VIOLIN 78RPM RECORDS: K159 - K298

Historical Reissue Classical CDs, LPs, 78s,
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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. K159 – K298 are Violin 78rpm records



K159. ALFRED DUBOIS & MARCEL MAAS (Pf.): Sonata #4 in c; Sonata #6 in G (both Bach), 8s. 4-12” EL early PW Col. 68134/37-D, blue shellac pressing, POM-1936, in Orig. Album 186, w.Brochure. M-A, appears unplayed, albeit Sd. 1 only has minuscule dust scr! MB 75, the Set.

K160. ALFRED DUBOIS & MARCEL MAAS (Pf.): Sonata #4 in c; Sonata #6 in G (both Bach), 8s. 4-12” EL Eng. Col. LFX 269/73, POM-1936. M-A, lovely copy has very occasional faintest pap. rubs, inaud. MB 45, the Set.

K161. ALFRED DUBOIS & MARCEL MAAS (Pf.): Sonata #5 in f, 5s / Sd.6 = Sonata #2 in A – Andante un poco (both Bach), 6s. 3-12” EL early PW Col. 68142/44-D, blue shellac pressing, POM-1936, in Orig. Album 187. M-A, appears unplayed! MB 75, the Set.

"Alfred Dubois was one of the stars of the Franco-Belgian school of violinists. A pupil of Ysaÿe and best-known today as Arthur Grumiaux’s teacher, he was also a soloist in his own right, as his fine records testify. These 1930s sonatas, recorded with his regular accompanist Marcel Maas, show his inimitable artistry and sonorous tone. A 'must' for anyone interested in historic violin playing."

K162. ALFRED DUBOIS, w.Defauw Cond. Brussels Royal Conservatory Orch.: Concerto #6 in E-flat, K.268, 5s / Sd.6 = ALFRED DUBOIS, w.Goeyens (Pf.): Divertimento #17 in D, K.334 – Minuet (both Mozart). 3-12” EL Viva-Tonal Col. 68052/54-D, POM-1936, in Orig. Album 174, w.Brochure. M-A, appears unplayed! MB 65, the Set

K163. ARTHUR GRUMIAUX & JEAN POUGNET, w.Süsskind Cond. Philharmonia String Orch.: Concerto in d for two violins, BWV 1043 (Bach), 4s. 2-12” EL dark-blue Eng. Col. DX 1276/77, POM-27 March, 1946. M-A, appears unplayed! MB 15, the Pair

K164. JACQUES THIBAUD: Romance in G (Svendsen) / Humoresque #7 in G-flat (Dvorák). 11½” AC H & D paper label US-Pathé 60068, both recorded 1919, only form of issue, Sd.1. A-, lovely copy has lt. rubs & mks, inaud.; Sd.1 only has very fine nr, also inaud. MB 45

K165. JACQUES THIBAUD: Pièces de clavecin, Book III – 20th order – Les Chérubins (Couperin) / Morceaux – Scherzando (Marsick). 11½” AC H & D paper label US-Pathé 60081, recorded 1918/’16, resp. B-C, decent copy has numerous lt. rubs & scrs, positively audible, but plays most clearly. MB 25

K166. JACQUES THIBAUD: Piccolino – Mélodrame (Guiraud) / Thaïs – Méditation (Massenet). 10¾“ AC Milano Fonotipia 39209/39054 (XPh 526/524), POM-1905. Sd. 2 is ‘Take’ 1 (of 3 issued ‘takes’). B-C, decent copy has numerous lt. scrs, positively ltly. audible. MB 25

K167. JACQUES THIBAUD, w.Harold Craxton (Pf.): Suite #3 in D – Air for G string (Bach) / Le Coq d'Or – Hymne au soleil (Rimsky-Korsakov). 12” EL PW HMV DB 1017, only issue, 14 / 21 Feb., 1927. M-A, Exemplary! MB 35

K168. JACQUES THIBAUD, w.Harold Craxton (Pf.): Les Fêtes d’Hébé – Tambourin (Rameau); Études-Caprices – Étude-Caprice #4 in a (Wieniawski) / Moments musicaux – Moment musical #3 in f – Air russe (Schubert); Caprices en forme d’étude – Minuet caprice #18 in f (Rode). 10” AC PW Disque Gram. DA 441, POM-2 June, 1922. M-A, Exemplary! MB 45

K169. JACQUES THIBAUD, w.Harold Craxton (Pf.): Préludes, Book I – La fille aux cheveux de lin (Debussy) / Waltz #15 in A-flat (Brahms). 10” EL PW Disque Gram. DA 866, POM-25 / 23 Nov., 1925. M-A, Exemplary! MB 25

K170. JACQUES THIBAUD, w.Harold Craxton (Pf.): Danza española #5 in e (Andaluza) / Danza española #6 in D (Rondalla aragonesa) (both Granados). 12” EL PW Disque Gram. DB 1113, POM-14 Feb. / 21 Oct., 1927. M-A, lovely copy has very occasional infinitesimal pap. scr, positively inaud. MB 25

K171. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): Sicilienne (Paradis) / Concerto #11 in d – Largo (Vivaldi). 10” EL PW Electrola DA 1191, POM-23 / 24 April, 1930. M-A, Exemplary! MB 35

K172. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): Chaconne in g (Vitali-Charlier), 2s. 12" EL PW Disque Gram. DB 2799, POM-21 March, 1936. M-A, Exemplary! MB 45

K173. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): España – Tango in D (Albéniz) / Marionettes – Poupée valsante (Poldini). 10" EL PW Disque Gram. DA 1339, POM-1 July, 1933. M-A, appears unplayed! MB 35

K174. JACQUES THIBAUD, w.Georges de Lausnay (Pf.): Le Déluge – Prélude (1929 Version) (Saint-Saëns) / La Vida Breve – Danza española (de Falla). 12" EL Disque Gram. DB 1338, POM-29 May, 1929. M-A, Exemplary! MB 35

“Bordeaux is famous for wine and as the birthplace of Jacques Thibaud; few would disagree that 27 September, 1880 heralded a remarkable vintage. For more than half a century, Thibaud epitomised the elegance and grace of the Franco-Belgian school, along with his own relaxed, easy-going manner which fused with a natural wit to make a unique musician.”
– Tully Potter, THE RECORDED VIOLIN


K175. JACQUES THIBAUD, MAURICE VIEUX, PIERRE FOURNIER & MARGUERITE LONG: Quartet #2 in g (Fauré), 8s. 4-12" EL Disque Gram. DB 5103/06, only form of issue, 10 May, 1940, in handsome hand-made album. M-A, Exemplary! MB 85, the Set.

“Controlling our dreadful anguish…we began [the above] recording session in an extraordinary atmosphere. Never had Thibaud’s sound been more gorgeous. We were all devastated [by the German threat]. Elevated by the music, beyond the reach of present times, we succeeded in the tour de force, of recording the whole quartet in one day.”
– Marguerite Long, AU PIANO AVEC FAURÉ, p.172


K176. GINETTE NEVEU, w.Jean Neveu (Pf.): Pièce en forme de habanera (Ravel) / Bagatelle (Scarlatescu). 10" EL LVSM DA 1871, only form of issue, 12 Aug., 1946. M-A, Exemplary! MB 35

K177. GINETTE NEVEU, w.Jean Neveu (Pf.): Four Pieces, Op.17 (Suk). 2-12" EL HMV DB 6359/60, POM 14 Aug.,1946. M-A, appears unplayed! MB 25, the Pair.

“[Neveu] left a handful of recordings which document a remarkable musical spirit….She would surely have developed to one of the supreme violinists [had she not been taken from us at age 30] – she had already touched greatness.”
– Tully Potter, THE RECORDED VIOLIN


K178. CHRISTIAN FERRAS, w.Poulet Cond. London S.O.: Violin Concerto (Elizalde), 6s. 3-12” EL red Eng. Decca AK.1777/79, POM-1947 M-A, Exemplary! MB 35, the Set.

“Instantly recognisable as a student of Enescu by his almost imperceptible portamento, [Ferras] ranks with Thibaud, Francescatti and Neveu. His uniquely centred, luminous tone illuminated the emotional dimensions of every note he played. His susceptibility to tonal beauty, accompanied by an instinctively infallible sense of speeds and transitions, transcended conventional interpretative considerations.”
– Laurence Vittes, CLASSIC RECORD COLLECTOR, Autumn, 2003


K179. NATHAN MILSTEIN: Partita #2 in d for Violin Unaccompanied (Bach), 5s. 3-12” EL MasterWorks Col. 68814/16-D, POM-1936, in Orig. Album 276. M-A, appears unplayed! MB 45, the Set.

K180. NATHAN MILSTEIN: Sonata #1 in g – Adagio (Bach); Sds. 1-3 = Nathan Milstein, w.Leopold Mittman (Pf.): Chaconne (Vitali), 3s. 2-12” EL early PW Col. 68476/77-D, POM-1936. M-A, Exemplary! MB 35, the Pair

K181. NATHAN MILSTEIN, w.Leopold Mittman (Pf.): Nocturne in c-sharp, Op.Posth. (Chopin-Milstein) / Má Vlast – Domoviny; Aus der Heimat (Smetana). 12” EL early PW Col. 68480-D, POM-30 Dec., 1935 / 4 Jan., 1936. M-A, mid-1930s pressing appears unplayed! MB 25

K182. NATHAN MILSTEIN, w.Leopold Mittman (Pf.): Polonaise brilliante in D / Violin Concerto #2 – Romance (both Wieniawski). 12” EL Col. 69032-D, POM-21 Feb., 1936 / 29 April, 1937. M-A, appears unplayed! MB 12

K183. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Sonata #8 in G (Beethoven), 4s. 2-12” EL PW Col. 69623/24-D, POM-1938, in Orig. Album X-137. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 25, the Set.

K184. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Rondino on a Theme by Beethoven (Kreisler) / Orfeo ed Euridice – Mélodie (Gluck). 10” EL Col.17408-D, only form of issue, 30 April / 21 May, 1942. M-A, appears unplayed! MB 15

K185. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Burleska, Op.17, #4 (Suk) / Scherzo-tarantelle, Op.16 (Wieniawski). 12” EL Col. 71498-D, only form of issue, 24 Oct., 1940 / 21 May, 1942. M-A, appears unplayed! MB 15

K186. NATHAN MILSTEIN, w.Walter Cond. NYPO: Concerto in e, 7s / Sd.8 = Walter Cond.: Midsummer Night's Dream – Scherzo (both Mendelssohn). 4 12” EL Col.12146/49-D, POM-16 May, 1945, in Orig. Album MM-577. M-A, appears unplayed! MB 25, the Set.

K187. NATHAN MILSTEIN, w.Barbirolli Cond. NYPO: Concerto #1 in g (Bruch), 6s. 3 12” EL PW Col. 11858/60-D, POM-12 April, 1942, in Orig. Album MM-517. M-A, appears unplayed! MB 35, the Set.

K188. NATHAN MILSTEIN, w.Stock Cond. Chicago Orch.: Concerto in D (Tchaikovsky), 8s. 4 12” EL PW Col. 11284/87-D, POM-4 March, 1940, in Orig. Album MM-413. M-A, a gleaming copy. MB 25, the Set.

“In an age when the new generation of critics tended to despise the performances of pre-Beethoven music by such towering figures as Heifetz and Horowitz, Mr Milstein’s Bach remained immune to criticism. And in his Romantic repertory he was acknowledged as a supreme master and the last great active exponent of the Auer school….Whenever Mr Milstein gave a concert, it always turned out to be a violinists’ convention. Every violinist in the vicinity would attend, marveling at the ease and security of his playing.”
– Harold C. Schonberg, THE NEW YORK TIMES, 22 Dec., 1992


K189. GEORG KULENKAMPFF, w.Franz Rupp (Pf.): Albumblatt in C (Wagner-Wilhelmj) / Petite Suite – Menuet (Debussy). 12” EL red German Grammophon 15095, POM-1928. A to M-A, lovely copy has lt. rubs, inaud. MB 15

K190. GEORG KULENKAMPFF, w.Ferdinand Leitner (Pf.): Ballets du Roy – Gavotte en rondeau (Lully) / Romance in G (Svendsen). 10” EL dark-blue German Telefunken A2625. A to M-A, lovely copy has lt. rubs, inaud. MB 15

K191. GEORG KULENKAMPFF, w.Schmidt-Issetstedt Cond. Berlin Phil.: Gesangsszene Concerto #8 in a, Op.47 (Spohr), 5s / Sd. 6 = Abendlied, Op.85, #12 (Schumann). 3-12” EL dark-blue German Telefunken E 1847/49. M-A, appears unplayed! MB 45, the Set.

“[Kulenkampff’s] warm, sympathetic playing can be heard on many recordings, notably the Brahms, Schumann, Spohr ‘Gesangsszene’ and Mozart ‘Turkish’ Concertos….Though he stayed in Germany after 1933 and thereby boosted his career, Kulenkampff insisted on continuing to play the Mendelssohn Concerto, officially blacklisted; he even managed to record it.”
– Tully Potter, THE RECORDED VIOLIN


K192. WILHELM STROSS, w.Walther Theurer & Wolfgang Haag (Flutes): Brandenburg Concerto #4 in G (Bach), 4s. 2-12” EL Electrola DB 11525/26. M-A, appears unplayed, albeit few faintest rubs, Sd. 2, inaud. MB 20, the Pair.

K193. YEHUDI MENUHIN, w.Louis Persinger (Pf.): La Capricciosa (Ries) / Allegro (Fiocco). 10” EL PW Electrola DA 1003, POM-15 March / 1 April, 1928. M-A MB 12

K194. YEHUDI MENUHIN: Sonata #3 in C for Violin Unaccompanied (Bach), 6s. 3-12” EL Orth Vla 7615/17, POM-13 Nov., 1929, in Orig. Album M-148, w.Brochure. M-A, Exemplary! MB 45, the Set.

K195. YEHUDI MENUHIN: Caprice #24 (Paganini), 2s. 10” EL PW Electrola DA 1281, POM-23 May, 1932. M-A MB 12

K196. YEHUDI MENUHIN, w.Marcel Gazelle (Pf.): Danzas Españolas – Romanza Andaluza, Op.22, #1 (Sarasate) / La Ronde des Lutins (Bazzini). 12” EL Scroll V 8695, POM-28 Nov.,1934, on ‘Z’ shellac. M-A, appears unplayed! MB 15

K197. YEHUDI MENUHIN, w.Marcel Gazelle (Pf.): Hungarian Dance #6 in D-flat (Brahms) / Moto perpetuo (Paganini). 12” EL Scroll V 8866, POM-28 Nov. / 29 Sept., 1934, on ‘Z’-type shellac. M-A, appears unplayed! MB 15

K198. YEHUDI MENUHIN, w.Hephzibah Menuhin (Pf.): Sonata #3 in a (Enescu), 6s. 3-12” EL Scroll V 14110/12, POM-6 Jan., 1936, on ‘Z’-type shellac, in Orig. Album AM-318, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K199. YEHUDI MENUHIN, w.Hephzibah Menuhin (Pf.): Sonata #34 in A, K.526 (erroneously offered as Sonata #42) (Mozart), 4s. 2-12” EL Scroll V 8442/43, POM-29 Sept.,1933, on ‘Z’ shellac. M-A, appears unplayed! MB 25, the Pair.

K200. YEHUDI MENUHIN, w.Elgar Cond. London S.0.: Concerto in b (Cond. by the Composer), 12s. 6-12” EL Orth 7747/52, POM-15 July, 1932, Orig. Album M-174, w.Brochure. M-A, appears unplayed! MB 35, the Set.

“There is no definitive interpretation for Menuhin, but the search for repose, for a place where music, far from any pretension, vibrates naturally, where it can breathe more than show off. This opening of musical feeling [is] beyond technique and schools. It is in this sense that Menuhin's lesson remains exemplary, today more than ever: born in America when Heifetz was triumphing in the media, Menuhin died in Berlin, closer to Adolf Busch and Wilhelm Furtwängler.”
– Eric Taver, klassiknet, 7 May 1999


K201. JASCHA HEIFETZ, w.Emanuel Bay (Pf.): Sonata #26 in B-flat, K.378; Sonata #32 in B-flat, K.454 (erroneously offered as Sonatas Nos.10 & 15) (Mozart), 10s. 5-12” EL Scroll V 14331/35, POM-3 / 10 Feb., 1936, on ‘Z’-type shellac, in Orig. Album AM-343, w.Brochure. M-A, Reviewer’s Copy, appears unplayed! MB 35, the Set.

K202. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Caprice #13 in B-flat / Caprice #20 in D (both Paganini). 10” EL Scroll V 1697, on ‘Z’-type shellac, POM-1934. M-A, Exemplary! MB 15

K203. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Stücke, Op.45 – Guitarre (Moszkowski) / L’Enfant Prodigue – Prélude (Debussy). 10” EL Scroll V 1694, on ‘Z’-type shellac, POM-1934. A, lovely copy has faintest pap. rubs, inaud. MB 12

K204. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Sea murmurs (Castelnuovo-Tedesco); Tsar Saltan – Flight of the bumblebee (Rimsky-Korsakov) / Triakontameron – Alt Wien (Godowsky). 10” EL Orth Vla 1645, only form of issue, 3 Feb., 1934. A, lovely copy has faintest pap. rubs, inaud. MB 12

K205. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Caprice #24 (Paganini), 2s. 12” EL Scroll V 8828, POM-1934, on ‘Z’-type shellac. M-A, appears unplayed! MB 15

K206. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Sonata in E-flat (Strauss), 5s. 4-12” EL Scroll V 7978/81-S, POM-6 Feb., 1934, on ‘Z’-type shellac, in Orig. Album AM-200, w.Brochure. M-A MB 35, the Set.

K207. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto #4 in d (Vieuxtemps), 6s. 3-12” EL Scroll V 8916/18, POM-14 March, 1935, on ‘Z’-type shellac, in Orig. Album AM-297, w.Brochure. M-A, choice copy has very occasional faintest pap. rub, inaud. MB 35, the Set.

K208. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto in a, 5s / Sd.6 = Heifetz, w.Árpád Sándor (Pf.): Méditation (both Glazounov). 3-12” EL Orth Vla 8296/98, POM-28 March, 1934, on ‘Z’ shellac, in Orig. Album M-218, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K209. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto # 5 in A, K.219 (Mozart), 8s. 4-12” EL Scroll V 8601/04, POM-23 Feb., 1934, on ‘Z’ shellac, in Orig. Album M-254, w.Brochure. M-A, appears unplayed! MB 45, the Set.

“Some listeners found [Heifetz] profound, noble and aristocratic, while others considered him cold, emotionless, and superficial. The recurring criticism that he played without emotion prompted Heifetz to hire a publicist in 1935, but he never shook the image. In 1940, music critic Virgil Thomson wrote a notorious review entitled ‘Silk Underwear Music’ which accused Heifetz of ‘empty elegance’ and said his ‘machine-tooled’ performances had ‘no musical or emotional significance’. This, despite acknowledging Heifetz' ‘silken tone’, ‘famous double stops’, and ‘true pitch’. No, Heifetz' conception of music was ‘embarrassingly refined’, hence the reference to silk underwear.”
– Christopher M. Wright (referencing Thomson ‘s notorious 1940 ‘Silk Underwear Music’ review).


K210. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto #2 in d, 5s / Sd.6 = Heifetz, w.Árpád Sándor (Pf.): Scherzo tarantelle (both Wieniawski). 3-12” EL Scroll V 8757/59, POM-18 March, 1935 / Feb., 1934, on ‘Z’-type shellac, in Orig. Album M-275, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K211. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto in d (Sibelius), 8s. 4-12" EL Scroll V 14016/19, POM-26 Nov., 1935, on ‘Z’-type shellac, in Orig.Album M 309, w.Brochure. M A Exceedingly elusive in ‘Z’-type shellac format! MB 35, the Set.

K212. JASCHA HEIFETZ, w.Salvador Camarata Cond.: White Christmas (Irving Berlin) / w.Milton Kaye (Pf.): À la valse (Victor Herbert). 10” EL black Decca 23376, only form of issue, 17 Oct., 1944. A-, lovely copy has lt. rubs, inaud. MB 15

K213. JASCHA HEIFETZ & BING CROSBY: Where my caravan has rested (Löhr) / Jocelyn – Berceuse (Godard). 10" EL red Decca 40012, only form of issue, 1945. A-, lovely copy has lt. rubs, inaud.; Sd. 1 has wee closed blister. MB 12

K214. JASCHA HEIFETZ, w.Toscanini Cond. NBC S.O..: Concerto in D (Beethoven), 9s. 5-12” EL PW V 17451-S/55, POM-11 March, 1940, in Orig. Album DM-705, w.Brochure. M-A Front endpaper Inscribed & Autographed by Heifetz, dated in his hand 16 Feb., 1942. MB 35, the Set.

K215. ADOLF BUSCH & RUDOLF SERKIN: Sonata #3 in E-flat, Op.12 (Beethoven), 4s. 2-12” EL Orth Vla 7560/61, POM 5 May, 1931, on ‘Z’ shellac. A-, lovely copy has faintest pap. rubs & few minuscule pap. scrs, inaud. MB 25, the Pair

K216. ADOLF BUSCH & RUDOLF SERKIN: Sonata in G, Op.78 (Brahms), 6s. 3-12” EL Japanese V VD-8245/47, POM 4 & 7 May, 1931. A-, lovely copy has lt. rubs, inaud.; Sd. 3 only has wee ec, not to grooves. MB 25, the Set.

K217. ADOLF BUSCH & RUDOLF SERKIN (Pf.): Sonata #2 in A, Op.100 (Brahms), 4s. 2-12” EL PW Electrola DB 1805/06, POM 20 Sept., 1932. M-A, lovely copy has very occasional pap. rub, inaud. MB 25, the Pair.

“Adolf Busch, leader of the Busch String Quartet and the Busch Chamber Players, founded the Marlboro Festival in Vermont with his duo partner and son-in-law, pianist Rudolf Serkin. Busch’s playing was entirely at the service of the music and the composer; instrumental display was abhorrent to him. Full and intensely expressive, his tone had the warm glow of burnished gold but was never sweet or lush, and his style was austere, ardent, fiery, and rugged but not rough. His artistic integrity carried over into his life: he left Europe for America in revulsion against Nazism, even though it meant losing his most appreciative audiences and half of his income. Although Busch was known primarily as a chamber musician, he was a popular, acclaimed virtuoso, especially as a young man, and never stopped performing concertos.”
– Edith Eisler, STRINGS, May/June, 2001


K218. DAVID OISTRAKH, w.Nikolaĭ Petrovich Rakov (Pf.): Poem in e (Acc. by the Composer), 2s. 10” EL red CCCP Aprelevski Zavod 16477/78, recorded 1948. A, lovely copy has faintest pap. rubs, inaud. MB 15

K219. DAVID OISTRAKH, w.Reinhold Glière Cond.: The Bronze Horseman – Violin solo / Glière Cond.: The Bronze Horseman – Waltz (both Cond. by the Composer). 10” EL red CCCP Aprelevski Zavod 16342/45, recorded 1948. M-A, appears unplayed! MB 15

K220. SZYMON GOLDBERG & PAUL HINDEMITH: Duet in B-flat for Violin & Viola, K.424 (Mozart), 4s. 2-12” EL early PW Col. 68285/86-D, on blue shellac, POM-21 Jan., 1934, in Orig. Album 212. M-A, appears unplayed! MB 65, the Set.

K221. SZYMON GOLDBERG & PAUL HINDEMITH: Duet in B-flat for Violin & Viola, K.424 (Mozart), 4s. 2-12” EL PW Col. 70464/65-D, POM-21 Jan., 1934, in Orig. Album MX 46. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 35, the Set.

K222. EDDY BROWN accompanying Jean Merrill (S) & Crys Holland (MS): Brahms, Godard, Clutsam, Jakobowsky, Molloy, Barnby, etc., 8s. 4-10” EL Sonora 1055/58, in Orig. Album MS-462. A to M-A, lovely copy has occasional faintest pap. rub, inaud.; Sd. 8 only has very faint nr, ever-so-faintly audible a few turns. Exceedingly elusive! MB 35, the Set.

K223. EDDY BROWN & ROMAN TOTENBERG, w.Jascha Zayde (Pf.): Serenade #1 in G for Two Violins (Sinding), 4s. 2-10” EL black Royale 1809/10, only form of issue, c.1942. M-A, Exemplary! Exceedingly Elusive! MB 35, the Pair.

K224. EDDY BROWN, w.Roman Totenberg, Carleton Cooley, Frank Miller, John Wummer & Edward Vito: Three Pieces for Flute, Harp & String Quartet (Mason), 4s. 2-10” EL black Royale 1867/68, only form of issue, c.1942. M-A, appears unplayed! Exceedingly elusive! MB 45, the Pair.

K225. EDDY BROWN & ROMAN TOTENBERG, w.Ernst Victor Wolff (Harpsichord): Sonata in g for Two Violins (Handel), 2s. 12” EL dark-red Royale 603, only form of issue, 1942. M-A, appears unplayed! MB 35

K226. EDDY BROWN, w.Clarence Adler (Pf.): Sonata #2 in G (Grieg), 5s / Sd. 6 = Vocalise (Rachmaninoff). 3-12” EL dark-red Royale 589/91, only form of issue, 1942. M-A, appears unplayed! Exceedingly elusive! MB 75, the Set.

“Another Auer alumnus was Eddy Brown, who was born in Chicago on 15 July, 1895, and had his first violin lessons from his father. At seven he was taken to Europe and placed with Hubay in Budapest, where at 11 he won a competition with his performance of the Mendelssohn Concerto….With a vibrato showing more Hubay than Auer influence, he finds the right singing style and excellent intonation (with quite a good trill) for the transcription [Vocalise]…of the wordless song which Rachmaninoff wrote for the Russian coloratura soprano Antonina Nezhdanova.”
– Tully Potter, THE RECORDED VIOLIN


K227. EFREM ZIMBALIST: Sonata #1 for Violin Unaccompanied (Ysaÿe), 4s. 2-12” EL PW V 16194/95, only form of issue, 27 Oct., 1939, in Orig. Album M-669, w.Brochure. M-A, appears unplayed! MB 45, the Set.

K228. EFREM ZIMBALIST, w.Harry Kaufman (Pf.): Sonata #3 in d (Brahms), 6s. 3-12” EL Viva-Tonal Col. 67786/88-D, on blue shellac, POM-19 May, 1930, in Orig. Album 140, w.Brochure. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 65, the Set.

K229. SASCHA CULBERTSON, w.Emanuel Balaband (Pf.): Liebesfreud (Kreisler). 10” AC brown shellac Vocalion 30144, POM-1921. M-A, Exemplary! MB 15

“Sascha Culbertson was born in Bessarabia on 10 August, 1894, and studied first with Zukovsky….[then] from 1905 to 1908 he was with Sevcik in Prague, making his Vienna début in the latter year….Culbertson commands [a] warm, singing tone....”
– Tully Potter, THE RECORDED VIOLIN


K230. ADILA FACHIRI & YELLY D’ARÁNYI, w.Ethel Hobday (Pf.): Sérénade / Minuit (both Godard). 12” AC pale-blue Eng. Vocalion K 05260, POM-1925. M-A, lovely copy has faintest pap. rubs, inaud. MB 25

“Jelly and Adila d'Aranyi Fachiri, sisters, were concert violinists and great-nieces of Joseph Joachim. Jelly was born in Budapest in 1895 and Adila in 1889. They were both trained in Budapest at the Royal High School for Music by the noted Hungarian violinist Jenö Hubay. Jelly made her début in Vienna in 1909.”
– Anya Laurence, suite101.com, 15 Oct., 2008


K231. YELLY d’ARÁNYI, w.Bergh (Pf.): Chaconne in g (Vitalli-Charlier), 2s. 12” EL dark-blue PW Eng. Col. 9875, POM-6 & 20 March, 1929. M-A, appears unplayed! MB 20

K232. YELLI d’ARÁNYI: Souvenir in D (Drdla) / Hungarian Dance #8 in A (Brahms). 10” EL dark-blue PW Eng. Col. 5681, POM-1928. M-A, choice copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 20

K233. YELLY d’ARÁNYI, FELIX SALMOND & MYRA HESS: Trio #1 in B-flat (Schubert), 8s. 4-12” EL dark-blue PW Eng. Col. 9509/12, POM-28-30 Dec., 1927. M-A, lovely copy has faintest pap. rubs, inaud. MB 25, the Set.

“One of the most distinctive soloists of the interwar years was…Yelli d’Arányi….The ‘Tzigane’ which Ravel dedicated to her in 1924, she premiered in London….She gave the first performances of Vaughan-Williams’ Concerto Accademico…and Dame Ethel Smyth’s Concerto for Violin and Horn….Myra Hess became her sonata partner in 1927, the year of her first American tour, and they included the new Ravel Sonata in their programmes….A cultured, impulsive, striking-looking woman who was fluent in four languages, Yelli d’Arányi was an intriguing mixture of intellect and temperament, a devastating performer on her good days.”
– Tully Potter, THE RECORDED VIOLIN


K234. JENÖ HUBAY, w.Otto Herz, (Pf.): Poèmes Caractéristiques – Berceuse / Le Luthier de Crémone – Intermezzo (both Played by the Composer). 12” EL vinyl Symposium 1013 (CW2046-2/47-1), POM-1928-Budapest. MINT MB 15

K235. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Partita #3 in E – Preludio (Bach) / Tarantelle, Op.43 (Played by the Composer). 10” AC PW black Historic Catalogue #2 HMV E 183 (4258/60o), POM-1904. M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs, inaud.; Sd. 1 only has ec into initial grooves. MB 20

“A child prodigy and one of the most dazzling musical personalities of his time was Spain’s greatest violinist Pablo de Sarasate.….Sarasate’s records, all made when he was still an active soloist, are all delightful, and even if they cannot project the full force of his personality, they confirm his technical prowess, in particular his beautifully equalised scale.”
– Tully Potter, THE RECORDED VIOLIN


K236. JUAN MANÉN: Chanson-adagietto (Played by the Composer) / Jota aragonesa (1918 Version) (Sarasate). 12” AC plum Spanish Disco Gramófono 067922/21 (S 03128/03200v), POM-1918. A-, lovely copy has very lt. rubs & very occasional pap. scr, inaud. MB 35

“Juan Manén (or Joan Manén,14 May, 1883 – 26 June, 1971) was a Spanish violinist and composer, born in Barcelona. His progress in music was so rapid that his father exhibited him as a piano prodigy. Having studied the violin under D. Alard, he suddenly appeared as a violinist, and met with such success that in Germany he was compared to his famous countryman Sarasate.”

K237. GRIGORAS DINICU: Hora Staccato (Played by the Composer) / Hungarian Potpourri (arr.Dinicu). 10” EL dark-blue PW Eng. Col. 5684, POM-c.1930. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 35

K238. GRIGORAS DINICU & His Roumanian Gypsy Orch.: Roumanian Songs and Melodies, 6s. 3-10” EL black PW V V-19024/26, only form of issue, 1939, in Orig. Album S-20. A to M-A, lovely copy has, Sds. 1 & 2 only, faintest pap. rubs, inaud. MB 45, the Set.

“The name of Grigoras Dinicu is kept alive by one piece, ‘Hora Staccato’, which in Heifetz’s 1932 concert transcription has been played and recorded by innumerable violinists. It is of great interest to hear it played by its creator, in the authentic style….Dinicu and his band provided a highlight of the 1937 Paris Exposition, alongside Enescu, Lipatti & Bobesco.”
– Tully Potter, THE RECORDED VIOLIN


K239. MILAN LUSK, w.Mme Vojuckova-Wetchke (Pf.): Kinderscenen – Träumerei (Schumann) / Souvenir in D (Drdla). 10” AC dark-blue & red Emerson 02005-X (4151/52), only form of issue, 1920. A-/A-B, lovely copy has lt. rubs, inaud.; Sd. 2 only has 2 tiny scrs, also inaud. MB 15

K240. SADAH SHUCHARI, w.Arthur Reginald (Pf.): Mélodie arabe (Glazounov-Kochanski) / Sicilienne and Rigaudon (Francoeur-Kreisler). 10" EL Orth Vla 4114, only form of issue, 7 Dec., 1928 / 10 Jan., 1929, of Shuchari's sole recording. M-A, Exemplary! MB 12

K241. JOSEF GINGOLD & BERYL RUBINSTEIN: Sonata #1 (Bloch), 7s. 4-12” EL PW V 12314/17-S, in Orig. Album AM-498. M-A, appears unplayed! MB 45, the Set.

K242. ALBERT SPALDING, w.André Benoist (Pf.): Stücke, Op.45 – Guitarre (Moszkowski) / Bandanna Sketches – Nobody knows de trouble I see (White). 10” EL gold Bruns. 15107, only form of issue, 18 / 14 Jan., 1926. A-, lovely copy has lt. rubs, inaud.; Sd. 2 only has sev. dust scrs, minimally audible. MB 10

K243. ALBERT SPALDING, w.André Benoist (Pf.): Divertimento #17 in D, K.334 – Minuet (Mozart) / Waltz #15 in A-flat (1927 Version) (Brahms). 10” EL gold Bruns. 15127, only form of issue, 31 Jan., 1927. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K244. ALBERT SPALDING, w.André Benoist (Pf.): Etchings (Played by the Composer), 6s. 3-10” EL Scroll V 1707/09, on ‘Z’-type shellac, only form of issue, 2 Feb. & 22 May, 1934, in Orig. Album M-264, w.Notes & Photo inside front cover. M-A, appears unplayed! Exceedingly elusive! MB 95, the Set.

K245. ALBERT SPALDING, w.André Benoist (Pf.): Drink to me only with thine eyes (1934 Version) / Waltz #10 in b, Op.69 (Chopin). 10” EL Scroll V 1703, on ‘Z’-type shellac, only form of issue, 1934. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K246. ALBERT SPALDING, w.André Benoist (Pf.): Alabama (Plantation melody) (Played by the Composer) / Danzas españolas – Habañera (Sarasate). 10” AC paper label Edison H & D 82095 (3759/4098), only form of issue, 1915. M-A, Exemplary! MB 20

K247. ALBERT SPALDING: Dragon Fly (A Study in Arpeggios, for Violin Unaccompanied) (Played by the Composer) / w.Benoist (Pf.): Danse du Diable Vert (Gaspar Cassadó). 10" EL PW V 1914, only form of issue, 13 May, 1937. M A, lovely copy has, alas, Sd. 2 only, nd, positively audible sev. turns. Exceedingly elusive! MB 15

K248. ALBERT SPALDING, w.André Benoist (Pf.): Horch! Horch! die Lerch (1934 Version) (Schubert) / Waltz #15 in A-flat (1934 Version) (Brahms). 10” EL Orth Vla 1667, on ‘Z’-type shellac, only form of issue, 22 May, 1934. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K249. ALBERT SPALDING, w.André Benoist (Pf.): Romance #1 in G (Beethoven), 2s. 10” EL Scroll V 1788, on ‘Z’-type shellac, only form of issue, 1934. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K250. ALBERT SPALDING, w.André Benoist (Pf.): Romance #2 in F (Beethoven), 2s. 12” EL PW V 14579, POM-1936. M-A, appears unplayed! MB 20

K251. ALBERT SPALDING, w.André Benoist (Pf.): Sonata #6 in E (Handel), 2s. 12” EL Scroll V 14029, on ‘Z’-type shellac. M-A, appears unplayed! MB 20

K252. ALBERT SPALDING, w.André Benoist (Pf.): Morceaux – Cavatina (Raff) / Humoresque #7 in G-flat (Dvorák). 10” AC paper label Edison H & D 82047 (3761/4579), only form of issue, 1913. M-A MB 15

K253. ALBERT SPALDING, w.André Benoist (Pf.): Souvenir in D (Drdla) / Caprice espagnole (Ketten). 10” AC paper label Edison H & D 82154 (5062/5759), only form of issue, 1919. M-A, Exemplary! MB 15

K254. ALBERT SPALDING, w.André Benoist (Pf.): Zigeunerweisen (Sarasate) / Airs de Ballet – Valse bluette (Drigo); Three poor mariners (Quilter). 10” AC paper label Edison H & D 82192 (6950/7005), only form of issue, 1920. M-A, choice copy has, Sd. 1 only, infinitesimal pap. mk, inaud. MB 15

K255. ALBERT SPALDING, w.André Benoist (Pf.): Lieder ohne Worte – #6 in A – Spring song (Mendelssohn) / Mélodies – Mélodie #1 in F (Rubinstein). 10” AC paper label Edison H & D 82135 (5748/47), POM-1918, only form of issue, Sd.1. M-A, lovely copy has, Sd. 2 only, 2 wee edge chips, not to grooves. MB 20

K256. ALBERT SPALDING, w.André Benoist (Pf.): Kinderscenen – Träumerei (1920 Version) (Schumann) / Scherzo-Tarantelle, Op.16 (Wieniawski). 10” AC paper label Edison H & D 82188 (5749/6975), only form of issue, 1920. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. MB 15

K257. ALBERT SPALDING, w.André Benoist (Pf.): Kinderscenen – Träumerei (1934 Version) / Abendlied (both Schumann). 10” EL Scroll V 1727, on ‘Z’-type shellac, only form of issue, 1934. M-A, lovely copy has, Sd. 2 only, minuscule edge flake, not to grooves. MB 15

K258. ALBERT SPALDING, w.Ormandy Cond. Philadelphia Orch.: Gesangscene Concerto #8 (Spohr), 4s. 2-12” EL RCA 15355/56, in Orig. Album M 544. M-A, appears unplayed! MB 20, the Set.

“The Spohr was recorded by Heifetz and Kulenkampff as well as by Spalding, but it’s the American’s traversal that has always seemed the most impressively generous in toto. Forthright and eloquent, expressive and firmly focused he spins a most persuasive line, his pellucid tone taking on ever more weight of vibrato usage in the slow movement. His expressive swellings never break emotive limits and the vibrant playing of the finale’s fugal passage and his succulent little finger intensifications illuminate and irradiate the finale; he’s excellent in alt as well.”
– Jonathan Woolf


K259. ALBERT SPALDING & WILLIAM PRIMROSE; Stiedry Cond. New Friends of Music: Sinfonia Concertante in E-flat, K.364 (Mozart), 7s / Sd.8 = Spalding & Primrose, w.Benoist (Pf.): Trio Sonata in E – Adagio (Handel). 4-12” EL RCA 18242/45, in Orig. Album DM 838, w.Brochure. M-A, appears unplayed! MB 35, the Set.

"The vibrato is, perhaps, the most personal element of the violinist's playing, the most important factor influencing the character of his tone, in giving it individuality. Just as the great master-painters can be recognized without the signature on their canvasses, by distinctions of line and composition, so, I believe, our great violinists can be distinguished by the peculiar quality of their vibrato."
– Albert Spalding


K260. ALBERT SPALDING, w.André Benoist (Pf.): Sonata in A (Franck), 8s. 4 12" EL Orth Vla 8274/77, only form of issue, 1 Feb., 1934, partially on ‘Z’ shellac, in Orig. Album M-208, w.Brochure. M-A, Exemplary! MB 45, the Set.

K261. ALBERT SPALDING, w.André Benoist (Pf.): Sonata #2 in A (Brahms), 6s. 12" EL Scroll V 8858; 2-10" EL Scroll V 1724/25, on ‘Z’-type shellac, only form of issue, in Orig. Album M-288. M-A, appears unplayed! MB 75, the Set.

K262. JACQUES GORDON, w.Lee Pattison (Pf.): Partita for Violin and Piano, 7s / Sd. 8 = Les Paons (both Loeffler). 4-12” EL MasterWorks Col. 68820/23-D, in Orig. Album 275. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 45, the Set.

K263. MISCHA ELMAN, w.Percy B. Kahn (Pf.): Miniatures, Op.314, #3 – Gavotte (Bohm). 10" AC black London G & T G.C.-3-7916 (8041e), recorded 14 June, 1906. A, lovely copy has usual faintest pap.rubs, inaud. MB 45

K264. MISCHA ELMAN, w.Carroll Hollister (Pf.): Pièce en forme de habanera (Ravel) / Le Cygne (Saint-Saëns). 10” EL Orth Vla 1592, only form of issue, 20 Feb. / 2 June, 1930. M-A, Exemplary! MB 15

K265. MISCHA ELMAN, w.Shilkret Cond. Victor S.O.: Sérénade mélancolique in b, Op.26 (Tschaikovsky), 2s. 12” EL Orth Vla 7744, POM-25 Aug., 1930. M-A, lovely copy has, Sd 2 only, faintest pap. rubs, inaud. MB 12

K266. MISCHA ELMAN, w.Collingwood Cond. London S.O.: Concerto in g (Vivaldi), 4s. 2-12” EL Orth Vla 7585/86, POM-1931. M-A, appears unplayed, albeit Sd. 4 only has infinitesimal pap. mk, inaud! MB 35, the Pair

K267. MISCHA ELMAN, w.Barbirolli Cond. London S.O.: Concerto in D (Tschaikowsky), 8s. 4-12” EL Scroll V 8186/89, POM-19-20 Dec., 1929, on ‘Z’ shellac, in Orig. Album M-79, w.Brochure. A, lovely copy has faintest pap. rubs, inaud. MB 35, the Set.

K268. MISCHA ELMAN, w.Defauw Cond. Chicago S.O.: Concerto in e, 7s / Sd. 8 = w.Wolfgang Rosé (Pf.): Song without words – May breezes (both Mendelssohn). 4-12” EL RCA 12-0132/35, only form of issue, 8 March, 1947, in Orig. Album DM-1196. M-A, appears unplayed! MB 35, the Set.

“Elman had a miraculously beautiful tone the likes of which no one had ever heard before. It was so amazingly rich, some said it flowed from his violin like lava. It was a tone of great depth, fullness, sweetness, and plasticity….Elman’s sound was like a living being, and Elman was the conjurer who could make it appear at will.”
– Joseph Magil, AMERICAN RECORD GUIDE, Sept./Oct., 2004


K269. TOSCHA SEIDL: Orientale (Cui). 10” AC Col. 78138, POM-22 Oct., 1918. A, lovely copy has faintest pap. rubs, inaud. MB 10

K270. TOSCHA SEIDL: Concerto in D – Canzonetta (Tchaikovsky). 12” AC Col. 49771, POM-23 March, 1920. A-, decent copy has lt. rubs & scrs, inaud.; tiny edge bite only to 1st groove. MB 8

K271. TOSCHA SEIDL, w.Harry Kaufman (Pf.): Valse bleue (Margis). 10” AC Col. 78760, POM-27 Oct., 1919. M-A, Exemplary! MB 12

K272. TOSCHA SEIDL, w.Harry Kaufman (Pf.): Liebesfreud (Kreisler). 12” AC Col. 49904, POM-27 Oct., 1920. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12

K273. TOSCHA SEIDL, w.Louis T. Grunberg (Pf.): Nocturne in e, Op.72 (Chopin). 12” AC Col. 49448, POM-18 June, 1918. A-, very decent copy has lt. rubs & scrs, inaud. MB 8

K274. TOSCHA SEIDL, w.Louis T. Grunberg (Pf.): Quartet #1 in d – Andante cantabile (Tchaikovsky). 12” AC Col. 49624, POM-25 April, 1919. A-, very decent copy has lt. rubs & scrs, inaud. MB 8

K275. TOSCHA SEIDL, w.Eugene Kusmiak (Pf.): Divertimento #17 in D, K.334 – Minuet / Idomeneo – Gavotte (both Mozart). 10” EL PW V 4536, POM-11 Dec., 1938. M-A, Exemplary! MB 15

K276. TOSCHA SEIDL, w.Eugene Kusmiak (Pf.): Hungarian Dance #1 in g (Brahms) / Intermezzo (Provost). 10” EL PW V 4458, POM-11 Dec., 1938. M-A, Exemplary! MB 12

K277. TOSCHA SEIDL & ARTHUR LOESSER: Sonata in G (Brahms), 8s. 4-12” EL Viva-Tonal Col. 67915/18-D, POM-2 Jan., 1931, in Orig. Album 155. M-A, appears unplayed! MB 65, the Set.

K278. TOSCHA SEIDL & ARTHUR LOESSER: Sonata in A (Brahms), 6s. 3-12” EL early PW Col. 67180/82-D, POM-1925-26, in Orig. Album 36, w.Brochure. M-A, appears unplayed, albeit Sd. 3 only has infinitesimal pap. mk, inaud. MB 65, the Set.

“Seidl was highly regarded through the early 1920s, but he never attained star status as a soloist, and by the late 1930s he was making his living as a film studio violinist….Hearing his recordings today, one can only wonder why Seidl did not succeed, but the answer may lie partly in the timing of his career….A year younger than Heifetz, Seidl joined Auer’s class in 1912, the year of Heifetz’s Berlin performances, and he left the Auer fold in 1915. Seidl’s recordings for Victor, HMV and Columbia show him to be an outgoing player with a bright sound and a somewhat more attractive tone than one hears on Heifetz’s records from the same period.”
– Allan Kozinn, MISCHA ELMAN AND THE ROMANTIC STYLE, p.102


K279. TOSCHA SEIDL & MILIZA KORJUS, w.Finston Cond.: The Great Waltz – Tales from the Vienna Woods (Johann Strauss-Tiomkin), 2s. 10” EL PW V 4410, POM-1938. M-A MB 10

K280. TOSCHA SEIDL & MILIZA KORJUS, w.Finston Cond.: The Great Waltz – One day when we were young / There will come a time (Johann Strauss-Tiomkin), 2s. 10” EL PW V 4411, POM-1938. M-A MB 10

K281. MAX ROSEN: Sérénade du Tzigane (Valdez). 10” AC green Bruns. 10043, only form of issue, 1921. M-A, Exemplary! MB 12

K282. MAX ROSEN, w.Persson (Pf.): Souvenir in D (Drdla). 10” AC green Bruns. 10012, POM-1919. M-A, Exemplary! MB 10

K283. MAX ROSEN, w.Wilens (Pf.): Kol Nidrei (Bruch) / Eili, Eili (arr.Shallit). 10” EL gold Bruns. 15206, only form of issue, 1929. M-A, choice copy has wee edge burn, nowhere near grooves. MB 15

“George Gershwin first displayed interest in music at the age of ten, when he was intrigued by what he heard at a friend, Max Rosen's, violin recital. The sound and the way his friend played captured him.”
– Jewish-American Hall of Fame


K284. ALBERT SAMMONS: Londonderry Air (arr.Sammons) / Molly on the shore (arr.Kreisler). 10” EL PW Eng. Col. 4820, POM-1926. M-A, lovely copy has, Sd. 2 only, wee edge burn not to grooves. MB 10

K285. ALBERT SAMMONS: Passacaglia on a theme of G.B. Sammartini (Nachez), 2s. 12” EL PW Eng. Col. 9351, POM-9 Sept., 1926. M-A, Exemplary! MB 20

K286. ALBERT SAMMONS, w.Gerald Moore (Pf.): Sonata #2, Op.31 (Rubbra), 4s. 2-12” EL plum HMV C.3547/48, only form of issue, 16 April, 1946. M-A, appears unplayed! MB 25, the Pair

K287. ALBERT SAMMONS, w.Ethel Hobday (Pf.): Pieces, Op.5 – From the canebrake (Gardner) / Slavonic Dances – Dance #2 in e (Dvorák). 10” AC English pale-blue Vocalion X-9611, only form of issue, 1924. A-, lovely copy has faint pap. rubs & superficial pap. scrs, inaud. MB 15

K288. ALBERT SAMMONS, w.William Murdoch (Pf.): Sonatina in D, Op.137, 6s / ETHEL LEGINSKA: Moments musicaux, Op.94, 8s (both Schubert). 7–10” EL Viva-Tonal Col. 17010/16-D, POM-1928, in Orig. Album 94. M-A, choice copy has, sl. tattered album. MB 35, the Set.

K289. ALBERT SAMMONS, w.William Murdoch (Pf.): Kreutzer Sonata #9 in A (1927 Version) (Beethoven), 10s. 5-12” EL Viva-Tonal Col. 67261/65-D, POM-1927. M-A, appears unplayed, albeit Sd. 9 has various faint lams & Sd. 2 has tiny edge flake, not to grooves. MB 45, the Set.

“Among the many outstanding Sammons recordings is the Beethoven ‘Kreutzer’ Sonata with William Murdoch….By the time the ‘Kreutzer’ was recorded in 1927, the Sammons/Murdoch partnership had been in existence for over a decade. Their recording underlines the impeccable liaison that had been built up over the years. It is duo playing at its finest.”
– The Strad Magazine, Aug., 1986


K290. ALBERT SAMMONS, w.William Murdoch (Pf.): Sonata in e (Elgar), 6s. 3-12” EL early PW Col. 68392/94-D, POM-2 Feb., 1935, in Orig. Album #241, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K291. ALBERT SAMMONS & LIONEL TERTIS: Harpsichord Suite #7 in g – Passacaglia (Handel-Halvorsen), 2s. 12” EL PW Eng. Col. L2364, POM-27 May, 1929. M-A, appears unplayed! MB 15

K292. ALBERT SAMMONS & LIONEL TERTIS, w.Harty Cond. London Phil.: Sinfonia Concertante in E-flat, K.364 (Mozart), 8s. 4-12” EL early PW Col. 68148/51-D, on blue shellac, POM-30 April, 1933, in Orig. Album 188, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K293. ALBERT SAMMONS, LIONEL TERTIS & WILLIAM MURDOCH: Trio #2 in c (Mendelssohn), 8s. 4-12” EL Viva-Tonal Col. 67212/15-D, POM-9 Dec., 1925. M-A, appears unplayed! MB 35, the Set.

K294. ALBERT SAMMONS, W. H. SQUIRE & WILLIAM MURDOCH: Archduke Trio in B-flat, Op.97 (Beethoven), 10s. 5-12” EL Viva-Tonal Col. 67256/60-D, partially blue shellac, POM-28 Nov., 1926, in Orig. Album 52. M-A, Exemplary! MB 35, the Set.

K295. ALBERT SAMMONS, w.Harty Cond.: Concerto #1 in g (Bruch), 6s. 3-12” EL early PW Col. 67152/54-D, POM-9 April, 1925. M-A, choice copy has, beg. Sd. 1 only, wee edge lam. MB 35, the Set.

K296. ALBERT SAMMONS, w.Sargent Cond. Liverpool Phil.: Violin Concerto (Delius), 6s. 3-12” EL Eng. Col. DX 8197/99, POM-7 April, 1944. M-A, appears unplayed! MB 25, the Set.

“Sammons worked out the technical details [of the Elgar Violin concerto] with the composer and the work is dedicated to him. Although the Delius Violin Concerto (composed in 1916) was premiered by Sammons in 1919, he did not record it until 1944.”
– The Strad Magazine, Aug., 1986


K297. ALBERT SAMMONS, w.Wood Cond.: Concerto in b – Allegro / Andante (1916 Version, abridged) (Elgar), 2s. 12” AC pale-blue Eng. Col. L 1071, only form of issue, 1916 (this is only the first of two issued discs). A, lovely copy has few lt. rubs, inaud. MB 15

K298. ALBERT SAMMONS, w.Wood Cond.: Concerto in b (1929 Version) (Elgar), 12s. 6–12” EL Eng. Col. L 2346/51, only form of issue, 19 Jan., 1929, in Orig. Album 127, w.Brochure. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 45, the Set.

“Although it was…Fritz Kreisler to whom the work is dedicated, it was Sammons, often under the composer’s baton, who promoted it….Sammons performed the Elgar more than of all the concertos in this repertoire, giving over 100 performances throughout his career….When a German critic slighted Elgar’s music in the press, Sammons was among the many notables, including Bernard Shaw, who instigated a letter of protest. The recording of the Elgar Violin Concerto, made on 19 January, l929 with Henry Wood and the New Queen’s Hall Orchestra, stands as a monument to the achievement of British music in the early part of this century.”
– The Strad Magazine, Aug., 1986