Violin, Viola, Cello & Bass 78rpm records

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



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Section III - Violin, Viola, Cello & Bass 78rpm records Nos. J0113 – J0402

J0113. YELLY d’ARANYI, w.Coenraad van Bös (Pf.): Počme hongrois #6 in B-flat (Hubay) / w.Arthur Bergh (Pf.): LE ROI S’AMUSE - Passapied (Delibes-Gruenberg). 10” black Viva-Tonal Col.2042-D, POM-7 Feb., 1928 / 5 March, 1929. M-A, choice copy. MB 15

“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


J0114. YELLY d’ARANYI, w.Arthur Bergh (Pf.): Intrada (Desplanes-Nachez) / w.Lester Hodges (Pf.): Scherzo (Dittersdorf-Kreisler). 10” black Viva-Tonal Col.1774-D, POM-6 March / 6 Feb., 1929. A-, lovely copy has lt.rubs, inaud. MB 12

J0115. YELLY d’ARANYI, w.Arthur Bergh (Pf.): Chaconne (Vitali-Charlier), 2s. 12” black Viva-Tonal Col.50267-D, POM-6 / 20 March, 1929. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

J0116. YELLY d’ARANYI, w.Arthur Bergh (Pf.): Souvenir in D (Drdla) / Hungarian Dance #8 in A (Brahms). 10” dark-blue PW Eng. Col. 5681, POM-1928. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12

J0117. YELLY d’ARANYI & ADILA FACHIRI, w.Ethel Hobday (Pf.): Sérénade / Minuit (both Godard). 12” pale-blue Eng. Vocalion K 05260, POM-1925. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15

“Jelly and Adila d'Arányi 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


J0118. RENE BENEDETTI, w.Maurice Fauré (Pf.): La Fontaine d’Aréthuse (Szymanowski) / Guitarre (Moskowski). 10” black Viva-Tonal Col.2167-D, POM-1929. M-A, as New! MB 20

J0119. RENE BENEDETTI, w.Maurice Fauré (Pf.): Haffner Serenade #7 in D – Rondo, K.250, (Mozart-Kreisler), 2s. 10” black Viva-Tonal Col.2507-D, POM-20 Oct., 1927. A to M-A/A-, lovely copy has, primarily Sd.2, lt.rubs, inaud. MB 15

“By all accounts Benedetti had a big tone….his effortless digital legerdemain, his stylistic brilliance, and sheer flair, have to be savoured in full. Savoir faire, superb intonation, witty Gallic insouciance, magnificent bowing, legato refinement, subtle vibrato usage – where does one begin in measuring Benedetti’s glittering and magnificent playing?”


- Jonathan Woolf


J0120. JOSEPH JOACHIM: Hungarian dance #2 in d (Brahms-Joachim). 12” Special vinyl pressing of HMV Matrix 217y, POM-1903, Berlin. MINT MB 35

J0121. JOSEPH JOACHIM: Hungarian dance #2 in d (Brahms-Joachim). 12” black Berlin Gram.Monarch 047905 (217y), POM-1903, Berlin. M-A MB 75

“Virtuoso violinist, intimate friend of the greatest composers (especially Brahms), conductor, pedagogue and quartet leader, [Joachim] was also highly esteemed for his own compositions….his musical character was more colourful than most of his followers
- Tully Potter, THE RECORDED VIOLIN


J0122. JENO HUBAY, w.Otto Herz, (Pf.): POČMES CARACTÉRISTIQUES - Berceuse / LE LUTHIER DE CRÉMONE - Intermezzo (both Played by the Composer). 12” Orth Vla 9642 (CW2046-2/47-1), POM-1928-Budapest. A to M-A, choice copy has faintest rubs, inaud. MB 35

“…In the composer’s own arrangement of the Intermezzo from his 1894 opera… LE LUTHIER DE CRÉMONE…the violin maker tries out his instrument senza vibrato; we are then treated to playing of great impact and rhyrhmic sophistication….the light, forward tone is projected with great agility…. His later career took him back to Budapest, where he taught a number of violinists who won later distinction, including Joseph Szigeti. He continued travelling as a virtuoso, played chamber music in a quartet with the cellist David Popper, and later became director of the Budapest Music Academy.”


– Tully Potter, THE RECORDED VIOLIN


J0123. FERENC von VECSEY: Le Luthier de Crémone - Intermezzo (Hubay). 10˝” pale & dark blue US-Fonotipia 72402 (XPh 4628), POM-3 May, 1911. A-B, fine copy of choice Columbia pressing has lt. rubs, inaud. MB 45

“After various violinists had failed to make a go of the Sibelius Concerto, Vecsey received the dedication, performing it with success from 1910. He was acclaimed in Europe before World War I but never really made a career in America….In the early 1920s he was still so polular in Berlin that his concerts has to be given in the Scala Music Hall to accommodate the audience.”


– Tully Potter, THE RECORDED VIOLIN


J0124. FERENC von VECSEY: Humoresque #7 in G-flat (Dvorák). 11˝” Milano Fonotipia 74090 (XXPh 4534), POM-17 Feb., 1911. A to M-A, beautiful copy has very few superficial dust scrs, inaud. MB 75

J0125. FERENC von VECSEY: Il Trillo di Diavolo (Tartini-Hubay) / Souvenir de Moscou (Wieniawski). 11˝” Milano Fonotipia 74091/92 (XXPh 4526/30-4), POM-17 Feb., 1911. M-A, splendid copy has, Sd.2, faintest rubs, inaud. MB 85

J0126. FERENC von VECSEY, w.Guido Agosti (Pf.): PAN AND ECHO - Nocturne (Sibelius) / Morceaux - Canzonetta in F (Palmgren). 10” burgundy Bruns.-Polydor 35013 (5747/37gr), POM-26 / 23 Nov., 1934. A to M-A, choice copy of superb Columbia pressing has, Sd.1 only, wee cluster ulc, faintly audible during final turns & minor adhesive residue on Sd.1 label. MB 45

“Franz von Vecsey was a Hungarian violinist, conductor, and composer [who] was a child prodigy in the early part of the last century but is for the most part now forgotten. Béla Bartók served as his piano accompanist for a time. The Sibelius violin concerto was dedicated to him (in 1905) when he was only 12 years old. Although he did not premiere the concerto, he first played the Sibelius concerto one year later. He studied with Jenö Hubay from age 8 and it has been said that he became Hubay’s favorite pupil. His début took place on 17 May, 1903 in Berlin. He was ten years old and on that occasion played the Beethoven concerto while Joseph Joachim conducted the orchestra. Afterward, he studied with Leopold Auer in St Petersburg. Jenö Hubay dedicated his third violin concerto (probably his best-known among the four he composed) to Vecsey. Later, after concertizing for about ten years, Vecsey married into an aristocratic family where he managed his career from a palace in Venice. It has been suggested that he became psychologically scarred after serving in the Austrian army during World War I and that his career suffered as a result. He was very interested in a conducting career in the mid-1930s but became seriously ill just about then and died after an unsuccessful operation in Rome. Vecsey’s compositional output consisted mainly of miniature violin works.”


- Prone to Violins, 26 June, 2016


J0127. DUCI de KEREKJARTO: CLARI – Home, sweet home (Bishop-de Kerekjártó) / w.Maurice Eisner (Pf.): Child’s Dream (Played by the Composer). 10” silver Flags Label Col. 20026-D, only form of issue, 27 / 28 June, 1924. A to M-A, beautiful copy has lt. rubs, inaud.; long internal lam, primarily Sd.2, is audible throughout. Very brief catalogue life! MB 10

J0128. DUCI de KEREKJARTO, w.Dezso d’Antalfy (Pf.): Serenata (Moszkowski) / w.Maurice Eisner (Pf): ‘Moonlight’ Sonata #14 in c-sharp – Adagio (Beethoven). 10” black early Col. 11-M, POM-2 March, 1921 / 24 Jan., 1923. A-, lovely copy has lt. rubs, inaud. MB 10

“Until the outbreak of World War I in 1914, Dezso d’Antalffy continued composing. He began performing abroad, and his expertise in organ-building was recognized. At the height of his career in 1917, he was the chief organist at St. Stephan's Basilica in Budapest (playing the largest organ in the country, built by József Angster in 1905. d'Antalffy arrived in New York on 4 January, 1921, and appeared onstage as an accompanist on January 21. After the success of a concert with Duci Kerékjártó on the violin, they set off on a several-month tour in which d'Antalffy and Kerékjártó traveled across the country. Invited by entrepreneur Samuel Roxy Rothafel, d'Antalffy became the organist of the two-year-old Capitol Theatre, (where he played a concert the following April establishing him as the ‘Dohnányi of the organ’ in the press). The 4,000-seat Capitol Theatre, was a forerunner of the later cinema palaces.”


- Wikipedia


J0129. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Sonata #4 in A – Andante (Canto amoroso) (Sammartini). 10” Tri-Color Col. 79457, POM-15 Oct., 1920. A-, lovely copy has lt. rubs, inaud. MB 8

J0130. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Souvenir de Moscow / Légende in d (both Wieniawski). 12” silver Flags Label Col. 60001-D, only form of issue, 11 Jan. / 23 June, 1923. M-A MB 15

J0131. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Chant sans paroles (Tschaikowsky) / LE DÉLUGE - Prélude (Saint-Saëns). 10” silver Flags Label Col. 20020-D, only form of issue, 20 / 11 Jan., 1923. M-A MB 15

J0132. DUCI de KEREKJARTO, w.Francis Moore (Pf.): Serenade #1 in A (Drdla) (1926 Version) / Minuet #2 in G (Beethoven). 10” black Viva-Tonal Col. 128-M, POM-26 Oct., 1926, only form of issue, Sd.1. M-A, a gleaming copy. MB 15

J0133. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Nocturne #8 in D-flat, Op.27 (Chopin-Wilhelmj). 12” Tri-Color Col. 49901, POM-18 Oct., 1920. A to M-A, lovely copy has lt. rubs, inaud. MB 10

J0134. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Danza Espańola #5 – Andaluza (Granados). 10” Tri-Color Col. 81024, POM-18 May, 1923. A-, copy has lt. rubs, inaud. MB 8

J0135. DUCI de KEREKJARTO, w.Francis Moore (Pf.): Suite #1 in G - Perpetuum mobile (Ries). 10” Tri-Color Col. 79721, POM-10 Feb., 1921. A to M-A, lovely copy has lt. rubs, inaud. MB 10

J0136. DUCI de KEREKJARTO, w.Francis Moore (Pf.): Humoresque #7 in G-flat (Dvorák). 12” Tri-Color Col. 49912, POM-26 Nov., 1920. A-, lovely copy has sl.grainey surface. MB 8

J0137. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Serenade #1 in A (1920 Version) (Drdla). 10” Tri-Color Col. 79577, POM-15 Dec., 1920. A-, lovely copy has lt. rubs, inaud. MB 8

J0138. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): DANZAS ESPAŃOLAS – Romanza Andaluza (both Sarasate). 12” Tri-Color Col. 49900, POM-15 Oct., 1920. A-, lovely copy has lt. rubs, inaud. MB 8

J0139. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): DANZAS ESPAŃOLAS - Zapateado (Sarasate). 10” Tri-Color Col. 79456, POM-6 Nov., 1920. A-, copy has lt. rubs, inaud. MB 8

“A pupil of Hubay and referred to as a ‘brilliant, charismatic Hungarian violinist’, Kerekjártó made his American début in Carnegie Hall in 1920. The critics found him to have command of all the intricacies of violin technique accompanied by a tone that was at all times melting and flowing. He was particularly enthusiastically received for his feats of wonderful finger work and digital dexterity.”


- Wikipedia


J0140. LEO STROCKOFF: Introduction and rondo capriccioso (Saint-Saëns), 2s. 12” dark-blue Eng.Col.971 (AX121/22), only form of issue, 8 Aug., 1923. A to M-A, excellent copy has faintest rubs & very occasional dust mk, momentarily ltly audible; tiny edge crunch, nowhere near grooves. MB 10

“Original manuscripts [cadenzas!] by Eugene Ysa˙e for Beethoven's Violin Concerto and Mozart's Violin Concerto in G and harmonization for the Geminiani Sonata in d minor were rescued by Benno & Sylvia Rabinoff from a city dump in 1951. The music had been dumped there by the landlady of a certain Leo Strokoff, an ex-Ysa˙e pupil who had died in diminished circumstances.”


THE NEW YORK TIMES, 12 Aug., 1957


J0141. LEO STROCKOFF (as Leo Strock): CARMEN – Fantaisie de Concert (Bizet-Sarasate), 2s. 12” dark-blue Columbia Rena 224 (6117/18), only form of issue,c.1923. A to M-A, bright copy has faintest rubs, inaud.; Sd.1 only has 2 tiny scuffs & wee scr, momentarily ltly audible. MB 10

“I’ve always wondered whether that old business about Leopold Stokowski going by the name ‘Stokes’ had something to do with Leo Strockoff, who went by, and recorded under, the name ‘Strock’ as well as his own real name. In any case this means that violin collectors have to keep their wits about them, and one should never neglect a Strock lest it should turn out to be a Strockoff. About this fiddler, there’s not much written, but apart from Anglicising his name he recorded exclusively for English Columbia and spent his adult years in Britain, [best known for having made the first recording of the Lalo ‘Symphonie Espagnole’, in 1924].”


- Jonathan Woolf, MusicWebInternational.com


J0142. EUGEN YSAYE, w.DeCreus (Pf.): Albumblatt in C (Wagner-Wilhelmj). 12” Tri-Color Col. 36526, POM-30 Dec., 1912. M-A, exceptional copy. MB 20

J0143. EUGEN YSAYE, w.DeCreus (Pf.): Caprice viennois (Kreisler). 12” Tri-Color Col. 36525, POM-30 Dec., 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

J0144. EUGEN YSAYE, w.DeCreus (Pf.): Hungarian dance #5 in g (Brahms-Joachim). 12” Tri-Color Col. 36524, POM-30 Dec., 1912. A to M-A, lovely copy has faintest rubs, inaud. MB 15

J0145. EUGEN YSAYE, w.DeCreus (Pf.): Berceuse (Fauré). 12” Tri-Color Col. 36519, POM-27 Dec., 1912. A to M-A, exceptional copy. MB 15

J0146. EUGEN YSAYE, w.DeCreus (Pf.): Scherzo Valse (Chabrier). 12” Tri-Color Col. 36514, POM-24 Dec., 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J0147. EUGEN YSAYE, w.DeCreus (Pf.): Lointain passe Mazurka #3 in b (Played by the Composer). 12” Tri-Color Col. 36516, POM-24 Dec., 1912. M-A, exceptional copy. MB 25

J0148. EUGEN YSAYE, w.DeCreus (Pf.): DIE MEISTERSINGER - Preislied (Wagner-Wilhelmj). 12” Tri-Color Col. 36513, POM-24 Dec., 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J0149. EUGEN YSAYE, w.DeCreus (Pf.): Rondino (Vieuxtemps). 12” Tri-Color Col. 36523, POM-30 Dec., 1912. M-A, exceptional copy. MB 25

J0150. EUGEN YSAYE, w.DeCreus (Pf.): Obertass Mazurka #1 in G; Le Ménétrier Mazurka #2 in D (both Wieniawski). 12” Tri-Color Col. 36521, POM-27 Dec., 1912. M-A, exceptional copy. MB 25

J0151. EUGEN YSAYE, w.DeCreus (Pf.): Humoreseque, Op.101, #7 in G-flat (Dvorák). 12” Tri-Color Col. 36908, POM-19 March, 1914. A to M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 15

J0152. EUGEN YSAYE, w.DeCreus (Pf.): Ave Maria (Schubert-Wilhelmj). 12” Tri-Color Col. 36907, POM-19 March, 1914. A to M-A, beautiful copy has faintest rubs, inaud. MB 15

J0153. EUGEN YSAYE, w.DeCreus (Pf.): Concerto in e – Allegro molto vivace (Mendelssohn). 12” Tri-Color Col. 36520, POM-27 Dec., 1912. A to M-A, lovely copy has lt rubs, inaud. MB 12

“In the world of violin playing, Eugčn Ysa˙e straddled the 19th and 20th centuries like a colossus. Ysa˙e studied with Wieniawski and Vieuxtemps at the Brussels Conservatory, where he absorbed the modern, ‘pulsating’ ‘French’ style of vibrato and Wieniawski’s tonal intensity and beauty, and through Ysa˙e’s influence these were disseminated through Western Europe. Fritz Kreisler, Jacques Thibaud and Georges Enescu called him ‘the master of us all’. Ysa˙e plays each piece with more emotional involvement and interpretive insight than today’s artists would see fit to expend on them. He is also the most impulsive violinist I have ever heard. As I listen I feel as though I am eavesdropping on his most private thoughts [giving me] the feeling of being transported back to a strange place and time [notably in Wagner’s Albumblatt in C].”
-

- Joseph Magil, AMERICAN RECORD GUIDE, May/June, 1997


J0154. WALTER BIEDERMANN & L. SMITH: Mazurka de concert (Musin). 10” flush black & silver Col. 3176, POM-1905. A-, beautiful copy has faint rubs & very occasional tiny mk, ltly audible only very beg.; uncommonly bright label. MB 25

J0155. JOSEPH WOLFSTHAL, w.Weissmann Cond.Berlin Ensemble: Turkish Concerto #5 in A, K.219 (Mozart), 8s. 4-12” blue Viva-Tonal Col.G-67757/60-D, POM-1928 & 1929, in Orig.Album 137. M-A, as New (albeit album spine is slightly split). MB 65, the Set.

“Wolfsthal had the reputation of burning the candle at both ends – and in the middle….His small but finely focused, transparent tone can be heard…in Mozart’s A MajorConcerto….”
-

- Tully Potter, THE RECORDED VIOLIN


J0156. PAUL KOCHANSKI, w.Josef Kochanski (Pf.): SOUVENIR D’UN LIEU CHER – Mélodie in E-flat / SOUVENIRS DE HAPSAL – Chant sans paroles (both Tschaikowsky). 10” brown shellac Vocalion 60062 (12759/62), POM-1921. M-A/A-, beautiful copy has, Sd.2 only, faint rubs, inaud. MB 65

J0157. PAUL KOCHANSKI, w.Frank Tresselt (Pf.): Hungarian dance #1 in g (Brahms-Joachim) / La Gitana (Kreisler). 10” brown shellac Vocalion 60010 (10958/45), POM-1921. A-, lovely copy has faint rubs, inaud. MB 45

J0158. PAUL KOCHANSKI & ARTHUR RUBINSTEIN (Pf.): Sonata #3 in d (Brahms), 6s. 3-12” Orth V 8483/85, on ‘Z’ shellac, POM-15 June, 1932, in Orig. Album M-241. M-A MB 65, the Set.

“Paul Kochanski was a Polish violinist, composer, teacher, and arranger born in 1887 when Brahms was 54 years old. He first studied with his father then, at age 7, with Emil Mlynarski, one of the founders of the Warsaw Philharmonic. In 1901, Mlynarski, having by then become a conductor, invited the then fourteen-year-old Kochanski to be concertmaster of the Philharmonic. That probably made him - with the possible exception of Amadeus Mozart – the youngest concertmaster in history. In 1903, Kochanski found himself at the Brussels Conservatory. By 1908, he was touring Europe with Arthur Rubinstein. He became professor of violin at the Warsaw Conservatory in 1909 and was there until 1911. In 1916, Karol Szymanowski dedicated his first violin concerto to Kochanski, who had written the cadenza for it. In that same year, he took over for Leopold Auer at the St Petersburg Conservatory. He also taught for a year (1919-1920) at the Kiev Conservatory. During this time, he advised Prokofiev on matters of technique having to do with Prokofiev’s first violin concerto. Kochanski made his Carnegie Hall début in 1921, playing Brahms' Violin Concerto. From 1922, he lived in New York, becoming the head of the violin teaching staff at Juilliard (1924-1934.) In 1933, Kochanski premiered Szymanowski’s second Violin Concerto and again Szymanowski dedicated the work to him. On 12 January, 1934, at age 47, Kochanski died [of stomach cancer]. Among his pall bearers were Jascha Heifetz, Fritz Kreisler, and Efrem Zimbalist. Among Kochanski's pupils was Jacques Singer.”


- Prone to Violins, 14 Sept., 2009


J0159. CECILIA HANSEN, w.Boris Zakharoff (Pf.): Kujawiak Mazurka #2 in a (Wieniawski) / CZARDAS – Hejre kati (Hubay). 12” Vla 6550, POM-29 Oct., 1925. A-, lovely copy has faint rubs & superficial scrs, inaud. MB 12

J0160. CECILIA HANSEN, w.Boris Zakharoff (Pf.): Rondino (Vieuxtemps) / Hungarian dance #4 in b (Brahms). 12” Vla 6447, only form of issue, 19 March, 1924 (assigned S/S numbers, but never issued). M-A, as New! MB 15

J0161. CECILIA HANSEN, w.Boris Zakharoff (Pf.): Berceuse (Järnefelt) / Berceuse (Cui). 10” Vla 1035, POM-19/5 March, 1924. A to M-A, lovely copy has faintest rubs, inaud. MB 15

“Hansen made eight 78rpm sides for Victor with Zakharoff at the piano, including beautiful accounts of the Cradle Songs by Järnefelt and Cui….the ensemble between husband and wife is excellent….In 1916 [she had] married the pianist Zakharoff (a friend of Prokofiev and a fellow pupil with him of Rimsky-Korsakov)….”


- Tully Potter, THE RECORDED VIOLIN


J0162. JOSEPH PIASTRO-BORISOFF, w.Maurice Nadelle (Pf.): La Gitana (Kreisler) / Mazurka de concert (Musin). 10" H & D paper label Edison 80693, only form of issue, Sd.2. M-A, as New! MB 15

“Russian recording artist and violinist Josef Piastro-Borisoff was a Belgian violinist (and onetime concertmaster of the New York Philharmonic Society, the Minneapolis Symphony, and the Los Angeles Philharmonic).”


- Peter Blecha, National Institute of Music and Arts (Seattle)


J0163. JAROSLAV KOCIAN: Canzonetta #1 (d’Ambrosio), self-announced; 1 of his 3 known titles. 10” flush black & silver Col. 1423, POM-1903. A-, lovely copy has lt. rubs, inaud.; small pressing bump is ltly audible a few turns; 3 minor hlc forming at edge; uncommonly bright label. MB 175

“Jaroslav Kocián was a Czech violinist, classical composer and teacher who studied in Prague under Otakar Sevcík, and is considered together with Jan Kubelík as the most important representative of Sevcík ´s school. Regarded as an interpreter of violin compositions of Johann Sebastian Bach, he is especially noted for his compositions for the violin, which have been recorded most often by his student Josef Suk. He taught at the Prague Conservatory. His three known recordings are most rare.”


- Wikipedia


J0164. LEONID KOGAN, w.Kondrashin Cond.: Sérénade mélancolique in b (Tschaikowsky) / w.Gauk Cond.: Introduction and rondo capriccioso (Saint-Saëns). 8” pale-blue Aprelevsky-Zavod 004628/29 (33 1/3rpm), in Original Sleeve. M-A MB 25

"At the height of his career, Kogan interpreted the great classical concertos (notably Beethoven and Brahms) with power, nobility, and an admirable feeling for stylistic purity. He always avoided flamboyant effects, and was rather reticent on stage. His tone was lean, with a tight and sparse vibrato, his intonation infallibly pure, his technical command superb. All these qualities can be heard on the many recordings he made between 1950 and 1970."


- Boris Schwarz, GREAT MASTERS OF THE VIOLIN


J0165. VASA PRIHODA: LUCIA DI LAMMERMOOR – Sextette (Donizetti-Saint Lubin) / w.Asta Doubravská (Pf.): Dumka (Bazzini). 10" H & D etched label Edison 82225, only form of issue. M-A MB 20

J0166. VASA PRIHODA, w.Asta Doubravská (Pf.): Waltz #7 in d (Dvorák) / Humoresque #2 (Kocián). 10" H & D paper label Edison 80681, only form of issue. M-A, lovely copy has faintest rubs, inaud. MB 25

J0167. VASA PRIHODA, w.Asta Doubravská (Pf.): La Ronde des Lutins (Bazzini) / Caprice viennois (Kreisler). 10" H & D etched label Edison 82227, only form of issue. M-A, lovely copy appears somewhat cloudy. MB 20

J0168. VASA PRIHODA, w.Asta Doubravská (Pf.): Jota de Pablo (Sarasate) / Humoresque #7 in G-flat (Dvorák-Wilhelmj). 10" H & D paper label Edison 82228, only form of issue. M-A MB 25

J0169. VASA PRIHODA, w.Asta Doubravská (Pf.): Aus flügeln des Gesanges (Mendelssohn) / Songs my mother taught me (Dvorák-Powell). 10" H & D paper label Edison 82236, only form of issue. M-A MB 25

J0170. VASA PRIHODA, w.Otto Eisen (Pf.): Le Streghe (Paganini) / LE COQ D’OR –Hymn to the Sun (Rimsky-Korsakov - Kreisler). 10" H & D paper label Edison 82318, only form of issue. M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. MB 25

J0171. VASA PRIHODA, w.Otto Eisen (Pf.): DIE RUINEN VON ATHEN – Marcia alla Turka (Beethoven) / Symphonie espagnole – Andante / Rondo (Lalo). 10" H & D paper label Edison 82293, only form of issue. M-A MB 25

J0172. VASA PRIHODA, w.Otto Eisen (Pf.): Sérénade du Tzigane (Valdez) / KONZERTSTÜKE – Spanish Dance (Rehfeld). 10" H & D paper label Edison 82255, only form of issue. M-A MB 25

J0173. VASA PRIHODA, w.Otto Eisen (Pf.): Concerto #4 in d – Adagio religioso / Finale – Allegro (Vieuxtemps). 10" H & D paper label Edison 82261, only form of issue. M-A, lovely copy has faintest rubs, inaud. MB 25

J0174. GRIGORAS DINICU: Hora Staccato (Played by the Composer) / Hungarian Potpourri (arr.Dinicu). 10” dark-blue PW Eng.Col. 5684, POM-1930. M-A MB 45

“The recordings Dinicu made for Columbia in 1927–1928 reveal a powerful and well-projected sound, garnished with a very wide vibrato together with prominent and slow portamenti in more melodic passages. In faster passagework his tone is clear and vibrant, allowing a considerable variety of colour, whilst his trills and ornamental passagework are scintillatingly delivered….Dinicu’s style makes an interesting juxtaposition with that of Jenö Hubay, director of the Budapest Academy, who, although from an arguably more ‘elevated’ artistic position, embodies recognisable elements of Dinicu’s sound-world.

Dinicu’s legacy is probably best represented by his generous output of small-scale compositions and arrangements, mostly for violin and piano. Best known is his 1906 showpiece ‘Hora staccato’, a short, fast work in a Romanian dance style that has become a favourite encore, requiring an exceptional command of both up-bow and down-bow staccato. Heifetz made his own popular virtuoso arrangement of this work in 1932 and famously performed it in Vienna. It is a matter of regret that, despite Heifetz’s accolade - dubbing Dinicu the greatest violinist he had ever heard - his important place in the heritage of twentieth-century performance is not well represented in the annals of string playing.”


- David Milsom, Naxos' A–Z of String Players


J0175. DANIEL MELSA: Caprice (Paganini) / FAUST – Fantaisie brillante (Gounod-Wieniawski). 10" H & D etched label Edison 80194, only form of issue, 1914. M-A MB 25

“[After] studies with Flesch, [Melsa] made a successful Berlin début in 1912. The following year he introduced himself to London - with a series of recitals at Steinway Hall - and New York. He played the Brahms Concerto under Nikish in Leipzig and toured widely in Europe, being especially busy in Britain where he had settled….”


– Tully Potter, THE RECORDED VIOLIN


J0176. ZINO FRANCESCATTI, w.Maurice Fauré (Pf.): Tzigane (Ravel), 2s. 12” Royal Blue Shellac Col. 68102-D, POM 1933. M-A, as New! MB 20

J0177. JOSEPH FUCHS, w.Marrow Cond.: Lotus Land (Scott) / Souvenir de Vienne (Provost). 10” M-G-M 30063, only form of issue, 17 Dec., 1947. A to M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. MB 15

J0178. JOSEPH FUCHS, w.Marrow Cond.: SUITE BERGAMASQUE – Clair de lune (Debussy) / La Gitana (Kreisler). 10” M-G-M 30134, only form of issue, 17 Dec., 1947. A-, lovely copy has faintest rubs, inaud. MB 12

“It was unfortunate for Fuchs that he played at a time when active violinists included Heifetz, Kreisler, Elman, Milstein, Stern, Oistrakh, Kogan, Francescatti, and a great many others. Fuchs spent 14 years as concertmaster of the Cleveland Orchestra (1926-1940) before truly pursuing a solo career. [Then] he was greatly admired by his peers, by professional musicians of all stripes.”


- Henry Fogel, FANFARE


J0179. GERHARD TASCHNER: Partita #2 in d - Chaconne (Bach), 4s. 2-12” brown German Odeon O-8764/65 (xxB8893-96), POM-25 & 28 Nov., 1941. A-, lovely copy has lt.rubs & occasional mk, inaud. MB 145, the Pair.

“…Gerhard Taschner, a one-time Huberman pupil and Furtwängler’s concert master with the wartime Berlin Philharmonic (from the extraordinary young age of 19), who later on forged a career as a soloist….[offers] playing [which] is tonally rich and full of temperament.”


- Rob Cowan, GRAMOPHONE, Feb., 2008


J0180. JAN KUBELIK: Souvenir in D (1907 Version, ‘Take’ 1 (of 2 issued ‘takes’) (Drdla) / Der Zephir (Hubay). 10˝” US-Fonotipia 39162/39925 (XPh 2402/2228). A to M-A, choice copy has faintest rubs. MB 25

J0181. JAN KUBELIK: Serenade #1 in A (1905 Version) / Vision (both Drdla). 10˝” US-Fonotipia 39193/62037 (XPh 284-1/2401). A to M-A, spectacular copy. A to M-A, choice copy has faintest rubs; tiny ec, Sd.1, far from grooves. MB 20

J0182. JAN KUBELIK: FAUST – Fantaisie brillante (‘Le Veau d’or’) (Gounod-Wieniawski) / KINDERSZENEN – Träumerei (Schumann). 10˝” US-Fonotipia 39164/39194 (XPh 273-2/285-2). M-A, exceptional copy. MB 20

J0183. JAN KUBELIK: Moto perpetuo, Op.11 (Paganini) / La Ronde des Lutins (Bazzini). 10˝” Milano Fonotipia 39192/95 (XPh 276/295). A-, lovely copy has lt.rubs, inaud. MB 20

J0184. JAN KUBELIK: Zigeunerweisen / DANZAS ESPAŃOLAS - Zapateado (both Sarasate). 11” Milano Fonotipia 74084/83 (XXPh 2405/4305). M-A MB 25

J0185. JAN KUBELIK: Serenata (d’Ambrosio) / Scherzo-tarantelle (Wieniawski). 10˝” US-Fonotipia 39191/39884 (XPh 271/2231). M-A, exceptional copy. MB 20

J0186. JAN KUBELIK: Danse hongroise (Liszt-Nachez) / Morceaux – Cavatina, Op.85, #3 (Raff). 10˝” US-Fonotipia 39163/62036 (XPh 272-2/2400-2). A-, lovely copy has lt.rubs, inaud. MB 20

J0187. JAN KUBELIK, w.Alfred Holecek (Pf.): Burleska (Played by the Composer) / Ave Maria (Schubert-Wilhelmj). 12” black Ultraphon G 11385 (031844/46), only form of issue, 8 October, 1933. A, beautiful copy has faint rubs & lt. mks, only very occasionally ever-so-faintly audible, hardly worth mention. MB 75

J0188. JAN KUBELIK & NELLIE MELBA: Ave Maria (Bach-Gounod) / IL RE PASTORE – L’amerň, sarň costante (Mozart). 12” PW Historic Catalogue #2 HMV DK 112, POM-2 Oct., 1913, Never Doubled. M-A MB 15

“Two years after graduating from the Prague Conservatory Kubelík received a hero’s welcome from the London public, playing at Richter’s invitation. Audiences found him as appealing as the likes of Paganini and Paderewski….He was celebrated for his virtuosity, richness of tone and faithful intonation. Kubelík was amongst the earliest world-class violinists to make solo recordings….Gramophone and Typewriter recorded Kubelík and Nellie Melba in 1904: the understated obbligato rôles in Mozart’s ‘L’amero saro costante’ and the Bach-Gounod ‘Ave Maria’ demonstrate a rather more tender side to his playing with the emphasis on purity of tone and close parity with Melba’s vocal sound. The early ‘Ave Maria’ recording quickly became a widely accepted classic and was re-recorded twice in 1913, following technological advances.

Overall, Kubelík’s recordings are seen, rightly in many ways, as some of the most successful of the early period and his tone is projected well even by basic acoustic technology….Technically, as in the case of Heifetz some years later, Kubelík’s playing is astonishingly precise and formidably reliable….Similarly early recordings of elder statesmen such as Joachim and Sarasate show them, on a technical level at least, to be rather past their prime and even (arguably) behind the times in terms of technical accuracy. Kubelík, though, bears witness to the effectiveness of Sevcik’s systematic training and perhaps heralds the dawn of an age in which technical wizardry on a previously undreamt-of scale became the norm rather than the exception.”


- David Milsom, Naxos' A–Z of String Players


J0189. GEORGES ENESCU, w.E. C. Harris (Pf.): Albumblatt in A-flat (Wagner) / DIE RUINEN VON ATHEN – Chor der Derwische (Beethoven). 10” silver Flags Label Col.20029-D, POM-1923. M-A, exceptional copy has faintest rubs, inaud. & hardly worth mention. MB 150

J0190. GEORGES ENESCU, w.Sanford Schlussel (Pf.): La Follia Sonata #12 in d (Corelli), 2s. 12” black Viva-Tonal Col.50161-D, POM-1929. M-A, as New! MB 125

J0191. GEORGES ENESCU, w.Sanford Schlussel (Pf.): Počme (Chausson), 2s. 2-12” dark-blue Eng. Col. DVX 5/6, POM-1929. M-A MB 125, the Pair.

J0192. GEORGES ENESCU, w.Sanford Schlussel (Pf.): Sonata #14 in D (Handel), 2s. 2-12” blue early PW Col.5110/11, POM-1929. M-A, as New! MB 125, the Pair.

“The greatest of Romanian musicians, George Enescu was equally remarkable as a violinist and as a composer. He contributed significantly to the development of music in his own country, although much of his activity centred on Paris, where he was a pupil of Marsick and for composition of Fauré and Massenet. His violin pupils include Grumiaux, Ferras, Gitlis and Menuhin.”


- Naxos' A–Z of String Players


J0193. LICCO AMAR, w.Gunther Ramin (Cembalo): Sonata #8 in e – Largo & Allegro con fuoco (Complete, as recorded) (Veracini), 2s. 12” green German Polydor 19870 (89/90bs), only form of issue, 1928. A to M-A, choice copy has faintest rubs, inaud. MB 45

J0194. LICCO AMAR, w.Gunther Ramin (Cembalo): Sonata #3 in D (Leclair), 2s. 12” green German Polydor 19871 (91/92 ˝bs), only form of issue, 1928. A to M-A, choice copy has faintest rubs, inaud. MB 45

“After initial violin studies in Budapest, David Licco Amar came to Berlin in 1911 to study music. He began his artistic career in 1912 as a second violinist in the Marteau Quartet and at the Berlin Philharmonic Orchestra. In 1920, he joined the Nationaltheater as a concertmaster in Mannheim, where he worked until 1923. In the 1920s he was mostly with the Amar Quartet and as a soloist in Germany and abroad. From 1929 he worked as concertmaster and soloist for the Südwestdeutsche Rundfunkorchester in Frankfurt. Amar was known for his Amar Quartet, which he founded together with Paul Hindemith. Originally the quartet had only come together in 1921 to premiere Hindemith's Second String Quartet at the Donaueschinger Kammermusiktage.”


- Angelika Riebe, jüdisches-leben-frankurt.de


J0195. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): La Capricieuse (Elgar). 12” green Bruns. 30024, only form of issue, 18 Oct., 1921. A-, lovely copy has lt. rubs, inaud. MB 12

J0196. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): Symphonie espagnole – Andante / Rondo (Lalo). 12” gold Bruns. 50041, POM-23 Feb., 1923. A, lovely copy has sl.grainey surface; Sd.1 only has wee pressing bump & closed ‘blister’ which ticks faintly a few turns. MB 12

J0197. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): Suite #3 in D - Air on the G String (Bach). 12” green Bruns. 30027, only form of issue, 30 Nov., 1921. M-A, as New! MB 15

J0198. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): Nocturne in E-flat, Op.9, #2 (Chopin). 12” green Bruns. 30023, only form of issue, 18 Oct., 1921. M-A, exceptional copy has faintest rubs, inaud. & hardly worth mention. MB 15

J0199. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): ORFEO - Dance of the blessed spirits (Gluck) / Hungarian dance #7 in A (Brahms). 10” gold Bruns. 15063, POM-5 March, 1923. M-A, exceptional copy has faintest rubs, inaud. & hardly worth mention. MB 15

J0200. BRONISLAW HUBERMAN, w.Siegfried Schultze (Pf.): Hungarian Dance #1 in g (Brahms-Joachim) / JOSEPH SZIGETI: Partita #3 in E for Violin Unaccompanied – Gavotte (Bach). 10” black & silver Japanese Viva-Tonal Col.S-61 [WA-9155/35244], POM-1932/’33. A to M-A, lovely copy has faint rubs, inaud. MB 15

J0201. BRONISLAW HUBERMAN, w.Siegfried Schultze (Pf.): Suite #3 in D - Air on the G String (Bach) / Waltz in A, Op.39, #15 (Brahms). 12” blue Italian Col.GQX 10302, POM-5 Jan., 1931. A to M-A, lovely copy has faintest rubs, inaud. & hardly worth mention. MB 15

J0202. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): Mazurka in G (Zarazycke) (1922 Version) / Kol Nidrei (Bruch). 12” gold Bruns. 50022, POM-21 / 23 Nov., 1922. M-A, as New! MB 20

J0203. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): Ballade et Polonaise in G (Vieuxtemps), 2s. 12” gold Bruns. 50019, only form of issue, 22 Nov., 1922. M-A, as New! MB 20

J0204. BRONISLAW HUBERMAN, w.Paul Frenkel (Pf.): Capriccio - valse / Concerto #2 in d - Romance (both Wieniawski). 12” gold Bruns.50031, POM-21 Feb., 1921. M-A, as New! MB 20

J0205. BRONISLAW HUBERMAN, w.Siegfried Schultze (Pf.): Concerto in e - Andante / Allegro molto vivace (Mendelssohn). 12” gold Bruns. 50049, POM-1924. A to M-A, lovely copy has faintest rubs, inaud. & hardly worth mention. MB 15

J0206. BRONISLAW HUBERMAN & IGNAZ FRIEDMAN: Kreutzer Sonata in A (Beethoven), 8s. 4-12” red Decca-Odeon 25505/08, POM-1930. M-A MB 25, the Set,

J0207. BRONISLAW HUBERMAN, w.Dobrowen Cond.Vienna Phil.: Concerto #1 in a (Bach), 4s. 2-12” PW Col.70462/63, POM-1934, in Album MX 45. M-A MB 15, the Set.

J0208. BRONISLAW HUBERMAN, w.Dobrowen Cond.Vienna Phil.: Concerto #2 in E (Bach), 5s. 3-12” MasterWorks Col.68376/78, POM-1934, in Album 235, w.Brochure. M-A MB 25, the Set.

J0209. BRONISLAW HUBERMAN, w.Dobrowen Cond.Vienna Phil.: Concerto #3 in G, K.216 (Mozart), 6s. 3-12” MasterWorks Col.68548/50, POM-1934, in Album 258, w.Brochure. M-A MB 25, the Set.

J0210. BRONISLAW HUBERMAN, w.Steinberg Cond.Berlin Staatsoper Orch.: Concerto in D, 7s / Sd.8 = BRONISLAW HUBERMAN, w.Siegfried Schultze (Pf.): Mélodie in E-flat (both Tschaikowsky). 4-12” blue Viva-Tonal Col. 67726/29-D, both POM-16 Aug., 1929. A to M-A, lovely copy has faintest rubs, inaud. & hardly worth mention. MB 20, the Set.

J0211. BRONISLAW HUBERMAN, w.Szell Cond.Vienna Phil.: Symphonie Espagnole (Lalo), 6s. 3-12” PW Col.68288/90-D, POM-1934, in Album M 214. M-A MB 15, the Set.

J0212. CARL FLESCH, w.Homer Samuels (Pf.): Ave Maria (Schubert-Wilhelmj) / Explanatory Talk. 10" H & D etched label Edison 82063, only form of issue, 9 April, 1914. M-A, as New! MB 25

J0213. CARL FLESCH, w.Homer Samuels (Pf.): Rondino (Vieuxtemps) / Mazurka #2 in g (Wieniawski). 10" H & D etched label Edison 82074, only form of issue, 9 / 7 April, 1914. M-A MB 25

J0214. CARL FLESCH, w.Harry Kaufman (Pf.): Aus Wien (Gärtner-Kreisler) / DER OPERNBALL – In chambre séparée (Heuberger). 10" H & D paper label Edison 82330, only form of issue, 1 April, 1924. M-A MB 25

J0215. CARL FLESCH, w.Harry Kaufman (Pf.): DANZAS ESPAŃOLAS - Malagueńa (Sarasate) / The Foggy, Foggy Dew (Alexander). 10" H & D paper label Edison 82327, only form of issue, 1 / 24 April, 1924. M-A MB 25

J0216. CARL FLESCH, w.Waldemar Liachowsky (Pf.): Slavonic Dance #7 in c (Dvorák) / Sonata #1 in F - Larghetto (Weber-Kreisler). 10" H & D paper label Edison 82311, only form of issue, 29 Jan., 1924. M-A MB 25

J0217. CARL FLESCH, w.Waldemar Liachowsky (Pf.): Caprice #28 in D (Fiorello) / Serenade (Titl-Flesch)). 10" H & D paper label Edison 82313, only form of issue, 20 / 30 Jan., 1924. M-A, as New! MB 25 

J0218. CARL FLESCH, w.Kurt Ruhrseitz (Pf.): Slavonic Dance #2 in a (Dvorák-Kreisler) / Concerto in D - Canzonetta (Tschaikowsky). 10" H & D paper label Edison 80878, only form of issue, 5 March / 20 Feb., 1926. M-A MB 25

J0219. CARL FLESCH, w.Kurt Ruhrseitz (Pf.): Romance in E-flat (Rubinstein-Wieniawski) / Melody in A (Dawes). 10" H & D paper label Edison 82346, only form of issue, 20 Feb., 1926. A-, lovely copy has hint of grey on peaks. MB 35

J0220. CARL FLESCH, w.Kurt Ruhrseitz (Pf.): Aus der Heimat - Fantaisie (Smetana) / Rondino on a theme by Beethoven (Kreisler). 10" H & D paper label Edison 80865, only form of issue, 8 Feb., 1926. M-A, as New! MB 25

J0221. CARL FLESCH & JOSEPH SZIGETI, w.Goehr Cond.: Concerto in d for Two VIolins (Bach), 4s. 2-12” MasterWorks Col. 69109/10-D, POM-30 Aug., 1937, in Orig. Album X-90. M-A, a gleaming copy of preferred MasterWorks pressing. MB 25, the Set.

On record, Flesch’s playing is agile, although it is his tone that catches the ear the most, relatively sparing in portamento and laden with a rather heavy and (by modern standards) very slow vibrato. Like many violinists of his day Flesch, despite having a particularly eclectic repertoire, barely varies his style of playing. His 1937 Bach Double Concerto performance with Joseph Szigeti (another exponent of slow and wide vibrato) [above] is very well known and one of the classic performances of this work from the 1930s.”


- David Milsom, Naxos' A–Z of String Players


J0222. MISCHA ELMAN, w.Wolfgang Rosé (Pf.): A Tribute to Mischa Elman on his 40th Anniversary, incl. Beethoven, Drigo, Gossec, Drdla, Arensky & Cui. 3-10" RCA 10-1491/93, only form of issue, 1949, in Orig. Album DM 1328. M-A MB 35, the Set.

J0223. MISCHA ELMAN, w.Vladimir Padwa (Pf.): Souvenir de Moscou (Wieniawski) / Ständchen (Schubert). 12” PW Japanese V RL-19 (8800/03-3), only form of issue, 12 Feb., 1937, Tokyo (w.Elman’s signature & date embosssed in inner margin), accompanied by 8pp Japanese Victor brochure. M-A, superlative copy has faintest pap.rubs, hardly worth mentioning. Highly elusive! MB 65

“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


J0224. MISCHA ELMAN, w.Percy Kahn (Pf.): IDOMENEO – Gavotte in G (Mozart). 10” white label Vla 64140, only form of issue, 6 April, 1910. M-A MB 15

J0225. MISCHA ELMAN, w.Carroll Hollister (Pf.): Légende in d (Wieniawski) / DIE MEISTERSINGER - Preislied (Wagner-Wilhelmj). 12” PW V 7649, POM-29 May / 2 June, 1930. M-A MB 12

J0226. MISCHA ELMAN, w.Carroll Hollister (Pf.): Zigeunerweisen, Op.20 (Sarasate), 2s. 12” Scroll V 7780, POM-26 Feb. / 29 April,1931, on Z Shellac. M-A, as New! MB 15

J0227. MISCHA ELMAN, w.Carroll Hollister (Pf.): LE CARNAVAL DES ANIMAUX – Le Cygne / Pičce en forme de Habanera (Ravel). 10” Scroll V 1592, POM-2 June, 1930 / 20 Feb., 1932, on Z-type Shellac. M-A, superlative copy has faintest pap.rubs, hardly worth mentioning. MB 12

J0228. MISCHA ELMAN, w.Josef Bonime (Pf.): Ave Maria (Schubert-Wilhelmj) / w.Raymond Bauman (Pf.): Suite #3 in D - Air on the G String (Bach). 12” Scroll V 7103, POM-21 May, 1929 / 22 June, 1928, on Z Shellac, only form of issue, Sd.2. M-A, superlative copy. MB 15

J0229. MISCHA ELMAN, w.Marcel van Gool (Pf.): Nocturne #8 in B-flat (Chopin-Wilhelmj) / Hear my prayer – O for the wings of a dove (Mendelssohn). 12” LVDP DB 1398, only form of issue,1931. M-A, superlative copy has faintest pap.rubs, hardly worth mentioning. MB 12

J0230. MISCHA ELMAN, w.Marcel van Gool (Pf.): Airs tziganes (Espejo) / Ręve d’enfant (Ysa˙e). 12” Orth Vla 7574, POM-5 Oct., 1931, on Z Shellac. A-, very decent copy has lt.rubs, inaud. MB 12

J0231. MISCHA ELMAN, w.Shilkret Cond. Victor S.O.: Sérénade mélancolique in b, Op.26 (Tschaikovsky), 2s. 12” Orth Vla 7744, POM-25 Aug., 1930. M-A, superlative copy. MB 12

J0232. MISCHA ELMAN, w.Marcel van Gool (Pf.): KINDERSZENEN – Träumerei (Schumann) / w.Carroll Hollister (Pf.): Deutscher Tänze # 3 in B-flat (as ‘Valse sentimentale’ (Schubert). 10” Scroll V 1482, POM-12 Feb., 1929 / 26 May, 1930, on Z Shellac. M-A, as New! MB 15

J0233. MISCHA ELMAN, w.Collingwood Cond. London S.O.: Romance #1 in G (Beethoven), 2s. 12” LVDP DB 1846, only form of issue, 30 Nov.,1932. M-A, superlative copy has faintest pap.rubs, inaud. & hardly worth mentioning. MB 15

J0234. MISCHA ELMAN, w.Collingwood Cond. London S.O.: Romance #2 in F (Beethoven), 2s. 12” LVDP DB 1847, only form of issue, 30 Nov.,1932. M-A, superlative copy has faintest pap.rubs, inaud. MB 15

J0235. ELMAN STRING QUARTET (Mischa Elman, Edward Bachmann, William Schubert & Horace Britt): Quartet #1 in d – Andante cantabile (Tchaikowsky) / ‘Emperor’ Quartet in C – Theme & Variations (Haydn). 12” Scroll V 6634, POM-5 Jan., 1927, on Z-type Shellac. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12

"I was eleven at the time. When Colonne saw me, violin in hand, ready to step on the stage, he drew himself up and said with emphasis: 'I play with a prodigy! Never!' Nothing could move him, and I had to play to a piano accompaniment. After he had heard me play, though, he came over to me and said: 'The best apology I can make for what I said is to ask you to do me the honor of playing with the Orchestre Colonne in Paris’. He was as good as his word. Four months later I went to Paris and played the Mendelssohn concerto for him with great success."


- Mischa Elman, (in Donald Brook’s Violinists of Today)


J0236. JASCHA HEIFETZ, w.Isidor Achron (Pf.): Piano Sonata #17 in D – Rondo / Ave Maria (both Schubert). 12” Scroll V 6691, POM-31 Dec., 1926, on ‘Z’ shellac. M-A, as New! MB 15

J0237. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto in a, 5s. / Sd.6 = JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Méditation, Op.32 (both Glazounov). 3-12" Orth Vla 8296/98, POM-28 March, 1934, on ‘Z’ shellac, in Orig.Album M 218, .Brochure. M-A, as New! MB 25, the Set.

J0238. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto in d (Sibelius), 8s. 4-12" Scroll V 14016/19, POM-26 Nov., 1935, on ‘Z’-type shellac, in Orig.Album M 309, w.Brochure. A to M-A, beautiful copy has faintest rubs, inaud. MB 25, the Set.

J0239. JASCHA HEIFETZ, w.Emanuel Bay (Pf.): Sonata #26 in B-flat, K.378; Sonata #32 in B-flat, K.454 (erroneously printed as Sonatas Nos.10 & 15) (Mozart), 10s. 5-12” Scroll V 14331/35, POM-3 / 10 Feb., 1936, on ‘Z’-type shellac, in Orig. Album AM-343, w.Brochure. M-A, as New! Reviewer’s Copy (reviewer’s ‘X’ on labels). MB 25, the Set.

J0240. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Tzigane (Ravel), 2s. 12” Scroll V 8411, only form of issue, 6 Feb., 1934, on Z Shellac. M-A, as New! MB 15

J0241. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto #2 in d, 5s / Sd.6 = JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Scherzo tarantelle (both Wieniawski). 3-12” Scroll V 8757/59, POM-18 March, 1935 / Feb., 1934, on ‘Z’-type shellac, in Orig. Album M-275, w.Brochure. M-A, as New! MB 35, the Set.

J0242. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: ‘Turkish’ Concerto #5 in A, K.219 (Mozart), 8s. 4-12" Scroll V 8601/04, POM-Feb., 1934, on ‘Z’ shellac, in Orig. Album M 254, w.Brochure. M-A, as New! MB 25, 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).


J0243. NAOUM BLINDER, w.Valentin Pavlowsky (Pf.): Caprice viennois (Kreisler) / Variations on a theme by Corelli (Tartini-Kreisler). 12” Royal Blue Shellac, Col.5106-M, POM-19 Nov., 1928. A to M-A, lovely copy has faintest rubs, inaud. MB 35

J0244. NAOUM BLINDER, w.Valentin Pavlowsky (Pf.): Wiegenlied (Schubert-Elman) / Perpetuum mobile (Novácek). 10” black Viva-Tonal Col.158-M, POM-26 March / 14 Feb., 1928. A to M-A, lovely copy has faintest rubs, inaud. MB 35

“At the invitation of Issay Dobrowen in 1931, Blinder accepted the concertmaster position at the San Francisco Symphony Orchestra, where he also played under Pierre Monteux and Enrique Jorda. He remained with the orchestra until 1957, and was a soloist with many orchestras around the country. He was one of the founders of the San Francisco String Quartet (1935), which was composed of members of the orchestra, including his cellist brother, Boris. Blinder was a noted violin teacher as well. His most prominent student was one of the most critically acclaimed violinists of the twentieth century, Isaac Stern…and Glenn Dicterow, who was the concertmaster of the New York Philharmonic. Blinder died in San Francisco on 21 November, 1965 aged 76 years.”


- Wikipedia


J0245. YEHUDI MENUHIN, w.Marcel Gazelle (Pf.) : DANZAS ESPAŃOLAS – Romanza Andaluza (Sarasate) / La Ronde des Lutins (Bazzini). 12” Scroll V 8695, POM-28 Nov.,1934, on ‘Z’ shellac. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 15

J0246. YEHUDI MENUHIN & GEORGES ENESCU; (Vlns); Monteux Cond. Paris Conservatoire Orch.: Concerto for Two Violins in d (Bach), 4s. 2-12" Scroll V 7732/33, POM-4 June, 1932, on ‘Z’ shellac. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 25, the Pair.

J0247. ALBERT SPALDING, w.André Benoist (Pf.): Sonata in A (Franck), 8s. 4-12" Scroll V 8278/81, only form of issue, 1 Feb., 1934, on ‘Z’ shellac. M-A, as New! MB 65, 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


J0248. FRITZ KREISLER, w.Carl Lamson (Pf.): Tambourin chinois (Played by the Composer) / THAĎS – Méditation (Massenet). 12” Scroll V 6844, POM-27 / 2 Feb., 1928, on ‘Z’ shellac. M-A, as New! MB 12

J0249. FRITZ KREISLER, w.Carl Lamson (Pf.): Caprice viennois (Played by the Composer) / Humoresque #7 in G-flat (Dvorák). 12” Scroll V 6692, POM-14 April, 1926 / 26 March, 1927, on ‘Z’-type shellac. M-A, as New! MB 15

J0250. FRITZ KREISLER, w.Blech Cond. Berlin Staatsoper Orch: Concerto in D (Beethoven), 11s. / Sd.12 = FRITZ KREISLER: Sonata #1 in g – Adagio for Violin Unaccompanied (Bach). 6-12” Scroll V 8138/43, POM-Dec., 1926, on ‘Z’ shellac. M-A, as New! MB 85, the Set.

J0251. FRITZ KREISLER, w.Blech Cond. Berlin Staatsoper Orch.: Concerto in D (Brahms), 9s. / Sd.10 = FRITZ KREISLER, w.Raucheisen (Pf.): Romance in A (Schumann). 5-12” Scroll V 8115/19, POM-Nov., 1927, on ‘Z’ shellac. M-A, as New! MB 85, the Set.

J0252. FRITZ KREISLER, w.Blech Cond. Berlin Staatsoper Orch.: Concerto in e, 7s. / Sd.8 = FRITZ KREISLER, w.Árpád Sándor (Pf.): SONGS WITHOUT WORDS – May Breezes (both Mendelssohn). 4-12” PW Electrola DB997/1000, POM-Dec., 1926, in Orig. Electrola Album M-19, w.Brochure. A to M-A, beautiful copy has occasional faint rubs, inaud. MB 65, the Set.

J0253. JACQUES THIBAUD: Ave Maria (Schubert-Wilhelmj) / Chant sans paroles (Tschaikowsky). 10˝” US grey paper label H & D Pathé 27512, recorded 1919, Brooklyn. M-A, a spectacular copy! MB 65

J0254. JACQUES THIBAUD: Smilin’ through (Penn) / Roses of Picardy (Wood). 9˝” US grey paper label H & D Pathé 27516, recorded 1920, Brooklyn. M-A, superb copy! MB 65

J0255. JACQUES THIBAUD: PICCOLINO – Mélodram de Piccolino (Guiraud) / Melody in F (Rubinstein). 11” US grey paper label H & D Pathé 60046, recorded 1916, Paris / Brooklyn, resp. A to M-A, superb copy has faintest rubs, inaud. & hardly worth mention. MB 55

J0256. JACQUES THIBAUD: Ständchen (Schubert) / THAĎS - Méditation (Massenet). 11” US grey paper label H & D Pathé 60071, recorded 1917, Brooklyn. A to M-A, superb copy has, Sd.1 only, very lt.nr, inaud. MB 45

J0257. JACQUES THIBAUD: PIČCES DE CLAVECIN - Les Chérubins (Couperin) / Scherzando (Marsick). 11” US grey paper label H & D Pathé 60051, recorded 1916, Brooklyn / Paris, resp. A-, lovely copy has faintest rubs, inaud. MB 55

J0258. JACQUES THIBAUD: Introduction and rondo capriccioso (Saint-Saëns), 2s. 11” US grey paper label H & D Pathé 60047, recorded 1916, Paris. B-C, decent copy has considerable rubs & lt.scrs, positively audible; ec into first grooves, Sd.1, not affecting performance. Offered due to rarity. MB 15

J0259. JACQUES THIBAUD, w.Harold Craxton (Pf.): Moment musical #3 in f (Schubert); Minuet caprice #18 in f (Rode). 10” Vla 66065, POM-7 Feb., 1922. M-A, as New! MB 25

J0260. JACQUES THIBAUD, w.Harold Craxton (Pf.): Sérénité (Vieuxtemps) / Slavonic Dance #1 in g (Dvorák). 10” Vla 976, POM-6/7 Feb., 1922. M-A, beautiful copy has, alas, fine hlc. MB 15, as is . . .

J0261. JACQUES THIBAUD & ALFRED CORTOT: Sonata in A (Franck), 8s. 4-12” Vla 6524/27, POM-1923 & 1924. M-A Exceedingly Rare, this AC Issue enjoyed a very brief catalogue life and was superseded by the 1929 EL Version. M-A, beautiful copy has, Sd.3 only, infinitessimal pap.scr, positively inaud., hardly worth mention. MB 150, the Set.

“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


J0262. JOEL BELOV, w.Robert Gayler (Pf.): Suite #3 in D - Air on the G String (Bach) / Minuet #2 in G (Beethoven); XERXES – Ombra mai fu (Handel). 10" H & D etched label Edison 80419, only form of issue, 1920. M-A, beautiful copy. [Belov was a violinist with the Philadelphia Orchestra, 1912-31.] MB 15

J0263. JOSEPH SZIGETI, w.H. Bird (Pf.): KUOLEMA - Valse triste (Sibelius). 12” black HMV 07971 (Ai6217f), POM-3 April, 1912. A to M-A, lovely copy has lt.rubs, inaud. MB 20

J0264. JOSEPH SZIGETI, w.Kurt Ruhrseitz (Pf.): Der Zephir (Hubay) / Sicilienne et rigaudon (Francoeur-Kreisler). 12” blue Viva-Tonal Col.7131-M, POM-7 Sept., 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12

“Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture....I always admired him, and he was respected by musicians….in his late years, he finally got the appreciation he deserved from the general public as well.”
– Nathan Milstein, FROM RUSSIA TO THE WEST, p. 93


J0265. FRANK GITTELSON: Caprice viennois (Kreisler) / THAĎS – Méditation (Massenet). 12” Tri-Color Col. A5988, POM-28 / 27 March, 1917. [Frank Gittelson taught at Peabody from 1922-1943 and was the National Symphony Orchestra Concertmaster during the 1930s.] A, lovely copy has faintest rubs, inaud. MB 10

J0266. OSCAR SHUMSKY, w.Bernard Greenhouse (Cello): Sonata for Violin & Cello (Ravel), 4s. 2-12” vinyl Concert Hall 1219/22, POM-1950, in Orig. Album B 4. M-A MB 35, the Set.

J0267. OSCAR SHUMSKY, w.Artur Balsam (Pf.): Sonata for Violin & Piano in b (Respighi), 6s. 3-12” vinyl Concert Hall 1213/22, POM-1950, in Orig. Album B 15. M-A MB 35, the Set.

“Oscar Shumsky, a violinist and conductor who was renowned for the beauty of his sound and the luminous musicality of his performances of Bach, Mozart and Brahms, was one of the last students of Leopold Auer, the legendary Russian violinist who also taught Jascha Heifetz, Mischa Elman and Efrem Zimbalist. When Auer died in 1930, Zimbalist took over Shumsky's training and reinforced the grandly Romantic, communicative interpretive style that was the principal hallmark of the early 20th-century Russian violin school. Although he never became a household name on the order of Heifetz, he commanded tremendous respect among musicians throughout his career, not only for his solo performances but also for the passion he brought to chamber music and orchestral playing. That quality was something he passed on to many of his students, who included Eugene Drucker and Philip Setzer of the Emerson String Quartet; Ida Kavafian; Eliot Chapo, a former concertmaster with the New York Philharmonic and Guillermo Figueroa, the concertmaster of the New York City Ballet Orchestra.

Mr. Shumsky was born in Philadelphia on 23 March, 1917, and began studying the violin with Albert Meiff when he was 4. When he was 8, he played a concerto at a Philadelphia Orchestra youth concert conducted by Leopold Stokowski, and that same year he began his studies with Auer, at first privately in New York and later at the Curtis Institute of Music in Philadelphia. Mr. Shumsky studied at Curtis until 1936, and he continued to work privately with Zimbalist until 1938. By then, he was a seasoned professional, having performed the Brahms and Elgar concerti with the Philadelphia Orchestra on tour in 1932. In 1939 he joined Toscanini's orchestra, the NBC Symphony, where he met the violist William Primrose. Mr. Shumsky became the first violinist in the Primrose Quartet, which made several classic recordings in the early 1940s.

In the 1950s, he began playing the viola both in chamber performances and in recitals, and he often included unaccompanied works for both instruments on his programs. He also took up conducting in the 1950s, and made his podium début in Canada, with the National Festival Orchestra in 1959. Other orchestras he conducted over the years include the Westchester Symphony, the San Francisco Symphony and the Mostly Mozart Orchestra. By the 1970s, Mr. Shumsky's performing schedule had dwindled as a taste for modern, streamlined interpretations eclipsed the Romantic style in which he specialized. Nevertheless, he became a revered teacher on the faculties of the Juilliard School, the Curtis Institute and Yale University.”


- Allan Kozinn, THE NEW YORK TIMES, 27 July, 2000


J0268. LOUIS KAUFMAN, w.Louis Spielman (Pf.): Ramona (Wayne) / Little log cabin of dreams (Dowling). 10" H & D paper label Edison 52301, only form of issue, 2 May, 1928. M-A, beautiful copy of this electrical Edison rarity! MB 55

J0269. LOUIS KAUFMAN, w.Milhaud Cond. NRDF Orch.: Concerto de Printemps (Cond. by the Composer; Played by the dedicatée), 2s. 12” burgundy Capitol 86013, recorded 1949. M-A, beautiful copy has, Sd.1 only, faint edge rub, inaud. MB 15

J0270. LOUIS KAUFMAN, w.Rachmilovich Cond. Santa Monica S.O.: Concerto #3 in b (Saint-Saëns), 6s. 3-12” Disc 4120/22, only form of issue, 1945, in Orig. Album 805. M-A MB 25, the Set.

J0271. LOUIS KAUFMAN, w.Rachmilovich Cond. Santa Monica S.O.: Concerto in D (Khachaturian), 8s. 4-12” vinyl Concert Hall 1173/80, POM-1946, in Orig. Album AN. A to M-A, lovely copy has faint rubs, inaud. MB 25, the Set.

J0272. LOUIS KAUFMAN, w.Henry Swoboda Cond.: Concerti delle Stagioni (Vivaldi), 12s. 6-12” vinyl Concert Hall 1375/86, POM-1950, in 2 Orig. Albums AR 1 & 2. M-A MB 45, the Sets.

“It is remarkable that Louis Kaufman’s mid-century, premičre recording of THE FOUR SEASONS, singlehandedly re-kindled interest in the music of the eighteenth-century Italian composer Antonio Vivaldi. Not only did that recording go around the world, but its impact on twentieth-century culture continues to this day.”


- D. Wright, Violinist.com


J0273. LOUIS KAUFMAN, w.Robert Russell Bennett (Pf.): HEXAPODA – 5 studies in Jitteroptera - Gut-Bucket Gus; Jane Shakes Her Hair; Betty and Harold Close Their Eyes / ’Till Dawn Sunday; Jam Jives (Acc. by the Composer; Played by the dedicatée), 2s. 12” PW Col. 70727-D, only form of issue, 1 Jan., 1940. M-A, as New! MB 20

J0274. LOUIS KAUFMAN (Viola), SASCHA JACOBSEN (Violin), PAUL BERNARD & MARIE ROSMAET-ROSANOFF: Scherzo (Mendelssohn) / L’ARLESIENNE – Adagietto (Bizet). 10” black Viva-Tonal Col. 2342-D, only form of issue, 4 Feb., 1930 / 26 April, 1929. M-A MB 12

“The American violinist Louis Kaufman was undoubtedly among the most recorded violinists of [the 20th century]. In a career that spanned nearly seven decades, he made over 150 major recordings of his classical repertoire, and was heard as concertmaster in over five hundred movie soundtracks between 1934 and 1948….In 1918 he went to New York City to enter the violin class of the renowned teacher Franz Kneisel at the Institute of Musical Art. During the 1920s Kaufman took up the viola and often played chamber music at private parties with Elman, Casals, Hofmann, Zimbalist, Heifetz and Kreisler. In 1927 he graduated from the Institute of Musical Art with highest honours, winning the Loeb Prize; the following year he won the famed Naumberg Award. In the same year (1928), he made his New York City Town Hall début, which launched his solo concert career that would last nearly fifty years.”


- Lance Bowling


J0275. MICHEL PIASTRO, w.Jascha Veissi (Pf.): Poem (Fibich-Kubelik) / Horch! Horch! Die Lerch (Schubert-Spalding). 10" gold Bruns. 15221, POM-27 Dec., 1929. A to M-A, beautiful copy has faintest rub, Sd.2, inaud. & hardly worth mention. [Such a privilege and joy to be able to offer records as beautiful as these Piastro gems, making our work all the more pleasurable and rewarding!] MB 25

J0276. MICHEL PIASTRO, w.Ignatz Hilsberg [Max List] (Pf.): Souvenir de Moscou (Wieniawski) / La Romanesca (16th Century). 10" purple Bruns. 10268, only form of issue, 27 Sept., 1926. M-A MB 25

J0277. MICHEL PIASTRO, w.Ignatz Hilsberg [Max List] (Pf.): Coeur d’Arlequin (Drigo-Auer) / LE COQ D’OR –Hymn to the Sun (Rimsky-Korsakov - Kreisler). 10" purple Bruns. 10269, POM- 29 / 28 Sept., 1926. M-A MB 25

J0278. MICHEL PIASTRO, w.Maurice Nadelle (Pf.): Serenade in G (Arensky) / Irish Lament (Franco). 10" purple Bruns. 10209, only form if issue, 25 May / 23 June, 1925. A-B, very decent copy has rubs, inaud.; wee ndl.cut very beg.Sd.1 ticks three times. MB 12

J0279. MICHEL PIASTRO, w.Maurice Nadelle (Pf.): Zigeunerweisen (Sarasate), 2s. 10" purple Bruns. 10267, only form if issue, 25 May, 1925. A-B, very decent copy has rubs, inaud. MB 12

J0280. MICHEL PIASTRO, w.Frank Black (Pf.): Le Carnaval russe (Wieniawski) / LYRIC PIECES –The lonely wanderer (Grieg - Piastro). 10" gold Bruns. 15165, only form of issue, 30 Sept., 1927. M-A, as New! MB 25

“When famous fiddlers played concertos with the New York Philharmonic in Toscanini’s time, they were on their mettle, knowing that the leader sitting at their elbow was capable of standing up and performing the work just as well, if not better. He was Michel Piastro…a brilliant exponent of the Auer school.”


- Tully Potter, THE RECORDED VIOLIN


J0281. MAXIMILLIAN PILZER: Caprice viennois (Kreisler) /THAĎS – Méditation (Massenet). 12” gold & brown H & D Vocalion 46000, only form of issue, 1916. [Pilzer, a Joachim pupil, began his career as a vioinist, became a conductor, then died while conducting a Naumberg Concert in Central Park, 30 May, 1958. When he collapsed, he hit his head on the concrete.] M-A, choice copy has, Sd.2 only, 2 infinitessimal mks, inaud. MB 10

J0282. MAXIMILLIAN PILZER: Hungarian dance #5 in g (Brahms-Joachim) / Spanish dance (Rehfield). 10” gold & brown H & D Vocalion 22001, only form of issue, 1916. A-, lovely copy has lt rubs, inaud. MB 10

J0283. MAXIMILLIAN PILZER: Serenata Napoletana (Sgambati) / SAMUEL GARDNER: Concerto #2 – Andantino (de Bériot)). 10” black Victor 18175, only form of issue, 2 June, 1913 / 13 Sept., 1915. A-, lovely copy has lt rubs, inaud. MB 10

J0284. ELIAS BREESKIN, w.Robert Gayler (Pf.): Canzonetta #1 (d’Ambrosio) / VLADIMIR DUBINSKY (Cello): Chant du Ménéstrel (Glazounov). 10" H & D paper label Edison 80704, only form of issue, c.1914. A-/M-A, excellent copy has, Sd.1 only, faint paper scuffs, inaud. MB 15

J0285. ELIAS BREESKIN, w.Rudolf Gruen(Pf.): Souvenir poétique (Fibich-Schindler) / Minuet #2 in G (Beethoven). 10" dark-blue Brunswick 13005, POM-1920. A-, excellent copy has sl.grainey surface & lt.rubs, inaud. MB 10

J0286. ELIAS BREESKIN, w.Josef Bonime(Pf.): Simple aveu (Thomé) / From the canebake (Gardener). 10" purple Brunswick 5126, only form of issue, 1922. A to M-A, excellent copy has lt.mildew spots, inaud. MB 10

“Elias Breeskin was a Russian (Ukrainian) violinist, composer, arranger, teacher, and conductor and was a notorious gambler and con man who was a very successful musician in spite of his addiction to gambling. He began his American musical education at Juilliard in the spring of 1908. He studied with Franz Kneisel for about seven years. Possibly upon graduation from Juilliard at age 19 – in 1915 - he shared the Loeb Memorial Prize with Sascha Jacobsen. Afterward, as part of the Loeb Prize awarded him, he made his Carnegie Hall début and was very well received. Breeskin joined the New York Symphony in 1917, at the time conducted by Walter Damrosch. In June of 1920, at age 24, he married into a very wealthy American family. Anyone else would have used these newly-acquired resources to become a very major and influential figure in music, but not Breeskin. At about the same time, it became known that he was a serious gambler and also became concertmaster of the Capitol Theatre Orchestra in New York. He was named conductor of the Minneapolis Symphony in 1925, but because of his gambling habit and the consequent accumulation of gambling debts, that job did not last long. Having left Minneapolis within the year, he went to Pittsburgh where he helped re-organize the Pittsburgh Symphony where he was concertmaster and associate conductor. He left Pittsburgh after his divorce from his wealthy wife. Then, he returned to New York and worked as an orchestral musician and arranger for a few years. Many years later (1937), he was in Hollywood where he wrote and arranged music and he helped form the Hollywood Bowl Symphony. Nevertheless, in 1940 having stolen the orchestra’s payroll, he exited to Mexico City where he worked as musical director for radio stations XEW, XEX, and XEB, gave lessons, and composed movie soundtracks. As far as I know, he never set foot in the U.S. again. In any case, his great success in Mexico lasted about five years. The gambling had continued and he was finally imprisoned for supposedly being on the wrong side of the political agenda and, presumably, for his gambling debts as well. He was pardoned in 1958, at age 62. While in prison, he wrote a piece entitled the ‘City of the Dead’. It got good reviews when he premiered it later on.”
- Prone to Violins, 18 Jan., 2012


J0287. SASCHA JACOBSEN, w.Samuel Chotzinoff (Pf.): Souvenir in D (Drdla) / Sérénade (Drdla). 10” silver Flags Label Col.A2779, POM-20 / 21 Jan., 1918. A to M-A, beautiful copy has faintest rubs, inaud., hardly worth mention. MB 20

J0288. SASCHA JACOBSEN, w.Harry Kaufman (Pf.): La Cinquantaine (Gabriel-Marie) / w.Emanuel Balaban (Pf.): DANZAS ESPAŃOLAS - Danza espańola #5 in D (Moszkowski). 10” silver Flags Label Col.20032-D, POM-24 May, 1923 / 5 May, 1921. A to M-A, lovely copy has faint rubs, inaud. MB 20

J0289. SASCHA JACOBSEN, w.Harry Kaufman (Pf.): Pale Moon (Logan) / Indiana Moon (Isham Jones). 10” silver Flags Label Col.20001-D, POM-1 / 3 October, 1923. A to M-A, beautiful copy has faintest rubs, inaud.; Sd.1 only has tiny scr, inaud. MB 20

J0290. SASCHA JACOBSEN, w.Raymond Bauman (Pf.): Morceaux – Cavatina, Op.85, #3 (Raff) / Introduction and rondo capriccioso (Saint-Saëns). 12” silver Flags Label Col.60007-D, POM-18 April, 1924. A to M-A, beautiful copy has faintest rubs, inaud. MB 20

“Sascha Jacobsen was a Russian violinist and teacher born (in Helsinki, Finland) on 10 December, 1895. It has been said that he grew up in St Petersburg. It is known that he enrolled at Juilliard in 1908 where his main teacher was Franz Kneisel. He graduated from Juilliard (Institute of Musical Art) in June of 1914 at age 18. (A fellow-student of his was Elias Breeskin.) On 27 November, 1915, he made his official recital début at Aeolian Hall. After the announced program was concluded, he had to play numerous encores and he received very favorable reviews the following day. Jacobsen concertized as a soloist between 1915 and 1925, and first soloed with the New York Philharmonic on 9 March, 1919 (at age 23) playing Bruch’s first concerto with Walter Damrosch conducting. He began teaching at Juilliard in 1926, and after being hired he almost immediately formed the Musical Art Quartet which disbanded in 1945, after almost 20 years of concert activity. Jacobsen also did solo recordings, although mostly of short works for violin and piano; although he did record the Chausson concerto for string quartet, violin, and piano with Jascha Heifetz as violin soloist. He moved to Los Angeles in 1946 and taught at the Los Angeles Conservatory and at other music schools as well. From September 1947 to May 1949, he was guest concertmaster of the Los Angeles Philharmonic. Jacobsen died on 19 March, 1972, at age 76.”


- Prone to Violins, 8 Feb., 2015


J0291. SASCHA CULBERTSON: Humoresque #7 in G-flat (Dvorák). 10” brown shellac Vocalion 30132, POM-1921. A-, lovely copy has faint rubs, inaud. MB 10

J0292. SASCHA CULBERTSON, w.Emanuel Balaban (Pf.): Ave Maria (Schubert-Wilhelmj). 12” brown shellac Vocalion 52030, POM-1921. M-A, lovely copy has faint rubs, inaud. MB 15

J0293. SASCHA CULBERTSON, w.Emanuel Balaban (Pf.): Liebesfreud (Kreisler). 10” brown shellac Vocalion 30144, POM-1921. M-A, as New! MB 15

J0294. SASCHA CULBERTSON, w.Willy Schaeffer (Pf.): Slavonic Dance #1 in g (Dvorák-Kreisler). 10” brown shellac Vocalion 30148, POM-1921. M-A, beautiful copy has faintest rubs, inaud. MB 15

J0295. SASCHA CULBERTSON, w.Helen Hamilton (Pf.): Sonatina in G – Larghetto [as ‘Indian Lament’] (Dvorák-Kreisler). 12” brown shellac Vocalion 52006, POM-1921. A-, lovely copy has sev.superficial wee scrs, inaud. MB 10

J0296. SASCHA CULBERTSON, w.Helen Hamilton (Pf.): La Ronde des Lutins (Bazzini) / THAĎS - Méditation (Massenet). 12” gold & brown Vocalion 70001, POM-1922. A-, very decent copy has lt.rubs, inaud. MB 10

J0297. SASCHA CULBERTSON, w.Helen Hamilton (Pf.): Guitarre (Moszkowski) / DANZAS ESPAŃOLAS - Zapateado (Sarasate). 10” brown shellac Vocalion 60002, POM-1921. M-A, lovely copy has, Sd.1 only, faint rubs, inaud.; faintest hlc forming at edge. MB 10

J0298. SASCHA CULBERTSON: Souvenir in D (Drdla) / KINDERSZENEN – Träumerei (Schumann). 10” brown shellac Vocalion 60021, POM-1921. A-, lovely copy has faint rubs, inaud. MB 10

“Sascha Culbertson studied first with Zukovsky….[then] from 1905 to 1908 he was with Sevcik in Prague, making his Vienna début in 1908..Culbertson commands [a] warm, singing tone....”


– Tully Potter, THE RECORDED VIOLIN


J0299. GEORGE MILTON LIPSCHULTZ: At Dawning (Cadman) / Serenade (Toselli). 10” black Viva-Tonal Col. 904-D, only form of issue, 17 Feb., 1927, Sd.2 label boldly Autographed in white ink. A-, lovely copy has lt.rubs, inaud. [This Chicago violinist was concertmaster for two seasons in Victor Herbert’s Orchestra. He died at age 39, thus made very few records.] MB 12

J0300. EUGENE ORMANDY, w.William Axt (Pf.): MLLE. MODISTE - Kiss Me Again (Blossom-Herbert) / In Shadowland (Lewis-Young-Ahlert-Brooks). 10” black Cameo 746 (1470/71), POM-1925. A to M-A, beautiful copy has, Sd.2 only, faint rubs, inaud. MB 15 

“Ormandy was first engaged by conductor Ernö Rapée, a former Budapest friend and fellow Academy graduate, as a violinist in the orchestra of the Capitol Theatre in New York City. He became the concertmaster within five days of joining and soon became one of the conductors of this group. Ormandy also made 16 recordings as a violinist between 1923 and 1929. A new beginning in the New World meant a new name, and Ormandy [Jenő Blau] neither confirmed nor denied the story that he adopted his name from the French ship Normandie, on which he travelled to America….Arthur Judson, the most powerful manager of American classical music during the 1930s, first heard Ormandy when he conducted (as a freelancer) for a dance recital at Carnegie Hall by Isadora Duncan; Judson later said, ‘I came to see a dancer and instead heard a conductor’. Judson greatly assisted Ormandy's career, and when Arturo Toscanini was too ill to conduct the Philadelphia Orchestra in 1931, Judson asked Ormandy to stand in. This led to Ormandy's first major appointment as a conductor, in Minneapolis.”


- Wikipedia


J0301. MAX MIKHAILOV [Mordechai Finkelstein]: Počme (Fibich) / PEER GYNT - Solveigs Song (Grieg). 12” burgundy Okeh 3006 [2484/83], POM-22 July, 1919, Lindström Studios, Berlin. A-, absolutely fine copy has cosmetic rubs only faintly audible. [Gorgeous portamento here!] MB 20

“Max Mikhailov received violin lessons from Leopold Auer, then was accepted into Alexander Petschnikoff’s master class. In 1933, he joined the Berlin Philharmonic, but following the adoption of the Nuremberg Laws in 1935 his career in Germany appeared to be over. In 1945 he helped rebuild the radio symphony orchestra in Berlin under Soviet occupation. In 1948 he returned to playing the Tschaikowsky Concerto under Artur Rother. He died on 19 February 1971 in Munich.”


- Ned Ludd


J0302. RICARDO ODNOPOSOFF, w.Otto Herz (Pf.): O Canto do cysno negro (Villa-Lobos) / Perpetuum mobile (Novácek) . 10" RCA 10-1228, POM-1946. [Odnoposoff’s recording legacy demonstrates a great musicality, a brilliant technical command of the violin and an exciting, penetrating big sonority.] M-A, lovely copy has occasional faintest pap.rub, inaud. MB 12

J0303. RICARDO ODNOPOSOFF, w.Valentin Pavlovsky (Pf.): PETER AND THE WOLF - Theme and Processional (Prokofiev), 2s. 12" V 11-8849, POM-1945. M-A, as New! MB 15

“Born in 1917 in Buenos Aires from Russian-Jewish background, Adolfo Odnoposoff began playing the cello when he was 5 and studied in Berlin with Emanuel Feuermann and in Paris with Diran Alexanian, a colleague of Pablo Casals. Mr. Odnoposoff performed frequently in Latin America and held the position of first cellist with orchestras in Puerto Rico, Peru, Mexico and other countries. He became Professor emeritus at the University of North Texas from 1974.”


- Sarah Acres


J0304. MISCHA VIOLIN, w.Burmester (Pf.): Minuet #2 in G (Beethoven) / Tambourin chinois (Kreisler). [Mischa Viólin was concertmaster of the Roxy Theatre, 1930 & 1930s.] 11” black paper label H & D US-Pathé 40118, only form of issue, c.1917. A to M-A MB 10

J0305. MISCHA VIOLIN, w.Josef Adler (Pf.): Introduction & Tarantelle (Sarasate) / HERMAN KOLODKIN (Viola), w.Robert Gayler (Pf.): Arioso (Bach-Franko). 10" H & D etched label Edison 80641, only form of issue, 24 Dec., 1920 / ---. M-A, New! 15

J0306. MISCHA VIOLIN, w.Josef Adler (Pf.): DANZAS ESPAŃOLAS – Zapateado (Sarasate) / HERMAN KOLODKIN (Viola), w.Robert Gayler (Pf.): Eili, Eili (arr: Schindler). 10" H & D etched label Edison 80622, only form of issue, 24 Dec., 1920 / ---. M-A 15

J0307. MISCHA VIOLIN, w.Josef Adler (Pf.): Moto perpetuo (Paganini) / HELEN WARE, w.Francis Moore (Pf.): Hungarian Fantasia (arr. Ware). 10" H & D paper label Edison 80828, only form of issue, 23 Dec., 1920 / 1915, resp. M-A, as New! 15

J0308. MISCHA VIOLIN, w.Josef Adler (Pf.): Suite #1 in G - Perpetuum mobile (Ries) / LAURI KENNEDY(Cello), w.Dorothy Kennedy (Pf.): Hungarian Rhapsody (Popper). 10" H & D paper label Edison 80683, sole issue, 23 Dec. / 28 June, 1920. M-A, as New! MB 15

J0309. LAURI KENNEDY(Cello), w.Dorothy Kennedy (Pf.): Kol Nidrei (Bruch), 2s. 10" H & D paper label Edison 80580, only form of issue, 28 June, 1920. M-A, as New! MB 20

“Lauri Kennedy was born in a suburb of Sydney, and made his mark in the US in the 1920s, where he became principal cellist with the New York Philharmonic at the invitation of Arturo Toscanini. In the United Kingdom he played in a noted piano quartet called the Chamber Music Players with Albert Sammons, Lionel Tertis and William Murdoch. He recorded music with Fritz Kreisler and William Primrose, including Kreisler’s String Quartet in a minor in 1935 with members of the London String Quartet. ”


- Wikipedia


J0310. LUCIEN SCHMIT: Tre giorni son che Nina (Pergolesi) / JOCELYN – Berceuse (Godard). 10” black Cameo 366 [524/523], only form of issue, 1923. A to M-A / A-, lovely copy has, Sd.2, faintest rubs, inaud. MB 10

J0311. LUCIEN SCHMIT: LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns) / Melody in F (Rubinstein). 10” black Cameo 383 [543/544], only form of issue, 1923. A-, lovely copy has faint rubs, inaud. MB 10

“Lucien S. Schmit, who was a native of Louvaine, Belgium came to this country in 1909, and became a member of the St. Louis Symphony Orchestra at 13. He became first cellist in the New York Symphony Orchestra in 1921 under Walter Damrosch. During the 1930s he was active in radio musical programs.”


- THE NEW YORK TIMES, 22 July, 1976


J0312. ADOLPHE FREZIN, w.F. Goyens (Pf.): Sérénade (Played by the Composer) / Berçeuse mélancolique (Acc. by the Composer). 10” black Viva-Tonal Col. 2272-D, POM-1930. A to M-A, lovely copy has minuscule ec, far from grooves & faintest rubs, inaud. MB 12

J0313. ADOLPHE FREZIN, w.F. Goyens (Pf.): GOYESCAS – Intermezzo (Granados) / JOCELYN – Berceuse (Godard). 10” black Viva-Tonal Col. 2179-D, POM-1930. M-A, as New! MB 15

”Adolphe Frezin became Principal cello of the National Orchestra of Belgium. After emigrating to the US in the summer of 1949, Frezin was a member of the Paganini Quartet until late 1954. While touring with the Paganini Quartet, Frezin was also able to perform as lead cello with the Metropolitan Opera Orchestra. Beginning in 1953, Frezin also sought to develop a career as a touring cello soloist with US regional orchestras. In 1955 in New York, Frezin was also Principal cello of the Symphony of the Air, organized after the NBC Symphony of Toscanini was disbanded. Prior to the Cleveland Orchestra, Adolphe Frezin was Principal cello of the Los Angeles Philharmonic in 1956-1959. George Szell recruited Adolphe Frezin first as ‘Co-Principal’ cello of the Cleveland Orchestra in the 1959-1960 season, advancing him to Principal cello in the 1960-1961 season.”


- Cleveland Orchestra


J0314. ANTHONY PINI: Melody in F (Rubinstein) / A Keltic lament (Foulds). 10” black Viva-Tonal Col. 1886-D [WA6230-2/WA6306-1], POM-1929. M-A, as New! MB 25

“Born 1902 in Buenos Aires, Anthony Pini began his cello playing in Arbroath, Scotland, later with the Royal Philharmonic. Pini and Raymond Clark at Sadlers Wells, and later with the Philharmonia, were great players but relatively invisible to the public. He was principal cello of the London Philharmonic Orchestra, the Royal Philharmonic Orchestra and the Royal Opera House. Later in life he became a professor at the Royal College of Music, London. Concert agents considered the cello to be box office death! Felix Salmond had long since departed to America after the disastrous premiere of the Elgar Concerto (through no fault of his own), and he soon established a great American school. Among his many distinguished pupils were Leonard Rose and Bernard Greenhouse.”


- Keith Harvey


J0315. DANIIL SHAFRAN, w. Nina Musinyan (Pf.): Toccata, Adagio and Fuge (Bach, Siloti & Casals). 10” blue Aprelevsky-Zavod CCCP 18490/91, only form of issue, 1950. M-A MB 25

“Because of his highly individual style, Daniil Shafran aroused strong feelings. To his admirers, he was regarded with an almost religious reverence; to the unconvinced, he remained an enigma. His playing revealed a profound musicality and a subtle lyricism producing a tone that was rich and mellow. Perhaps the most extraordinary aspect was his ability for painting every possible tone colour at will. He held strong views on the teaching of the present time: ‘I think many teachers today are obsessed with technical perfection and because they are not themselves aware of the importance of the emotional aspect of playing, they are unable to pass it on’. Although his playing was so passionate and charged with emotion, as a man he was courteous, rather reserved and possessed of an old-world charm. He will be remembered as one of the legends in a musical world dominated far too often by clinical perfection.”


- Margaret Campbell, THE INDEPENDENT, 13 Feb., 1997


J0316. ARNOLD FÖLDESY: Nocturne in E-flat, Op.9, #2 (Chopin) / ‘Zur guitarre’ Serenade, Op.54, #2 (Popper). 12” burgundy US-Odeon 3108 [xxB6515-2/6906], POM-1924. M-A, Pristine Copy of a superb pressing! MB 45

J0317. ARNOLD FÖLDESY: LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns) / JOCELYN – Berceuse (Godard). 10” brown shellac Vocalion 14789 [100ao/14087r] [18289/18363L], POM-1924. M-A, a Pristine Copy! MB 45

J0318. ARNOLD FÖLDESY: Elfentanz (Popper) / Melody in F (Rubinstein). 10” brown shellac Vocalion 14773 [561L/---] [18289/18363L], POM-1924. M-A, a Pristine Copy! MB 45

J0319. ARNOLD FÖLDESY: Zigeunerweisen (Sarasate), 2s. 12” brown shellac Vocalion 35036 [920/921m], POM-1924. [An absolutely stupendous, beguiling performance . . . not to be missed!] A-, excellent copy has lt.rubs, inaud.; minuscule hlc is forming, visible primarily Sd.1; Sd.1 label has heavy nr. Aurally, this sounds like an ‘M-A’ copy! MB 35

J0320. ARNOLD FÖLDESY , w.Baerwald (Pf.): Cantabile, Op.36, #2 (Cui) / THAĎS – Méditation (Massenet). 12” white Homocord 4-8728 [52052-2/50], POM-1924. A-, lovely copy has faint rubs; Sd.1 only has long, very light scr, ltly audible; generally noisy surfaces throughout. MB 65

“Földesy, a student of the influential cellist David Popper, played with the Berlin Philharmonic, and in 1924 began a solo career that lasted until his retirement in 1933. Fellow cellist Gregor Piatigorsky described him as being ‘Unreliable and exuberant, and not very scholarly, he had a peasant-like directness, and his mastery of his instrument attracted me’. Piatigorsky goes on to relate a visit to Földesy during which the latter practiced naked while his wife massaged his head.”


- Jeff Crompton


J0321.EVGENI ALTMAN, w.Branovskaya (Pf.): Sonata #3 in d – Rondo (Weber) / SERGEI DORENSKY (Pf.): ROMEO AND JULIET – Juliet as a Young Girl; Montagues and Capulets (Prokofiev). 10” red Aprelevsky-Zavod CCCP 25287/86, only form of issue, 1955. M-A MB 25

“At the age of 11 Sergei Dorensky became a student of Grigory Ginsburg. At the 5th World Youth Festival in Warsaw he was awarded the 1st prize Gold Medal. In 1957 Dorensky won the 2nd prize at the International Piano Competition of Rio de Janeiro. In the same year he was called to teach at Tschaikovsky Conservatory, and in 1978 he became a professor there. Now he is one of the leading professors in the Tschaikovsky Conservatory, and since 2008 he has been head of the piano department.”


- The Fifth China International Piano Competition


J0322. LEO SCHULTZ: Concerto #1 in a – Cantilena (Goltermann) / Gavotte in D (Popper). 12” blue Col.A5490, POM-1913. A-, absolutely fine copy has cosmetic rubs & a few lt.scrs, positively inaud. MB 12

“Principal cellist in Berlin, with the Gewandhaus Orchestra of Leipzig from 1886 to 1889, Schultz came to the United States in 1889 and was professor of the New England Conservatory until 1898 as well as a soloist with the Boston Symphony Orchestra. He was first cellist for the New York Philharmonic from 1890 to 1906.”


- Ned Ludd


J0323. JULIUS BERGER: Broken Melody (van Beine) / Concerto #4 in g – Andante (Goltermann). 12” burgundy Okeh 3007, POM-c.1919, Lindström Studios, Berlin. A-, absolutely fine copy has cosmetic rubs & a few lt.scrs, positively audible only at very at beginning. MB 10

J0324. HEINRICH GRUNFELD, w.Fritz Wennels (Harmonium): Litanei (Schubert) / Menuett (Boccherini). 10” plum PW Electrola EG 724, POM-c.1930. M-A MB 12

“Grünfeld was educated at the Prague Conservatory. In 1876 he went to Berlin and for eight years taught at the Neue Akademie der Tonkunst. In conjunction with Xaver Scharwenka and Gustav Hollaender (later with Émile Sauret, Max Pauer, and Florian Zajic), he arranged trio soirées which became very popular Grünfeld was brother of the better-known pianist, Alfred. In 1886 Grünfeld was appointed court violoncellist to King William of Prussia.”


- Ned Ludd


J0325. WILLEM WILLEKE, w.Josef Adler (Pf.): Evening Song (Dessau) / Concerto #2 in d – Andante (Goltermann). 10" H & D paper label Edison 82152, only form of issue, 21 May, 1918. M-A MB 35

J0326. WILLEM WILLEKE, w.Ralph Mazziotta (Pf.): Romance sans parôles (van Goens) / Scotch pastorale (Saenger). 10” purple Bruns. 10164, only form of issue, 1 June 1923. M-A MB 15

J0327. WILLEM WILLEKE, w.Ralph Mazziotta (Pf.): Menuett (Haydn) / TANNHÄUSER –O du mein holder Abendstern (Wagner). 10” purple Bruns. 10145, POM-1922. M-A MB 15

J0328. WILLEM WILLEKE, w.Ralph Mazziotta (Pf.): LE CARNAVAL DES ANIMAUX – Le Cygne / JOCELYN – Berceuse (Godard). 10” dark-blue Bruns. 13022, POM-1921. M-A MB 15

“Willem Willeke won the admiration of Johannes Brahms, learned all of Brahms' cello works, and performed many of them with Brahms at the piano. Even so, he aspired to become a physician, and studied in Bonn and Vienna, winning his degrees. Nevertheless, Joseph Joachim, another friend of Brahms, repeatedly urged Willeke to return to music. When he agreed, he started his career with a tour of Scandinavia in which he played the Grieg sonata with the composer at the keyboard. And, again, when he played the Strauss sonata, that composer was his accompaniment. He came to he United States in 1907 as cellist with the Kneisel String Quartet. In 1917, when the Kneisel disbanded, he founded an ensemble called the Elshuco Trio. Mrs Elizabeth Sprague Coolidge in 1918 founded the Berkshire Festival of Chamber Music and named Willeke its first Musical Director. He stayed in that capacity until his death in 1950, and was succeeded by his widow. Willeke was also the leading cello teacher at the Institute for Musical Art in New York, which merged with the Juilliard School in 1926.”


– Joseph Stevenson, allmusic.com


J0329. ELSHUCO TRIO (William Willeke, William Kroll & Aurelio Giorni): Swedish Folk Song (Swendsen) / Autumn and Winter (Glazounow). 10” dark-blue Bruns. 13032, POM-1921. M-A MB 15

J0330. ELSHUCO TRIO: Salut d’amour (Elgar) / Sérénade (Widor). 10” dark-blue Bruns. 13008, POM-1921. A-, very decent copy has lt. rubs, inaud. MB 10

J0331. ELSHUCO TRIO: Melody in D (Fauré) / Scherzo (Reisseger). 10” gold Bruns. 13103, POM-1922. A-, very decent copy has lt. rubs, inaud. MB 10

J0332. HORACE BRITT, w.Josef Adler (Pf.): Romance sans paroles (Fauré) / PETITE SUITE - Menuet (Debussy). 10” black Viva-Tonal Col. 2166-D, POM-4 Dec., 1929. M-A, as New! MB 20

J0333. HORACE BRITT, w.Josef Adler (Pf.): Pičce en forme de Habańera (Ravel) / Granadina (Nin). 10” black Viva-Tonal Col. 2081-D, POM-29 Nov., 1929. M-A, as New! MB 20

“In November, 1892, at the age of 11, Horace Britt won entrance to the Paris Conservatoire, where he studied with Jules Delsart 1892-1895. Britt won the Conservatoire cello Premier prix in 1895, at age 14, the youngest winner to that time. Horace Britt was cello solo with the Lamoureux Orchestra in 1897, and with the Colonne Orchestra in 1898. Britt made his American début with the Chicago Symphony (then the Theodore Thomas Orchestra) in 1907, where he was Principal cellist, 1905-1907. (Horace Britt's brother Roger was a first violin with the Philadelphia Orchestra 1918-1924). After Chicago, Horace Britt became Principal cello of the Philadelphia Orchestra for one season, 1907-1908. In the 1910s, Britt became Principal cello of the Metropolitan Opera Orchestra. In 1924-1925 season, Horace Britt became Principal cello with the Minneapolis Symphony, under Henri Verbrugghen. During the 1925-1926 season, he taught at the Curtis Institute in Philadelphia.”


- The Stokowski Legacy


J0334. MARCEL HUBERT, w.Shura Cherkassky (Pf.): Sonata in g (Rachmaninoff), 7s / Sd.8 = MARCEL HUBERT, w.Harold Dart (Pf.): GOYESCAS – Intermezzo (Granados). 4-12" early Col. 68343/46-D, POM-1934-35, on Royal Blue Shellac, in Orig. Album 225. M-A, as New! MB 35, the Set.

“Marcel Hubert, a French/Belgian cellist who lived in the US and was a very active recitalist in the 1930s and 1940s, for a time was married to Mildred Shagall, born in Poland in 1905 and a distant relative of the painter Marc Chagall. She was brought to this country by her parents when she was very young. Her marriage to the cellist Marcel Hubert ended in divorce.”


- THE NEW YORK TIMES, 2 April, 1986


J0335. MAURICE DAMBOIS: Caprice russe (Played by the Composer) / Kol Nidrei (Bruch). 12” gold & brown H & D Vocalion 56000, only form of issue, c.1919. [Ysa˙e’s Sonate pour violoncelle seul op. 28 was dedicated to Maurice Dambois, renowned Belgian cellist, composer and member of the Trio Čugene Ysa˙e and of the Quatuor Čugene Ysa˙e.] M-A MB 15

J0336. MAURICE MARECHAL, w.Robert Gayler (Pf.): Pričre (Boellmann) / Sonata in G – Rondo (Bréval). 10" H & D etched label Edison 80627, only form of issue, 10 June, 1920. M-A, as New! MB 25

“Maréchal became the Lamoureux Orchestra's cello soloist, before embarking on an international concert and chamber­music career in which he played with most major orchestras and many famous soloists. Considered one of the foremost cellists of his time, Maréchal also was a professor at the Paris Conservatory.”


- THE NEW YORK TIMES, 20 April, 1964


J0337. MAURICE MARECHAL, w.Robert Gayler (Pf.): La Cinquantaine (Gabriel-Marie) / Lento Concerto – Chants russes (Lalo). 10" H & D etched label Edison 80614, only form of issue, 10 June, 1920. M-A MB 20

J0338. MAURICE MARECHAL, w.Robert Gayler (Pf.): Sonata in g - Largo (Marcello) / MARTA DE LA TORRE, w.Robert Gayler (Pf.): Canto amproso (Sammartini-Elman). 10" H & D etched label Edison 80653, only form of issue, 10 June / 11 Aug., 1920. M-A MB 20

J0339. MAURICE MARECHAL, w.Jean Doyen (Pf.): Plainte (d’Hervelois) / Concerto in A – Largo mesto (C.P.E. Bach). 12” early PW Col. 7245-M, POM-25 / 26June, 1929. A to M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has minuscule scr, inaud. MB 12

J0340. MAURICE MARECHAL, w.Bigot Cond. Lamoureux Orch.: Cello Concerto in c (J.C. Bach), 4s. 2-12” French Col. LFX 774/75, POM-1948. M-A, superlative copy has tape affixed Sd. 2 label. MB 25, the Pair.

J0341. MAURICE MARECHAL, w.Gaubert Cond.: Concerto in d (Lalo), 6s. 3-12” PW Japanese blue Viva-Tonal Col. J 8133/35, POM-1932, in Orig.Album 133. A to M-A, lovely copy has occasional faintest rubs, inaud. MB 35, the Set.

J0342. MAURICE MARECHAL, w.Jean Doyen (Pf.) Sérénade espagnole (Glazounov) / EMANUEL FEUERMANN, w.Wolfgang Rebner (Pf.): SONGS WITHOUT WORDS – Frühlingslied (Mendelssohn). 10” black & silver Japanese Viva-Tonal Col. S-63 [11777/M201722], POM-1929/1936, Japan. A to M-A, lovely copy has occasional faintest rubs, inaud. MB 15

J0343. EMANUEL FEUERMANN: Suite in G for Cello Unaccompanied (Reger), 4s. 2-12” PW Col. 69787/88-D, POM-7 Feb., 1939, in Orig. Album X-152, w.Brochure. M-A, as New! MB 25, the Set. 

J0344. EMANUEL FEUERMANN, w.Theo van der Pas (Pf.): ZAUBERFLÖTE – Seven Variations on ‘Ein Mädchen oder Weibchen’ (Mozart-Beethoven), 2s. 12” early PW Col. 68411-D, POM 11 July, 1934, London [Matrices destroyed in 1942]. M-A, as New! MB 20

J0345. EMANUEL FEUERMANN, w.Franz Rupp (Pf.): Organ Toccata in C – Adagio (Bach-Casals-Siloti) (Two different Performances). 10" vinyl pressing of BS-041516-1 / 041516-2, POM 8 Aug. / 14 Dec., 1939, both Unpublished Matrices. MINT MB 35

J0346. EMANUEL FEUERMANN, w.Franz Rupp (Pf.): Organ Toccata in C – Adagio (Bach-Casals-Siloti) (a Third Performance) / Aprčs un ręve (Fauré). 10" vinyl pressing of BS-041516-4 / 041517-5, POM 14 Dec., 1939, both Unpublished Matrices. MINT MB 35

"I place Feuermann as the most important figure for 20th-century cello playing because he was the one who proceeded to carry cello playing as such to a higher level. If he had lived longer he would literally have taken the place of Casals."


- Janos Starker


J0347. BORIS HAMBOURG, w.Grace Smith (Pf.): Papillon (Popper). 10” Pat.’08 purple Victor 60064, only form of issue, 9 Nov., 1911. M-A MB 25

J0348. BORIS HAMBOURG, w.Grace Smith (Pf.): KINDERSZENEN – Träumerei (Schumann). 10” Pat.’08 purple Victor 60065, only form of issue, 9 Nov., 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 25

“After performances in the USA in 1910, Boris Hambourg settled with the family in Toronto, where he helped establish the Hambourg Conservatory and the Hambourg Concert Society, which presented chamber music. He also taught at the conservatory, and he continued to perform in Canada, the USA, and Europe and organized a succession of Hambourg Trios. In 1945 he founded the Toronto Music Lovers' Club. Boris also gave cello recitals, often in cycles covering the repertoire from the renaissance to the present. He recorded as a soloist and as a member of the Hart House String Quartet. His main contribution to music was his activity in, and on behalf of, chamber music.”


- Ruth Pincoe, HISTORICA CANADA


J0349. FERNAND POLLIAN: Sérénade (Pierné) / Le Papillon (d’Hervelois). 10” blue Victor 45158, only form of issue, 11 Dec., 1918. M-A, as New! MB 8

J0350. FELIX SALMOND: Tre giorni son che Nina (Pergolesi) / Concerto #2 in d – Andante (Goltermann). 10” black Viva-Tonal Col. 2249-D, POM-12 May, 1930. M-A, choice copy has, Sd.1 only, infinitessimal dust mk, ltly audible a very few turns. MB 12

J0351. FELIX SALMOND, w.Harry Kaufman (Pf.) Allegro (Sammartini) / In the silence of the night (Rachmaninoff). 10” black Viva-Tonal Col. 2095-D, POM-20 June, 1929. M-A, as New! MB 12

J0352. FELIX SALMOND: Aprčs un ręve (Fauré) / KINDERSZENEN – Träumerei (Schumann). [‘Sweetly luxurious, the Fauré convinces us that Salmond could be the troubadour of the cello’ – Gary Lemco.] 10” blue Viva-Tonal Col. 2045-M, POM-13 Dec., 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0353. FELIX SALMOND: Sérénade (Pierné) / L’ARLÉSIENNE – Adagietto (Bizet). 10” blue Viva-Tonal Col. 2054-M, POM-29 April, 1927. A to M-A, lovely copy has faint rubs, inaud. MB 12

J0354. FELIX SALMOND, w. Simeon Rumschisky (Pf.): Londonderry Air (arr: Bridge) / LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns). 12" early Col. 7107-M, POM-15 Feb., 1926. A-, lovely copy has faintest rubs, inaud.; Sd.2 has wee scr, ltly audible merely a few turns. MB 12

J0355. FELIX SALMOND, w. Simeon Rumschisky (Pf.): Sonata in A, Op.69 (Beethoven), 6s. 3-12" blue Viva-Tonal Col. 67187/89-D, POM-18 Jan., 1926, in Orig.Album 38, w.Brochure. M-A, as New; Sd.6 has minuscule pressing bump. MB 35, the Set.

J0356. FELIX SALMOND, w. Simeon Rumschisky (Pf.): Sonata in a, 7s. / Sd.8 = To Spring (both Grieg). 4-12" blue Viva-Tonal Col. 67360/63-D, POM-13 & 17 May / 5 Oct., 1927. A to M-A, lovely copy has faintest rubs, inaud. MB 35, the Set.

J0357. FELIX SALMOND, YELLY d’ARANYI & MYRA HESS: Trio #1 in B-flat (Schubert), 8s. 4-12” 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.

“Elgar entrusted to Salmond the premiere of his most personal and heartfelt work, the Cello Concerto. The premiere, 27 October, 1919, is a day that has become a shameful day in British musical history. The conductor, Albert Coates, conducted the rest of the program, but Elgar led the concerto. Coates, a self-important man, was known to use as much as the first three quarters of an hour of his rehearsal time lecturing his orchestral players. Elgar, waiting off stage to rehearse his own work, uncharacteristically exploded when Coates consumed an hour of Elgar's rehearsal time. Elgar said later that had Salmond not have been conscientiously working on the concerto for months, he would have withdrawn the work from the concert. The work was severely under-rehearsed. Fifty years after that occasion, the commentator S.S. Dale, wrote for the string players' magazine THE STRAD, ‘It does not speak much for English audiences that Salmond never had his due in England; and to be recognized at his true worth he had to emigrate to the United States, where he was responsible for the training of many of America's finest cellists today’. He stressed use of the arm rather than the wrist in crossing strings, again, a violin-like technique. He used the thumb, not pressure from the arm, as the source of power in the bow-stroke. This resulted in a less nasal, much more beautiful tone, and he consistently urged the student to strive for a beautiful tone. His recordings do show a lovely, singing tone."


- Joseph Stevenson, allmusic.com


J0358. PABLO CASALS: Melody in F (Rubinstein) / Suite #3 in D – Air on the G String (Bach) (1920 Versions). 12” gold Flags Label Col. 68026-D, POM-24 / 29 April, 1920. M-A, choice copy has lt. rubs, inaud.; Sd.1 has minuscule dust scr, momentarily audible. MB 15

J0359. PABLO CASALS: Kol nidrei (1915 Version) (Bruch), 2s. 12” Tri-Color Col. A5722, POM-18 Jan., 1915. M-A, a glorious copy! MB 20

J0360. PABLO CASALS: Kol nidrei (1923 Version) (Bruch), 2s. 12” gold Flags Label Col. 68019-D, POM-3 April, 1923. M-A, choice bright copy has very faintest rubs, inaud. MB 20

J0361. PABLO CASALS: DANZAS ESPAŃOLAS – La playera (Granados) / Concerto #1 in a – Cantilena (Goltermann). 12” Tri-Color Col. A5847, POM-14 / 15 April, 1916. A to M-A, lovely copy has faintest rubs, inaud. MB 10

J0362. PABLO CASALS: KINDERSZENEN – Träumerei (1920 Version) (Schumann). 12” Tri-Color Col. 49795, POM-21 April, 1920. A to M-A, lovely copy has faint rubs, inaud. MB 8

J0363. PABLO CASALS: Salut d’amour (Elgar) / KINDERSZENEN – Träumerei (Schumann) (1915 Versions). 12” Tri-Color Col. A5679, POM-15 Jan. / 14 April, 1915. M-A, a glorious copy! MB 20

J0364. PABLO CASALS: Salut d’amour (1922 Version) (Elgar). 10” Tri-Color Col. 80158, POM-24 Jan., 1922. M-A MB 12

J0365. PABLO CASALS: Mazurka, Op.11, #3 (Popper) / Suite in C - Bourée (Bach). 12” Tri-Color Col. A5697, POM-23 April, 1915. M-A, a glorious copy! MB 20

J0366. PABLO CASALS: Would God I were the tender apple blossom (Hinkson). 10” Tri-Color Col. 80159, POM-24 Jan., 1922. M-A MB 12

J0367. PABLO CASALS: O dry those tears (del Riego) / Berceuse (Cui). 10" early Col. 2037-M, POM-30 Jan., 1923 / 18 Feb., 1924. A-, lovely copy of choice pressing has lt.rubs & a few superficial scrs, inaud. MB 10

J0368. PABLO CASALS: Aprčs un ręve (1915 Version) (Fauré) / SONGS WITHOUT WORDS – Frühlingslied (Mendelssohn). 12” Tri-Color Col. A6020, POM-1915 / 19 April, 1916. M-A, a beautiful, bright copy. MB 15

J0369. PABLO CASALS: Sonata in C – Minuet in C with variations (1916 Version) (Haydn) / Allegro appassionato (Saint-Saëns). 12” Tri-Color Col. A5821, POM-14 / 22 April, 1916. M-A, lovely copy has faint rubs, inaud.; Sd.1 only has infinitessimal ec, far from grooves. MB 15

J0370. PABLO CASALS: Believe me if all those endearing young charms (Moore-Stevenson). 10” Tri-Color Col. 79155, POM-1 May, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 8

J0371. PABLO CASALS: Believe me if all those endearing young charms (Moore-Stevenson) / Romance, Op.44, #1 (Rubinstein). 10" early Col. 2021-M, POM-1 May, 1920 / 30 Jan., 1923. A-, lovely copy of choice pressing has lt.rubs & a few superficial scrs, inaud. MB 15

J0372. PABLO CASALS: To a wild rose (MacDowell) / Mélodie arabe (Glazounow). 10" early Col. 2010-M, POM-30 Jan. / 3 April, 1923. A-, lovely copy of choice pressing has lt.rubs, inaud. MB 15

J0373. PABLO CASALS: Thine eyes so blue and tender (Lassen). 10” Tri-Color Col. 79147, POM-28 April, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 8

J0374. PABLO CASALS: Sonata in A - Allegro (Beethoven). 12” Tri-Color Col. 48710, POM-19 April, 1916. A to M-A, lovely copy has faintest rubs, inaud. MB 8

J0375. PABLO CASALS: Abendlied (1916 Version) (Schumann) / Chanson Louis XIII; Pavane (Couperin-Kreisler). 12” Tri-Color Col. A5907, POM-21 / 22 April, 1916. M-A, exceptional, bright copy. MB 12

J0376. PABLO CASALS: Abendlied (1920 Version) (Schumann). 12” Tri-Color Col. 49801, POM-23 April, 1920. M-A, exceptional, bright copy. MB 12

J0377. PABLO CASALS: Liebesträum (1915 Version) (Liszt) / Suite #3 in D – Air on the G String (Bach). 12” Tri-Color Col. A5756, POM-5 May, 1915. A to M-A, lovely copy has lt.rubs, inaud.; Sd.2 has minuscule dust scr, only very momentarily audible. MB 12

J0378. PABLO CASALS: Liebesträum (1920 Version) (Liszt). 12” Tri-Color Col. 49812, POM-28 April, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 8

J0379. PABLO CASALS: Romanza (Campagnoli) / Concerto in d – Adagio (Tartini). 12” Tri-Color Col. A5654, POM-27 / 15, 1915. M-A, exceptional, bright copy. MB 12

J0380. PABLO CASALS: Gavotte in D (Popper). 12” Tri-Color Col. 98012, POM-23 Jan., 1922. A to M-A, lovely copy has very faintest rubs, inaud. MB 12

J0381. PABLO CASALS, w.Nicolai Mednikoff (Pf.): DIE MEISTERSINGER – Preislied / TANNHÄUSER – O du mein holder Abendstern (both Wagner). 12” Scroll V 6620, POM-5 / 19 Jan., 1926, Sd. 2 being ‘Take’ 1, the first of 2 issued ‘Takes’, on ‘Z’-type shellac. M-A, beautiful copy has, Sd.1, slightly cloudy surface. MB 12

J0382. PABLO CASALS, w.Nicolai Mednikoff (Pf.): DIE MEISTERSINGER – Preislied / TANNHÄUSER – O du mein holder Abendstern (both Wagner). 12” Orth Vla 6620, POM-5 / 19 Jan., 1926, Sd. 2 being ‘Take’ 2, the first of 2 issued ‘Takes’. A to M-A, lovely copy has very faintest rubs, inaud. MB 8

J0383. PABLO CASALS: Sappische Ode (Brahms) / Autumn Song, Op.37, #10 (Tschaikowsky). 12” gold Flags Label Col. 68088-D, POM-2 / 16 Feb., 1924. M-A, a beautiful, bright copy. MB 35

J0384. PABLO CASALS: XERXES – Ombra mai fu (Handel) / Melody in F (Rubinstein) (1915 Versions). 12” Tri-Color Col. A5649, POM-15 Jan., 1915. A to M-A, lovely copy has faintest rubs, inaud. MB 8

J0385. PABLO CASALS: XERXES – Ombra mai fu (1920 Version) (Handel). 12” Tri-Color Col. 49802, POM-23 April, 1920. A to M-A, lovely copy has faint rubs, inaud. MB 8

J0386. PABLO CASALS: XERXES – Ombra mai fu (1920 Version) (Handel) / Adagio, Op.101 (Haydn). 12” gold Flags Label Col. 68061-D, POM-23 April, 1920 / 2 Feb., 1924. M-A, choice bright copy has lt. rubs, inaud. MB 20

J0387. PABLO CASALS, w.Otto Schulhof (Pf.): Sonata #3 in A, Op.69, 5s. / Sd.6 = Minuet in G (both Beethoven). 3-12” Scroll V 7571/73, POM-6 / 7 March, 1930, on ‘Z’ shellac. M-A, as New! MB 45, the Set.

J0388. PABLO CASALS, w.Nicolai Mednikoff (Pf.): Toccata in g – Adagio (Bach) / GOYESCAS – Intermezzo (Granados). 12” Scroll V 6635, POM-28 Feb., 1927, on ‘Z’ shellac. M-A, as New! MB 15

J0389. PABLO CASALS, w.Nicolai Mednikoff (Pf.): Nocturne in E-flat / Prélude in D-flat (both Chopin). 12” Orth Vla 6589, POM-19 / 20 Jan., 1926, on ‘Z’ shellac. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0390. PABLO CASALS: Suite in C – Prelude / Sarabande (Bach). 12” Tri-Color Col. A5782, POM-23 April, 1915. A to M-A, lovely copy has very faintest rubs, inaud. MB 12

J0391. PABLO CASALS: Suite in C - Gigue (Bach). Concerto in D – Adagio (Haydn). 12” Tri-Color Col. A5875, POM-15 April, ‘16. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0392. PABLO CASALS: LE CARNAVAL DES ANIMAUX – Le Cygne (1915 Version) (Saint-Saëns) / Spanish Dance #2 (Popper). 12” Tri-Color Col. A5650, POM-24 Jan., 1915. M-A, a beautiful copy. MB 15

J0393. PABLO CASALS, Nicolai Mednikoff (Pf.): Moments musicals – #3 in f (Schubert) / LE CARNAVAL DES ANIMAUX – Le Cygne (1928 Version) (Saint-Saëns). 10” Scroll V 1143, POM-4 / 31 Jan., 1928, Sd.2 being ‘Take’ 6, the second of 2 issued ‘Takes’, on ‘Z’-type shellac. A to M-A, lovely copy has faintest rubs, inaud. MB 12

J0394. PABLO CASALS, w.Blas Net (Pf.): Sonata #2 in a – Andante / w.Otto Schulhof (Pf.): Suite #3 in D – Air (Bach). 12” Scroll V 7368, on ‘Z’-type shellac, POM-1931. M-A MB 12

J0395. PABLO CASALS, w.Blas Net (Pf.): Komm süsser Tod (Bach) / Sonata in C – Minuet in C with variations (1930 Version) (Haydn). 12” Orth Vla 7501, on ‘Z’ shellac, POM-1931/’30, resp. M-A, choice copy has, Sd.1 only, 3 infinitessimal pap.scrs, inaud. MB 12

J0396. PABLO CASALS, w.Horszowski (Pf.): Sonata #4 in C, Op.102, #1 (Beethoven), 4s. 2-12” PW V 14366/67, POM-1937. A to M-A MB 15, the Pair.

J0397. PABLO CASALS, w.Horszowski (Pf.): Sonata #2 in F (Brahms), 8s. 4-PW V 14699/14702, in Orig. Album M 410, w.Brochure. M-A, as New! MB 35, the Set.

J0398. CASALS & THIBAUD; Cortot Cond. Barcelona S.O.: Double Concerto in a (Brahms), 8s. 4-12” Orth Vla 8208/11, POM-1 May, 1929, Orig. Album M-99. M-A MB 35, the Set.

J0399. BERNARD GREENHOUSE, w.Sergius Kagen (Pf.): Sonata in G (de Fesch), 3s / Sds.4-6 = Sicilienne (Paradis), LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns); Scherzo (van Goens). 3-10” orange PW Col. 36351/53, only form of issue, 17 & 25 April, 1941. M-A, as New! MB 25, the Trio

J0400. SERGE KOUSSEVITZKY (String Bass), w.Pierre Luboshutz (Pf.): Chanson triste (Played by the Composer) / Sonata in g – Largo (Eccles-Koussevitzky). 12" Scroll V 7159, only form of issue, 26 / 25 Sept., 1929, Sd. 2 being ‘Take’ 4, the second of 2 issued ‘Takes’, on z-shellac. M-A, as New! MB 15

J0401. SERGE KOUSSEVITZKY (String Bass), w.Pierre Luboshutz (Pf.): Chanson triste (Played by the Composer) / Sonata in g – Largo (Eccles-Koussevitzky). 12" PW V 7159, only form of issue, 26 / 25 Sept., 1929, Sd. 2 being ‘Take’ 1, the first of 2 issued ‘Takes’, (far more ‘forward’ than ‘Take’ 4). A to M-A, lovely copy has faint rubs, inaud. MB 15

J0402. SERGE KOUSSEVITZKY (String Bass), w.Pierre Luboshutz (Pf.): Valse miniature; Chanson triste; Concerto in f - Andante (all Played by the Composer) / Wiegenlied (Laska); Sonata - Largo (‘Take’ 1 ) (Eccles), 6s. 3-12" red vinyl RCA 99-2000/02, partially POM-1929, in Orig. Limited Edition Album LE-1. M-A, as New! MB 75, the Set.

"...bowing to the pressure from the public, [Koussevitzky] allowed [three of the above pieces] to be made part of a 78rpm album LE-1, a deluxe collector's edition of 1,000 copies only, pressed on 12" transparent red vinyl discs and issued in commemoration of his 25 years of service to the BSO....he allowed the release of the 1929 recordings only as an accommodation to his friends and fans."
- Edward D. Young, ARSC Journal, 1990