Classical CDs, LPs, 78s,
Related Books & Ephemera
Yves St Laurent presents
(with SZYMON GOLDBERG & STOIKA MILANOVA, etc.), Vol. 2 . . .
TAKASHI ASAHINA (Bruckner 9th, - Chicago), Vol. 6 . . .
CHARLES MUNCH, Vol. 40 . . .
(with YVONNE LEFEBURE), Vol. 2,
and the ‘sale’ titles continue . . .
SURPRISE SUMMER ‘SALE’ ! ! !
Due to our overstock on certain titles from IMMORTAL PERFORMANCES we are offering over a dozen of their operatic, vocal and orchestral issues. Please bring up our ‘Sale’ pages for specific information.
RADU LUPU: Violin Sonata #21 in e, K.304 (Mozart), Live Performance, Queen Elisabeth Hall, London, 13 Jan., 1974 (w. SZYMON GOLDBERG): Violin Sonata in D (Franck), (w. STOIKA MILANOVA), Live Performance, Smith Square, London, 11 Feb., 1972; Piano Quintet in g (Shostakovitch) (w. GABRIELI QUARTET), Live Performance, Smith Square, London, 5 March, 1973. (Canada) St Laurent Studio YSL T-1335. Transfers by Yves St Laurent. (P1428)
“If Mr. Lupu’s solo records capture only a hint of the aura he exhibited in concert, as the critic Alex Ross put it, comes ‘as close to musical perfection as you could ask’.
He trained at the Bucharest Conservatory with Florica Musicescu, who had previously taught another cultivated Romanian, Dinu Lipatti, to whom Mr. Lupu was sometimes compared. Mr. Lupu attended the Moscow Conservatory for much of the 1960s; his professors there included Heinrich Neuhaus, tutor to two temperamentally different artists, Sviatoslav Richter and Emil Gilels.
Mr. Lupu, who retired in 2019, made few recordings for a pianist of his stature; he recorded duets with the violinists Szymon Goldberg and Kyung Wha Chung, and two-piano or four-hand works with Mr. Barenboim and Murray Perahia. ‘The audience element is the most important element in the concert’, he said.”
- David Allen, THE NEW YORK TIMES, 20 April, 2022TAKASHI ASAHINA Cond. Chicago Orch.: Symphony #9 in d (Bruckner). (Canada) 2-St Laurent Studio YSL T-1254, Live Performance, 24 Oct., 1996, Orchestra Hall. Transfers by Yves St Laurent. (C1994)
“Once anyone makes the discovery that Takashi Asahina occupies a significant place in the Bruckner tradition on disc, confusion is likely to set in - there is so much to keep track of....The recording dates range widely from 1976 to 2000. Regarded as Japan’s most revered conductor, Asahina’s prime years were after World War II, and despite a general Western indifference to Asian maestros, his reputation spread, and he was eventually invited to guest conduct some prestigious orchestras abroad, including the Chicago Symphony and Berlin Philharmonic.
But what we’re really here for is Asahina’s conducting, which is characterized, first and foremost, by its lyricism and naturalness. A second quality is how effective Asahina is with transitions, handling them so musically that one is reminded of Furtwangler, a master at seamless transitions. This is especially important in Bruckner, where many conductors emphasize abrupt contrasts too forcefully. When you put together Asahina’s lyrical impulse and his flexible beat, the result isn’t typical Brucknerian grandeur....But the overall impression, which will seem odd on first encounter, is that the conducting feels so traditionally German Romantic in the vein of Hermann Abendroth, for example, or Furtwangler himself, who had a profound influence on Asahina’s style.
This release is Vol. 6 in St. Laurent Studio’s new Asahina Edition, which is largely sourced from the collection of FANFARE’s Henry Fogel. Many Asahina recordings are out of print, hard to find, or released only on Japanese labels, which makes the advent of St. Laurent Studio’s series doubly valuable. I nominated Vol. 1, a Bruckner Ninth from 1991 with the Tokyo Symphony, for the Classical Hall of Fame (FANFARE 45:5)...demonstrat[ing] to the full why Asahina deserves to be counted among the great Brucknerians on disc."
- Huntley Dent, FANFARECHARLES MUNCH Cond. Boston S.O.: Pelleas et Melisande (Faure); Symphony #2 (Florent Schmitt) ["Complex cross-rhythms, unusual instrumental combinations, and a battery of percussion keep things moving. Contemporaries writing at the premiere of the work talk about its exuberance and youthful energy." - Ralph Graves]; w. LEONID KOGAN: Violin Concerto in D (Beethoven). (Canada) 2-St Laurent Studio YSL T-1271, Live Performance, 19 Nov.. 1960, Symphony Hall. [Live performance brilliantly displaying the splendor of the Symphony Hall acoustic; another most treasurable Munch broadcast!] Transfers by Yves St Laurent. (C1995)
"One of the twentieth century's greatest violinists, Leonid Kogan was less widely known than his somewhat older contemporary David Oistrakh, but no less a first-tier artist. More concentrated in tonal focus and with a quicker vibrato than Oistrakh and others of the Russian school, Kogan was avowedly a man of his time. His espousal of the four-octave scale for exercises assured the infallibility of his technique by strengthening his fingering hand in the upper positions. Although he died at age 58, he had amassed a discography that remains as a commanding legacy. At age 12, Kogan was heard by violinist Jacques Thibaud, who predicted a great career for him. Although his parents resisted exploiting their son as a prodigy, Kogan made his debut at 17 and performed in many Soviet venues while still a student. Wider recognition came when Kogan shared first prize at the 1947 Prague World Youth Festival. In 1951, he won first prize at the Queen Elisabeth Competition in Brussels. Oistrakh, who was a member of the jury (along with Thibaud), thereafter came to regard Kogan as a colleague, while Kogan closely observed his elder associate during the latter's evening classes for other students. After teaching at the Moscow Conservatory and playing a busy schedule of concerts in the Soviet Union over the next few years, Kogan made his first appearances in Paris and London in 1955, following those with a tour of South America in 1956 and another of the United States in 1958.
On 10 January, 1958 Kogan made an auspicious American debut playing the Brahms Violin Concerto with Pierre Monteux and the Boston Symphony Orchestra. Kogan had a repertoire of over 18 concerti and a number of concerti by modern composers were dedicated to him.
Leonid Kogan is considered to have been one of the greatest representatives of the Soviet School of violin playing, an emotionally romantic elan and melodious filigree of technical detail. A brilliant and compelling violinist, he shunned publicity.”
- Erik Eriksson, allmusic.com
“Charles Munch had an ideal tenure with the Boston Symphony in the 1950s, in stark contrast to the orchestra’s previous French conductor, Pierre Monteux, who arrived in 1919 and faced a musicians’ strike, including an onstage walkout by some players during a concert. Management wouldn’t tolerate such rebelliousness, and musicians had yet to be unionized (the BSO was the last major U.S. orchestra to take that step). By replacing 30 musicians, Monteux was responsible for creating the ‘French’ sound that became the orchestra’s trademark for decades."
- Huntley Dent, FANFARE
"It's difficult to articulate what makes Munch's conducting special - or indeed if there even is anything identifiably unique about it. A lesser talent would simply turn out generic, cookie-cutter performances; but Munch was anything but generic. He was one of the most musical of conductors; in so many of his performances, everything simply sounds 'right'. Certainly, his experience as an orchestral musician gave him a lot of practical insight into the mechanics of directing orchestra traffic. But a classic Munch interpretation never sounds calculated. Spontaneity was one of his hallmarks, sometimes to the surprise and discomfort of the musicians playing under him. From one night to the next, a Munch performance of the same piece might be very different, depending on his mood of the moment - yet it would always sound like Munch."
- Lawrence Hansen, AMERICAN RECORD GUIDE, Nov. / Dec., 2012GEORGES SEBASTIAN Cond. RTF S.O.: Der Fliegende Höllander - Overture (Wagner); Symphony #2 in D (Brahms); w. YVONNE LEFEBURE: Piano Concerto in a (Schumann). (Canada) St Laurent Studio YSL T-1299, Live Performance, 14 Feb., 1964, Maison de la Radio, Paris. Transfers by Yves St Laurent. (C1996)
“Yvonne Lefebure (1904-86) was a pupil of, among others, Widor, Dukas and Cortot, and in turn she taught such young players as Dinu Lipatti, Samson Francois, Janina Fialkowska and Imogen Cooper. Though she performed throughout Europe and America, it was as a teacher that she was best known. Nerves, it seems, prevented her from having a more high-profile concert career….formidable, vivacious and coquettish by turns, and her ability to pack as many words into 10 seconds as she could notes on the piano, rendered in a relentless delivery that had not taken account of the invention of the microphone.”
- Jeremy Nicholas, GRAMOPHONE, May, 2006
“…unlike the traditional Germanic left-brained approach, hers is from the heart. She manages to draw you in totally to the music with such amazing passion and energy. She attracted an international class to her studios at the Ecole Normale de Musique, Paris Conservatoire and Conservatoire Europeen, and in masterclasses at her own festival in Saint-Germain-en-Laye.”
- Graham Fitch, 15 Aug., 2014
“Georges Sebastian, a Hungarian-born conductor who spent two seasons at the Metropolitan Opera in New York City and who conducted orchestras in Germany and the Soviet Union, was born in Budapest on Aug. 17, 1903, and trained under Bela Bartok. He made his operatic debut in Munich as choral director under Bruno Walter and later became his assistant. In 1923-24 he was an assistant conductor at the Metropolitan Opera. He was the music director for a radio station in Moscow from 1931-37. During World War II, Mr. Sebastian returned to the United States to conduct for the San Francisco Opera and other companies. In 1968, he conducted the AIDA in which Leontyne Price made her Paris debut.”
- THE NEW YORK TIMES, 14 April, 1989- - - REPEATED FROM THE RECENT PAST - - -BRUNO WALTER Cond. NBC S.O.: Symphony #86 in D (Haydn); Concerto Grosso in g (Handel); ‘Haffner’ Symphony #35 in D; 3 German Dances, K.605; 2 Minuets, K.568 & K.599 (all Mozart); ‘Pastorale’ Symphony #6 in F (Beethoven); Symphony #5 in B-flat; ‘The Great’ Symphony #9 in C (both Schubert); Symphony #4 in d (Schumann); Symphony #2 in D (Brahms); Ma vlast - Vltava - The Moldau; The Bartered Bride – Overture (both Smetana); Don Juan (Strauss); ‘Romantic’ Symphony #4 in E-flat (Bruckner); Istar – Variations symphoniques (d’Indy); Rapsodie espagnole (Ravel); Prelude a l'apres-midi d'un faune (Debussy); Symphony #5 in e (Tschaikowsky). (Canada) 6-Immortal Performances IPCD 1157, Live Performances, New York, 2/10-3/9/1940, 5/14/1944, featuring broadcast announcements by hosts Gene Hamilton and Robert Waldrop. Restoration and Transfers by Richard Caniell. Elaborate 30pp booklet features notes by James A. Altena & Richard Caniell. (C1992)
ARTURO TOSCANINI Cond. NBC SO: Die Zauberflote - Overture; Divertimento #15 in B-flat, K 287; ‘Haffner’ Symphony #35 in D, K 385 (all Mozart); Colas Breugnon – Overture (Kabalevsky); Symphony in D (Cherubini); Tod und Verklarung (Strauss); Rehearsals of Mozart and Strauss. (Canada) 3-Immortal Performances IPCD 1147, Live Performances, NY 3 Nov.,1946, NBC Studio 8-H; 8 March, 1952, Carnegie Hall, with Broadcast Commentary by Ben Grauer. Transfers by Richard Caniell. Handsome 26pp. booklet features Notes by Robert Matthew-Walker & Richard Caniell). (C1990)
(Three Discs, priced as two)
HERBERT von KARAJAN Cond. Berlin Phil.: Till Eulenspiegels lustige Streiche (Strauss); von KARAJAN Cond. Winds & Brass of Berlin Phil.: Gabrielli, Mozart & Beethoven; von KARAJAN Cond. Berlin Phil. Cellists: Rumba philharmonica – excerpts (Boris Blacher); BRANDIS QUARTET, Berlin: String Quartet in g Debussy); AUGUSTIN DUMAY, YO-YO MA & MARK ZELTSER: Notturno in E-flat, D.897 (Schubert). (Canada) 2-St Laurent Studio YSL T-1304, Live Performance, 23 June, 1979, Maison de la Radio, Paris. Transfers by Yves St Laurent. (C1991)
KLAUS TENNSTEDT Cond. London Phil.: Ruslan and Ludmilla - Overture(Glinka); Symphony #7 in A (Beethoven); w. RADU LUPU: Piano Concerto in a (Grieg). (Canada) St Laurent Studio YSL T-1255, Live Performance, 21 Nov., 1989, Royal Festival Hall. Transfers by Yves St Laurent. (C1983)
DESIRE-EMILE INGHELBRECHT Cond. RTF S.O.: Reflet d'Allemagne; La Procession dans la montagne; Musiques de plain air; Musique sur l'eau; w. SIMONE CODINAS: La Tragedie de Salome; w. REGINE CRESPIN: Psaume (all Florent Schmitt). (Canada) St Laurent Studio YSL T-1256, Live Performance, 9 Oct., 1958, Theatre des Champs Elysees. Transfers by Yves St Laurent. (C1989)
JEAN MARTINON Cond. ORTF S.O. & Chorus; Peter Schreier, Marga Hoffgen, Peter Meven, Helen Donath, Horst Laubenthal & Siegmund Nimsgern. JOHANNES-PASSION (St John Passion) (Bach). (Canada) 2-St Laurent Studio YSL T-1290, Live Performance, 11 April, 1973, Salle Pleyel, Paris. Transfers by Yves St Laurent. (C1993)
CHRISTOPHER KEENE Cond. Syracuse S.O.: L'Oiseau de feu – Suite (Stravinsky), Live Performance, 9 &10 Jan., 1980; w. BYRON JANIS: Piano Concerto #1 in f-sharp (Rachmaninoff), Live Performance, 27 & 29 March, 1980; w. JESSYE NORMAN: Capriccio - Final Scene (Strauss), Live Performance, 3 & 4 Oct., 1975 (all Mulroy Civic Center, Syracuse, NY). (Canada) St Laurent Studio YSL T-1150. Transfers by Yves St Laurent. (C1984)
Cond.RTF S.O.: 'Haffner' Symphony #35 in D, K.385 (Mozart); Concert dans l'esprit latin (Spitzmuller); 'The Great' Symphony #9 in C (Schubert), Live Performance, 4 Oct., 1954; Symphony #4 in e (Brahms), Live Performance, 7 Oct., 1954 (both Theatre des Champs-Elysees, Paris). (Canada) 2-St Laurent Studio YSL T-1313. Transfers by Yves St Laurent. (C1985)
SIKI: Fantasia #4 in c, K.475 (Mozart); Piano Sonata in B-flat, D.960(Schubert); Carnaval (Schumann), Live Performance, 21 Feb., 2000, Seattle; w.Peter Eros Cond. University of Washington S.O.: Piano Concerto #3 in E (Bartok) , Live Performance, 16 April, 1996. [The Schubert Sonata is extraordinarily poignant!] [Siki was courted by Juilliard and most of the major music conservatories but chose to live and teach in Seattle Washington. His students played in Carnegie Hall, won international competitions and performed with all the major orchestras. If you are serious about technique and interpretation, you must study Siki's book. I remember walking down the hallway toward his door for my lesson and passing his other students sitting on the bench and floor, writing notes long after their lessons. Read this book. You will learn more than you might expect - anonymous]. (Canada) 2-St Laurent Studio YSL T-1298. Transfers by Yves St Laurent. (P1426)
RAFAEL ARROYO: Isaac Albeniz, Matteo Albeniz, Soler, Halffter, Turina, de Falla & Larregia. [This most compelling and exquisite recital by a long-forgotten and important Spanish pianist, among Yves St Laurent’s most treasured releases, is not to be missed!] (Canada) St Laurent Studio YSL T-1207, Live Performance, Cathedrale Notre-Dame de Chartres, France, 9 Sept., 1961. Transfers by Yves St Laurent. (P1425)
LAZAR BERMAN, w. Leonard Bernstein Cond NYPO: Piano Concerto #3 in d (Rachmaninoff); Piano Concerto #1 in D-flat (Prokofiev) [Thrilling performances in remarkably brilliant sound captured in the vast Philharmonic Hall, then Avery Fisher Hall, etc. - depending on the depth of the donors' pockets] (Canada) St Laurent Studio YSL T-1213, Live Performance, 2 March, 1977, Philharmonic Hall. Transfers by Yves St Laurent. (P1427)
TANNHAUSER, Live Performance, 6 March, 1948, w.Milton Cross' Broadcast Commmentary; Fritz Stiedry Cond. Met Opera Ensemble; Lauritz Melchior, Helen Traubel, Astrid Varnay, Herbert Janssen, Mihaly Szekely, etc.; HELEN TRAUBEL, w.Pelletier Cond. NBC S.O.: Gotterdammerung - Brunnhilde’s Immolation Scene, Live Performance, 1951, w.Ben Grauer's Broadcast Commentary. (Canada) 3-Immortal Performances IPCD 1150, w.Elaborate 34pp booklet. Transfers & Essay by Richard Caniell. Program notes by Dewey Faulkner. (OP3442)
OUR MISS GIBBS (Ivan Caryll and Lionel Monckton), with Gaiety Theatre Ensemble; George Grossmith, Jr., Gertie Millar (both Creators), plus William H. Berry, Thomas Franklin, Marion Jerome, Charles Handy, etc. (England) Palaeophonics 176, w.Elaborate ‘The Play’ 20pp. Brochure replete with numerous photos of the Gaiety Theatre 1909 production & biographies. Excellently transferred from the legendary Acoustic 78rpm rarities. (PE0365)
BOOKS ON SALE
“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!
[many sealed copies of
numerous out-of-print additions:
Yves St Laurent, Immortal Performances, Marston,
The Record Collector, VRCS, &
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 . . .
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P1428. RADU LUPU: Violin Sonata #21 in e, K.304 (Mozart), Live Performance, Queen Elisabeth Hall, London, 13 Jan., 1974 (w. SZYMON GOLDBERG): Violin Sonata in D (Franck), (w. STOIKA MILANOVA), Live Performance, Smith Square, London, 11 Feb., 1972; Piano Quintet in g (Shostakovitch) (w. GABRIELI QUARTET), Live Performance, Smith Square, London, 5 March, 1973. (Canada) St Laurent Studio YSL T-1335. Transfers by Yves St Laurent.
C1994. TAKASHI ASAHINA Cond. Chicago Orch.: Symphony #9 in d (Bruckner). (Canada) St Laurent Studio YSL T-1254, Live Performance, 24 Oct., 1996, Orchestra Hall. Transfers by Yves St Laurent.
C1995. CHARLES MUNCH Cond. Boston S.O.: Pelléas et Mélisande (Fauré); Symphony #2 (Florent Schmitt) ["Complex cross-rhythms, unusual instrumental combinations, and a battery of percussion keep things moving. Contemporaries writing at the premiere of the work talk about its exuberance and youthful energy." - Ralph Graves]; w. LEONID KOGAN: Violin Concerto in D (Beethoven). (Canada) 2-St Laurent Studio YSL T-1271, Live Performance, 19 Nov.. 1960, Symphony Hall. [Live performance brilliantly displaying the splendor of the Symphony Hall acoustic; another most treasurable Munch broadcast!] Transfers by Yves St Laurent.
C1996. GEORGES SÉBASTIAN Cond. RTF S.O.: Der Fliegende Höllander - Overture (Wagner); Symphony #2 in D (Brahms); w. YVONNE LEFÉBURE: Piano Concerto in a (Schumann). (Canada) St Laurent Studio YSL T-1299, Live Performance, 14 Feb., 1964, Maison de la Radio, Paris. Transfers by Yves St Laurent.