minuscule scr, inaud. MB 12

J1097. GERSHON SIROTA: Halbein Chatoeinu. 10” red Pat.’12 V 64230 (1221ab), POM-22 June, 1909. M-A, great copy has faintest barely visible label nr. MB 15

J1098. GERSHON SIROTA, w.Wilnaer Grossen Synagog Chor.: Habein jakir li. 10” red Pat.’12 V 64272 (7090L), Orig. ‘A’ Plate Issue. POM-1908. A-, lovely copy has faintest rubs, minuscule inaud. scr. & 1 wee pressing bump. MB 12

J1099. GERSHON SIROTA, w. Synagogi Warsz Chorem: Hajojm horas ojlom. 10” red Pat.’12 V 64273 (7108˝L), POM-1908. A-, lovely copy has lt. rubs & 1 wee pressing bump. MB 12

J1100. GERSHON SIROTA, w. Synagogi Warsz Chorem: Broisch haschono. 10” red Pat.’12 V 64275 (7096L), Orig. ‘A’ Plate Issue. POM-1908. A, lovely copy has faintest rubs, inaud. MB 12

J1101. GERSHON SIROTA: Aw horachmim. 10” red V 64383 (1222ab), Orig. ‘A’ Plate Issue. POM-22 June, 1909. M-A MB 15

J1102. GERSHON SIROTA: W'nemar loi hibit owoja. 10” red V 64384 (1223ab), POM-22 June, 1909. M-A, lovely copy has faintest rubs, inaud., hardly worth mention. MB 15

J1103. GERSHON SIROTA: Węseeraw olecho (1909 Version, Sung with chorus) 10” red Pat.’12 V 64229 (1235ab), POM-24 June, 1909. A-, lovely copy has faintest rubs, inaud.; 1 wee pressing bump is faintly audible 3 turns. MB 12

J110. GERSHON SIROTA: Birchos kohanim. 10” red Pat.’12 V 64228 (7114L), POM-1908. A to M-A, beautiful copy has faintest rubs, inaud. MB 12

J1105. GERSHON SIROTA: Umsanei teikef. 10” red Pat.’12 V 64274 (7095L), POM-1908. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J1106. GERSHON SIROTA: Umsanei teikef / B’roish haschoni. 10” black V 17741 (7095/96L), POM-1908. A to M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has sl. audible pinpoint pressing bump. MB 15

J1107. GERSHON SIROTA: Sehloseh eschrei midos / Kdusche mimkoimcho. 10” green Col. E6003 (75607/08), POM-1908. A-, fine copy has lt. rubs & hint of grey on peaks, inaud. MB 8

J1108. GERSHON SIROTA: AĎDA – Celeste Aďda / TOSCA – E lucevan le stelle (both in Italian). 10” Eng. Vocalion Twelve 5017, only form of issue, 1928. A to M-A, lovely copy has very occasional superficial rubs, inaud. MB 45

“Blanche Marchesi, in her book A SINGER’S PILGRIMAGE, states that although the voice of Caruso was remarkable, she was of the opinion that the voices of Tamagno and the cantor from Warsaw, Sirota, were just as outstanding. As a longtime observer at the classes given by her mother, Mathilde, and from her own career as singer and teacher, she was in a position to hear many of the greatest singers in the world at the time. Thus any comment of hers as to an artist’s vocal abilities, whether natural or highly cultivated, must be taken seriously. Sirota possessed a rare elemental quality of tenor voice which invariably invokes in the listener a reaction usually associated with hearing artists like Ponselle, Ruffo, Chaliapin or the young Gigli for the first time.”

- Alan Bilgora, Symposium liner notes

“Sirota was commonly referred to as the ‘king of cantors’ or the Jewish Caruso. The singer had a dramatic coloratura tenor voice for which he was famed among Jewish communities not only in Poland - he became a worldwide phenomenon. He had an unusually broad-ranged voice, strong and beautifully resonate both in high and low registers. Thanks to his command of coloratura, he could deliver even the most demanding melismata effortlessly and softly. Despite their technological limitations, Sirota’s surviving recordings provide a vivid sense of the extraordinary power and expressive range of his voice. His was a brilliant and rich instrument, both warm and penetrating, capable of extraordinary dramatic contrasts. The influence of contemporary operatic style is apparent to some degree in his use of elaborate coloratura and his open, Italianate vocal production, particularly in the upper register. Much of the emotive power of his singing resulted from vocal gestures and ornaments that are central to the East European cantorial tradition, which includes not only the traditional modal patterns, but also glottal attacks and glissandos, bended pitches (singing between the standard chromatic pitches), trills and turns, sudden dynamic contrasts, and a distinctive use of highly elaborate coloratura in the service of text, effecting affective expression.”