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Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Since 1972


Yves St Laurent presents

von KARAJAN’s Mahler 9th from Berlin . . .

RAYMOND LEWENTHAL in Belfast . . .

the 1972

ALEXIS WEISSENBERG Salzburg recital . . .

the 1958 Salzburg VANESSA with STEBER . . .

and SALE titles continue


  • HERBERT von KARAJAN Cond. Berlin Phil.: Symphony #9 in D (Mahler). (Canada) 2-St Laurent Studio YSL T-1073, Live Performance, 1 May, 1982, Philharmonie Berlin. Transfers by Yves St Laurent. (C1840)

    “This outstanding new release brings to four the Karajan performances of the Mahler Ninth that collectors can choose from. First came DG’s studio recording in 1981, which Karajan wasn’t satisfied with, so a live account from the Berlin Festival in February, 1982 quickly followed. St. Laurent Studio issued a second live account from August, 1982 from Salzburg, and now we have a live performance from May, 1982. It is certainly reasonable to call this plethora a needless redundancy, since three readings date from the same year. But there are a few fine points to consider.

    First comes a not so fine point. Should you acquire any Mahler Ninth under Karajan? He came to Mahler’s music late, and perhaps reluctantly, and by 1982 critics were already grumbling about the conductor’s obsessive pursuit of a smooth, beautiful orchestral sound. There is still considerable resistance to Karajan in general, but I wouldn’t be without at least one of his Mahler Ninths - they counter every Karajan stereotype by being deeply felt and simultaneously amazingly virtuosic and beautiful sounding.

    As to the finer points, the sonics from the Berlin Philharmonie (the source is undisclosed) are wide-range and comparable to DG’s live engineering. I detect a little upper-frequency shrillness, but there is no microphone shatter, and the full impact of the orchestra comes through. And what an impact they make - Mahler conducted probably the best orchestra in Europe with the Vienna Philharmonic, and he wrote for bravura effects. He was also fastidious about giving detailed markings for the conductor, and what we have here is the epitome of both virtuosity and detail. Happily, the engineering is fine-grained, so that we catch the lightest pluck on a lower string on the harp as well as the Berlin brass on full throttle.

    I won’t second guess a listener’s opposition to Karajan on political or personal grounds. When he trusted an interviewer, as he did Richard Osborne, he showed himself to be a cultivated, sensitive musician with sharp astuteness about how an orchestra should be run. He was the undisputed chief in Berlin, but I believe Karajan when he says that he always had the welfare and musical growth of the Berlin musicians in mind.

    This care is evidenced on close listening when you notice how refined and, indeed, evolved the playing is on this recording. Individual parts and whole sections are supremely accomplished. Nothing sounds regimented. Quite the opposite - the first movement is a model of spontaneous music-making that follows the ebb and flow of Mahler’s score. The confident full tone with which the Berliners move from ppp to fff is remarkable, and the emotional intensity in the finale feels completely authentic.

    I won’t repeat the praise I gave to St. Laurent Studio’s previous live Mahler Ninth in FANFARE 44:4 [C1817], since this reading from a few months before exhibits everything I applauded there. The May timing is four minutes slower than the one in August, which means little. Perhaps one version sounds a trifle better than the other; the soundstage is wide and deep for both recordings. I suppose if forced to make a choice, I would choose the Salzburg account over the Berlin one simply because the acoustic is somewhat more forgiving.

    The essential point is that Karajan, for me at least, is indispensable in this symphony. Like the Beethoven Ninth, the Mahler Ninth is a bottomless well of expressive possibilities. It was our Beethoven Ninth for the twentieth century, needing only the Shostakovich Eighth to reflect the horrors of modern war that Beethoven couldn’t have possibly imagined. Instead of an ode to joy, we needed an ode to tragic humanity, which Mahler miraculously expressed in the Ninth Symphony without losing the joy.”

  • - Huntley Dent, FANFARE

  • RAYMOND LEWENTHAL: Bach, Liszt, Field, Scriabin, Dohnanyi, Chopin (the latter's Sonata #3 in B) & Alkan (the latter's Symphonie pour piano solo), also featuring Lewenthal's brief spoken introductions to Liszt, Scriabin, Dohnanyi and 'your own' John Field. (Canada) 2-St Laurent Studio YSL T-995, Live Performance, 5 Feb., 1967, Belfast, Ireland. Transfers by Yves St Laurent. (P1377)

    “Raymond Lewenthal, a tall, dark, Mephistophelean looking pianist [has] interpretations [which] could stand some relaxation and a greater touch of color. He has most of the other endowments of an important pianist, including first class musicianship and a really big technique when he puts his mind to it. What did he use to prop his wrist in those prestissimo left hand octaves that Alkan wrote into the last movement of the ‘Symphonie’? One's own wrist ached in sympathy."

    - Harold C. Schonberg, THE NEW YORK TIMES, 23 Sept., 1964 (from a review of his 1964 New York recital)

    "Born in San Antonio, Raymond Lewenthal was educated in Los Angeles from an early age, starting with Lydia Cherkassky, mother to famous concert pianist Shura Cherkassky. Lewenthal then entered the Curtis Institute of Music in order to study with Olga Samaroff. Posessing tremendous strength and a dazzling technique, Lewenthal soon gained a reputation as an up-and-coming pianist with a future interpreting modern works. His rendering of the Prokofiev Piano Concerto #3 was so compelling that in 1948 conductor Dimitri Mitropoulos engaged Lewenthal to play the solo part at a New York Philharmonic concert that Mitropoulos led. This was unusual as Mitropoulos was known for this work and under normal circumstances conducted it from the keyboard while playing the solo part himself. In 1952, Lewenthal recorded a version of Prokofiev's Toccata, Op. 11, for Westminister that is still regarded as one of the best-ever recordings of that work.

    In 1953, Raymond Lewenthal was attacked by muggers in New York's Central Park and had both hands and arms broken in the struggle. Emotionally crushed by this misfortune, Lewenthal fled the United States, vowing never to perform again. However, once in Europe, Lewenthal began to retrain his hands under the patient guidance of Alfred Cortot. Also, Lewenthal's interest in musicology deepened and he began to undertake a study of neglected Romantic composers, in particular the work of Charles-Valentin Alkan. In 1963, Lewenthal returned to the U.S. and played a two-hour radio show on WBAI devoted to Alkan. Critical interest in both player and composer was enormously positive and Lewenthal repeated the program at a Town Hall concert in September 1964, his first in 11 years. In the intervening time, Lewenthal edited a selection of Alkan's music for Schirmer.

    Lewenthal recorded the LP Piano Music of Alkan for RCA Victor in 1965 which was a critical success but not a big seller. Lewenthal justifed his existence to RCA through recording some more straightforward material for the label, but in 1971 he switched to Columbia Masterworks and instituted the Raymond Lewenthal Romantic Revival Series. This ran to only a few albums and Lewenthal's plan ran well beyond that, as he was then working on reviving composers such as Hummel, Herz, Thalberg, Henselt, and Czerny. By this time, some critics had begun to circle their wagons against Romantic revivalism and ridiculed Lewenthal for attempting to champion the cause of composers whose work was widely regarded as obsolete. After the Romantic Revival series came to an end, Lewenthal recorded no more and concertized little. However, Lewenthal's concept of a Romantic revival was not lost on younger pianists and nearly as soon as Lewenthal himself had died, there was a virtual explosion of recordings and performances in the genre through such pianists as Marc-André Hamelin, Stephen Hough, Piers Lane, and others. Critics still find reason to nitpick with Lewenthal and it is possible that he never fully recovered from his injuries at the hands of the muggers. There are times in Lewenthal's recordings where the technique has rough edges and he seems to have had some trouble projecting in quiet passages. But anyone who can even read the enharmonic spellings of scores such as Alkan's ‘Quasi-Faust’ has better than average ability and Lewenthal knew many of these difficult works by heart. Raymond Lewenthal coined the very term Romantic revival and would no doubt have been pleased with the strides the movement has made since his passing.”

  • - Uncle Dave Lewis,

  • ALEXIS WEISSENBERG: Le Tombeau de Couperin (Ravel); Fantasie in C (Schumann); Pictures at an Exhibition (Mussorgsky); Encores, with Weissenberg's spoken introductions, incl. Nocturne in c-sharp Minor, Op. posth. (Chopin); Valse-impromptu (Liszt); Rhapsodies, Op. 79, #2 in g minor (Brahms); Etudes de virtuosite - #6 in F – ‘Per aspera’ (Moszkowski); Chorale – ‘Jesus bleibet meine Freude’ (Jesu, Joy of Man's Desiring) (Bach). (Austria) 2-Orfeo C 869 122, Live Performance, 7 Aug., 1972, Salzburg, before a wildly enthusiastic audience! Final Sealed Copy! (P1379)

    “Weissenberg made his breakthrough in Salzburg during the Karajan era with his 1972 solo recital. His evening began with ‘Le Tombeau de Couperin’, played transparently and with a highly flexible touch. PICTURES AT AN EXHIBITION ended the ‘official’ part of his recital, though many surprising encores followed - all of which can be heard on these two CDs.

    - BBC Music Magazine, Christmas 2012

    “The Bulgarian-born pianist Alexis Weissenberg was a celebrated if controversial figure. The blockbusters of the piano repertoire – the Rachmaninov and Tchaikovsky concerti among them – held no fears for him, since he had a prodigious and unquestionable technique. Yet, though his playing was often criticized for its lack of sensitivity, even brutality, at his best he brought a bracing physicality and an acute musical intelligence to bear on an impressive range of repertoire.

    Weissenberg's early life was notable for a traumatic event that could nevertheless almost have been scripted for a Hollywood film. Aware of the dangers faced by Jews in eastern Europe, he and his mother attempted to flee Bulgaria for Turkey, but were captured and imprisoned in a Nazi concentration camp. He was saved by an accordion given to him by an aunt. A music-loving German guard allowed him to play each afternoon and eventually put the Weissenbergs on a train bound for Istanbul, tossing the accordion through an open window into their compartment as the train pulled out.

    A native of Sofia, he had his first piano lessons from his mother, the family environment containing several Vienna Conservatory-trained musicians. He was then taken to one of Bulgaria's most prominent teachers, the composer Pancho Vladigerov, at whose house he heard the great Dinu Lipatti play.

    His first public recital, at the age of eight, included an etude of his own composition. With the onset of the Second World War, however, and the Nazi advance across Europe, it soon became clear that the family was not safe. Following the fortunate escape from the concentration camp, he and his mother made their way from Turkey to Israel, where Weissenberg studied at the Jerusalem Academy of Music and performed with the Israel Philharmonic under Leonard Bernstein. In 1946 he migrated to the US, enrolling at the Juilliard School of Music in New York as a pupil of Olga Samaroff. The following year, having won the Leventritt International competition, he made his New York début with the Philadelphia Orchestra under George Szell playing Rachmaninov's Piano Concerto #3 – a work that was to become something of a signature piece for him and of which he made three recordings, with Georges Pretre, Seiji Ozawa and Bernstein. Over the following decade he came to prominence in the US and Europe, but in 1957, having moved the previous year to Paris – eventually becoming a French citizen – he embarked on an extended sabbatical dedicated to rebuilding his technique and teaching. His return to the platform came in 1966 with a recital in Paris. Shortly after, he played Tchaikovsky's Piano Concerto #1 in Berlin with Herbert von Karajan, with whom he was to make some significant recordings, including the complete Beethoven piano concerti for EMI. That recording was made in 1974, the same year in which he made his debut in the Royal Festival Hall, London. Thereafter Weissenberg continued to grace the international circuit as a performer, teacher and jury member. Bach, Beethoven, Chopin, Debussy and Rachmaninov were the composers he recorded most frequently, but his repertoire also embraced Schumann, Bartók, Liszt, Mussorgsky and the Spanish composers Xavier Montsalvatge and Joaquín Turina.

    His Bach – including the Chromatic Fantasy and Fugue, a prominent piece in his repertoire – was, it is true, muscular and athletic; stripped of rubato and other expressive devices, it could seem surgical and soulless. His Chopin could be both poetic and tempestuous: a Nocturne might begin as a calm reflection but build to an alarming, even aggressive climax. He was undoubtedly a force to be reckoned with.”

  • - Barry Millington, THE GUARDIAN, 12 Jan., 2012

  • VANESSA (Barber), Live Performance, 16 Aug., 1958, Salzburg, w.Mitropoulos Cond. Vienna Staatsoper Ensemble; Eleanor Steber, Rosalind Elias, Ira Malaniuk, Nicolai Gedda, Giorgio Tozzi, etc.; Interview with Samuel Barber. (Austria) 2-Orfeo C 653 621. Final Sealed Copy! (OP1345)

    "This Salzburg performance retains five key personalities from the Metropolitan production. Mitropoulos still imposes a taut and powerful propulsiveness on the score and there is no denying that [Steber] gave herself utterly to the title role, while Elias' compelling realization of Erika put her own career into high gear. Gedda is still the amiable rascal, and Tozzi again makes the doctor one of the most endearing characters in all opera. What is added to these veterans' efforts here is the context of actual stage performance. All seem just a little more caught up in their characters - especially Steber and Elias. These are advantages over the technically more precise but emotionally cooler RCA studio recording. If you really care about VANESSA, do not overlook this Orfeo document."

    - John W. Barker, AMERICAN RECORD GUIDE, July/Aug., 2007

    "[Given] the stimulus of an audience, and especially the frisson between Dimitri Mitropoulos and the Vienna Philharmonic players, [this] results in a very exciting performance. Sailing through it all is Eleanor Steber in the title-role, a great singer whose name is now too little known among opera lovers."

    - Patrick O'Connor, GRAMOPHONE, Dec., 2006

    "Strangely enough, I don't think I really enjoyed VANESSA with my usual relish that season. I had learned it so fast that I was never quite as sure of it that first year as I was of my other roles. I was always conscious of small mistakes, and that bothered me. The recording, on the other hand, is musically perfect. Nevertheless, I loved the opera. I don't think I could have done what I did if I hadn't adored the work itself. It not only seemed to have been written for me. It was me!....Anyone who was backstage during the first and subsequent performances of VANESSA knows that I came off the stage after that big first act so near to collapse that the story got around that I had fainted. VANESSA took absolutely everything out of me. Until then, I'd always been able to keep something in reserve. I had always been able to do my roles and have a little bit left over. But as Vanessa, I spent everything."

    - Eleanor Steber, ELEANOR STEBER, AN AUTOBIOGRAPHY, p.193

    "...let me say once again how immensely grateful we all are for your courageous and helpful action in taking over Vanessa. You proved once more that a great artist...[can create] an extraordinary feat and wonderful performance justify everything. Indeed, it was a triumph for you."

  • - Sir Rudolf Bing, ELEANOR STEBER, AN AUTOBIOGRAPHY, p.194


  • JEAN MARTINON Cond. ORTF S.O.: 'Classical' Symphony #1 in D (Prokofiev); 'Pathetique' Symphony #6 in b (Tschaikowsky); w.DAVID OISTRAKH [dedicatee]: Violin Concerto #2 in c-sharp (Shostakovitch). (Canada) 2-St Laurent Studio YSL T-1116, Live Performance, 20 Oct., 1971, Theatre des Champs-Elysees. Transfers by Yves St Laurent. (C1844)

  • GUNTHER RAMIN Cond. St. Thomas Church Ensemble, w.Agnes Giebel, Sibylla Plate, Gert Lutze, Johannes Oettel & Horst Gunter; Ekkehart Tietze (Organ): ST. JOHN PASSION (Bach). (Canada) 2-St Laurent Studio YSL T-1113, Live Performance, 24 April, 1952, St. Thomas Church , Leipzig. Transfers by Yves St Laurent. (C1845)

  • SERGIU CELIBIDACHE Cond. Munich Phil.: Symphony #7 in E, [Nowak Ed.] (Bruckner). (Canada) St Laurent Studio YSL T-1124, Live Performance, 15 Feb., 1990, Bucharest, Romania. Transfers by Yves St Laurent. (C1843)

  • SERGIU CELIBIDACHE Cond. Danish National S.O.: Johann Strauss Waltzes, Marches & Polkas; Bolero (Ravel); Capriccio Italien (Tschaikowsky); Maskarade - Overture (Nielsen); Rehearsals & Interview. (Canada) St Laurent Studio YSL T-1082, Live Performance, 12 & 13 Dec., 1970, Copenhagen. [Once in a very rare while my day is transformed by a truly magical concert, and this one is among the very best; the audience's responses make me realize I'm not deluded! Every piece is uniquely transformed! - J. R. Peters] Transfers by Yves St Laurent. (C1839)

  • HERBERT von KARAJAN Cond. Berlin Phil.: Symphony #7 in E (Brucker) [1885 original version, ed. Haas]. (Canada) St Laurent Studio YSL T-1087, Live Performance, 1 Sept., 1982, Lucerne Culture & Congress Centre. Transfers by Yves St Laurent. (C1841)

  • ARTHUR GRUMIAUX, w.Eugene Traey (Pf.): Sonata #32 in B-flat, K.454 (Mozart); Sonata #1 in G, Op.78 (Brahms); Sonata in g (Debussy); Baal Shem (Three Pictures of Hassidic Life) - Nigun (Bloch); Cinderella – Suite (Prokofiev); Suite populaire espagnole (de Falla). (Canada) St Laurent Studio YSL T-1122, Live Performance, 7 Oct., 1964, Theatre des Champs-Elysees. [Grumiaux's Debussy is positively delectable, but the true piece de resistance is the Prokofiev! A treasurable recital from Yves St Laurent] Transfers by Yves St Laurent. (S0784)

  • JOSEPH SZIGETI, w.Naum Sluszny (Pf.): Violin Sonata in E (Hindemith); Duo Concertante (Stravinsky); Sonata in D (Schubert); Four Pieces, Op.7 (Webern); Sonata #1 in G, Op.78 (Brahms). (Canada) St Laurent Studio YSL T-1075, Live Performance, 27 April, 1958, Abbaye de Royaument, France. Transfers by Yves St Laurent. (S0783)

  • ANNIE FISCHER, w.Ernest Bour Cond. RAI S.O., Napoli: Concerto #4 in G (Beethoven), Live Performance, 22 May, 1972; w.Rafael Fruhbeck de Burgos Cond. RAI S.O., Torino: Piano Concerto #20 in d, K.466 (Mozart), Live Performance, 10 May, 1974. (Canada) St Laurent Studio YSL T-1104. Transfers by Yves St Laurent. (P1376)

  • JORGE BOLET: Variations & Fugue in E-flat (Beethoven), Op. 35; Intermezzo in E-flat; Intermezzo in b-flat (both Op.117) (Brahms); Prelude in E-flat; Prelude in g-sharp (both Rachmaninoff); JORGE BOLET with Students of Marcel Tabuteau: Quintet in E-flat, Op.16 (Beethoven). (Canada) St Laurent Studio YSL T-1120, Live Performances, 1937-41, Curtis Institute of Music, Philadelphia. [Despite the very occasionally variable sound, it is worthy to hear the very young Bolet while he was a student at Curtis] Transfers by Yves St Laurent. (P1375)

  • A SURVEY of BRITISH TENORS BEFORE PETER PEARS, incl. Dan Beddoe, Webster Booth, Tom Burke, Joseph Cheetham, John Coates, Sydney Coltham, Ben Davies, Tudor Davies, Hubert Eisdell, Gervase Elwes, Walter Glynne, William Green, John Harrison, Gregory Hast, Ruby Helder, Joseph Hislop, Walter Hyde, James Johnston, Hirwen Jones, Arthur Jordan, Morgan Kingston, Edward Lloyd, John McCormack, Frank Mullings, Heddle Nash, Joseph O’Mara, Charles Saunders, Herbert Teale, Frank Titterton, Henry Wendon, Walter Widdop & Evan Williams 3-Marston 53020, recorded 1901-42. Transfers by Ward Marston. Elaborate 111pp Booklet has notes by Michael Aspinall. [A treasurable program, mandatory for lovers of the art song] (V2637)

  • VOCAL RECORD COLLECTORS' SOCIETY - 2019-20 Issue: Ernest van Dyck, Emma Carelli, Clarence Whitehill, Otakar Marak, Vincenzo Bettoni, Adele Ponzano, Rosina Buckman, Sophie Braslau, Leopold Demuth, Luigi Abrate, Emile Marcelin, Andree Marilliet, Helena Forti, Rogelio Baldrich, Clemens Andrijenko, Karl Schmitt-Walter, Verna Osborne, Bidu Sayao, Evelyn Herbert, Giorgio Sembri & Frieda Van Hessen. VRCS-2019-20. Transfers by Seth B. Winner. (V2641)

  • THE RECORD COLLECTOR - 2014 Issue, incl. Miguel Villabella, Giuseppe Taccani, Tano Ferendinos, Louis Graveure, Olga Haley, Anne Roselle & Set Svanholm. (England) The Record Collector TRC 42, recorded 1907-50, partially first time on CD. Transfers by Norman White. (V2421)

  • THE RECORD COLLECTOR - 1997 Issue, incl. Ivan Ershov (Siegfried), Eyvind Laholm (Ballo), Dmitri Smirnov (Gretchaninoff & Rachmaninoff), Maria Kurenko (Maduro, Char & Tschaikowsky), Hugo Hasslo (Kjerulf & Sjogren; Pagliacci & Maria di Rohan), Maria Gay (Carmen & Orfeo), Mary Lewis (Scott, Ross, Delibes), Magda Olivero (Mefistofele), John Brownlee (Homer, Unpublished; Thais & Semele, the latter two are Broadcasts) & Francesco Battaglia (Pagliacci, Aida & Il Trovatore). (England) The Record Collector TRC 11. Transfers by Roger Beardsley. [We fortunately have an overstock of this title, thus the reduced price!] (V0606)

  • YALE UNIVERSITY LIBRARY - TREASURES FROM THE YALE COLLECTION OF HISTORICAL SOUND RECORDINGS, featuring Abendroth, Senger-Bettaque, Korolewicz-Wayda, Monrad, Ekman, Santagano-Gorchakova, Lilli Lehmann (incl. the celebrated Unpublished 'Liebestod,' 1907, [from Lehmann's private 'Test Pressing,' only known copy]), Winkelmann, Mayr, Jarnefelt, Kruszelnicka, Seligman, Marak, Levik, Simonsen, Destinn, Tartakov, Gibert, Maturova, Filippi-Myzhuga, O'Sullivan, Litvinne, de Lussan, Henschel, Greef-Andreissen, Saville, Lassalle, Gailhard, Tariol-Bauge, Muratore, Piccaluga, Marie de Lisle, Clement, Pandolfini, Carelli, Pacini, Marconi, Giraldoni, Sistermans, Antonio Pini-Corsi, Giraud, Caruso, Vasquez, Ferrani, Corradetti & Tamagno. 2-Yale University Library. Long out-of-print, Final Copies, Specially priced at $9.90! (V0639)

  • SPIKE JONES & HIS CITY SLICKERS: Greatest Hits. The Entertainers 247. Very long out-of-print, Final Sealed Copy! (PE0025) (PE0026)




    “Books have become our lonely stepchildren! By spending so many hours constantly revising our thousands of CDs we realize we have paid scant attention to our BOOKS ON SALE, thus many have been added (with more appearing), accompanied by greatly reduced prices! Have a glance at our SALE section - for BOOKS!


    . . . numerous out-of-print CDs and LPs,

    [many sealed copies of numerous out-of-print

    additions: The Record Collector, Naxos, VRCS,

    Issues of Symposium's Harold Wayne series,

    Romophone, GOP & many Met Opera

    broadcasts & operas from Moscow’s Aquarius, plus

    numerous lesser-known operas have been added

    throughout our listings, in appropriate categories . . .

    out-of-print books [many biographies,

    Record Catalogue-Discographies . . .

    numerous CDs are added each week] . . .



    Norbeck, Peters & Ford's Auction #151 has Closed. We want to take this opportunity to thank everyone for participating in Auction #151.

    Auction #151 now closed Saturday, 30 November 2019.

    We invite you to review our Auction #151. It is comprised of Vocal, Victor 'GEMS', Light Opera, and Spoken Word Records.

    To view the online version of our auction #151, simply click the link below:

    Auction #151 Online Catalog

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    Auction #151 Catalog File Download ** This auction has been applied online in various sections in order to facilitate faster loading, especially on mobile phones.

    Enjoy perusing!

    Once again . . .

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  • Herbert von Karajan, Vol. IX - Mahler 9th   (2-St Laurent Studio YSL T-1073)
    C1840. HERBERT von KARAJAN Cond. Berlin Phil.: Symphony #9 in D (Mahler). (Canada) 2-St Laurent Studio YSL T-1073, Live Performance, 1 May, 1982, Philharmonie Berlin. Transfers by Yves St Laurent.
    Raymond Lewenthal, Vol. III  - Belfast, Ireland   (2-St Laurent Studio YSL T-995)
    P1377. RAYMOND LEWENTHAL: Bach, Liszt, Field, Scriabin, Dohnányi, Chopin (the latter's Sonata #3 in B) & Alkan (the latter's Symphonie pour piano solo), also featuring Lewenthal's brief spoken introductions to Liszt, Scriabin, Dohnányi and 'your own' John Field. (Canada) 2-St Laurent Studio YSL T-995, Live Performance, 5 Feb., 1967, Belfast, Ireland. Transfers by Yves St Laurent.
    Alexis Weissenberg - Salzburg   (2-Orfeo C 869 122)
    P1379. ALEXIS WEISSENBERG: Le Tombeau de Couperin (Ravel); Fantasie in C (Schumann); Pictures at an Exhibition (Mussorgsky); Encores, with Weissenberg's spoken introductions, incl. Nocturne in c-sharp Minor, Op. posth. (Chopin); Valse-impromptu (Liszt); Rhapsodies, Op. 79, #2 in g minor (Brahms); Etudes de virtuosité - #6 in F – ‘Per aspera’ (Moszkowski); Chorale – ‘Jesus bleibet meine Freude’ (Jesu, Joy of Man's Desiring) (Bach). (Austria) 2-Orfeo C 869 122, Live Performance, 7 Aug., 1972, Salzburg, before a wildly enthusiastic audience! Final Sealed Copy! - 4011790869124
    Regular price: $49.90
    Sale price: $24.95
    Vanessa  (Barber)  (Mitropoulos;  Eleanor Steber, Rosalind Elias, Ira Malaniuk, Nicolai Gedda, Giorgio Tozzi)  (2-Orfeo C 653 621)
    OP1435. VANESSA (Barber), Live Performance, 16 Aug., 1958, Salzburg, w.Mitropoulos Cond. Vienna Staatsoper Ensemble; Eleanor Steber, Rosalind Elias, Ira Malaniuk, Nicolai Gedda, Giorgio Tozzi, etc.; Interview with Samuel Barber. (Austria) 2-Orfeo C 653 621. Final Sealed Copy! - 4011790653228
    Regular price: $59.90
    Sale price: $29.95