Classical CDs, LPs, 78s,
Related Books & Ephemera
Yves St Laurent offers
TENNSTEDT, Vol. 43 (with RADU LUPU) . . .
RADU LUPU – 1975 Schubert Recital . . .
LAZAR BERMAN, Vol. 5 . . .
and the recorded legacy of SIEGFRIED WAGNER . . .
and the ‘sale’ titles continue . . .
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)
“As a tribute to the late Romanian pianist Radu Lupu, this sterling reading of the Greig Piano Concerto could hardly be bettered. By 1989 the concerto was already beginning to fall out of favor, through no fault of its own (without it and the incidental music to PEER GYNT
, would Grieg have been credited with any masterpieces?). Lupu made an admired commercial recording for Decca in 1973 with Andre Previn and the London Symphony, but here he sounds more spontaneous and imaginative. Just as importantly, he has Klaus Tennstedt as a warm, fully engaged accompanist.
Besides his accustomed refinement, Lupu plays with sparkle and brio here, two qualities I don’t associate with him. St. Laurent Studio has released an outstanding 1983 account of the Brahms First Piano Concerto from Lupu with Tennstedt and the London Philharmonic [C1970]
. This Grieg performance matches it for being a genuine collaboration between soloist and conductor. Lupu releases startling power in the first-movement cadenza, an added surprise for me because of its visceral impact. The quality of the contribution from the LPO is made clear by the beautifully phrased introduction to the slow movement, perfectly setting the stage for Lupu’s delicate Chopinesque entry. The vibrancy of the finale caps a reading in which everyone plays the Grieg Piano Concerto with the passionate conviction that makes the music new again.
Tennstedt was ‘on’ throughout the rest of the program too, carrying over the passion and intensity of the first half in a Beethoven Seventh that relives the glory days of great German conducting - the performance is powerful, noble, spontaneous, and thrilling. I’d have to go back to Furtwangler’s wartime Beethoven for music-making that feels so alive in the moment. The LPO musicians get so carried away that execution isn’t always perfect, particularly when the finale grows nearly frantic, but this is of small consequence in the soaring rush of a great Beethoven Seventh.
This CD is the only release, so far as I know, that includes the entire concert of November 21, 1989 at a time when Tennstedt, however acclaimed for his studio recordings, unleashed his passionate nature only under concert conditions. The program begins with a reading of Glinka’s RUSLAN AND LUDMILLA
Overture that benefits from not going at breakneck speed; the only drawback is an overly prominent and very enthusiastic timpanist, who also gets in volleys of fortissimo thwacks in the finale of the Beethoven.
Producer Yves St-Laurent doesn’t reveal his sources, but this is clearly a transfer from the original BBC radio broadcast. The Beethoven Seventh was previously released on BBC Legends, which features quite good FM-stereo sound thanks to access to the original tapes. Here, the sound is more than listenable in St-Laurent’s expert transfer, but there is some tape hiss, and Lupu’s piano is a bit hard. Nonetheless, if you are attuned to the kind of excitement Tennstedt could generate at his most spontaneous, the Grieg and Beethoven performances are both unmissable.”
- Huntley Dent, FANFARERADU LUPU: Impromptu in E-flat, #2; Impromptu in G-flat, #3; Impromptu in A-flat, #4 (all D.899); Piano Sonata in a, D.784; Piano Sonata in G, D894 (all Schubert). (Canada) St Laurent Studio YSL T-1312, Live Performance, 4 April, 1975, Schlosstheater, Schwetzingen, Germany. Transfers by Yves St Laurent. (P1423)
“If Mr. Lupu’s solo records capture only a hint of the aura he exhibited in concert, his ethereality is made close to tangible on several of them, including one of Schubert’s Impromptus from 1982 that draws impossible tension from the natural flow of its singing lines; a pair of Schubert sonatas that won a Grammy Award in 1996; and a collection of late Brahms from the 1970s that is suffused with such understanding, such light and shade, that the result, as the critic Alex Ross put it, comes ‘as close to musical perfection as you could ask’.
’But I did not really play the piano as an end in itself’, Mr. Lupu told THE CHRISTIAN SCIENCE MONITOR in 1970. ‘I made tunes on it, and from the very beginning I regarded myself as a composer. I was sure, and everybody else was sure, that one day I would become a famous composer’.
He gave up composing only when he was 16, four years after his professional debut as a pianist in Brasov, Romania. 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.
‘I found even the most elementary rudiments of piano technique very difficult’, he confessed to THE MONITOR, ‘because this needed great self-discipline, and as for years I had imagined that I would one day become a composer, I had always felt that this sort of perfection wasn’t going to be needed’.
Even so, Mr. Lupu placed fifth at the International Beethoven Piano Competition in Vienna in 1965 before sweeping to victory at the Cliburn finals in Fort Worth the next year. ‘I really do not like competition at all’, he told the press then; he nonetheless shared first prize at the George Enescu International Competition in Bucharest in 1967 and triumphed at the Leeds International Piano Competition in England in 1969.
Fanny Waterman, the founder of the Leeds, recalled Mr. Lupu inviting the jury to tell him which of the Beethoven concertos to play; they declined, and he won with the first movement of the Third. He recorded that Beethoven with Lawrence Foster and the London Symphony Orchestra in 1970 - a prelude to his later complete survey of the five concertos with Zubin Mehta and the Israel Philharmonic.
Despite such successes, he already struck listeners as anything but a standard-issue product of the competition circuit. ‘He is somewhat different from the regulation contest winner, in that he is not primarily a brilliant and impeccable technician’, Raymond Ericson wrote in THE TIMES of Mr. Lupu’s Carnegie Hall debut in April 1967. Harold Schonberg, also in THE TIMES, thought the Brahms First Concerto, with which Mr. Lupu returned to the hall in 1972, ‘willful, episodic and mannered’, but allowed that it at least had ‘the virtue of not being stamped from the same old cookie cutter’.
Mr. Lupu, who retired in 2019, made few recordings for a pianist of his stature; he admitted to tensing up in the presence of studio and even radio microphones. A boxed set of his solo releases on Decca runs to a mere 10 discs, the last from the mid-1990s. As well as further concertos, including Mozart, Schumann and Grieg, Mr. Lupu 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. ‘But it is also true that if I can make music for myself, even while practicing, and be moved by it, then that will project to the audience. So it may seem I am playing for myself, but it’s not quite like that. Why should I make a big show of the whole thing?’”
David Allen, THE NEW YORK TIMES, 20 April, 2022
“A sure sign that there’s something special about Radu Lupu is the awe that he inspires in other top performers. Talking to THE NEW YORKER critic Alex Ross a while ago, Mitsuko Uchida called him ‘the most talented guy I have ever met’. (Ross also wrote about Lupu in 2005, and described a Lupu recording as ‘one of the most beautiful piano records ever made’.) The gifted young pianist Kirill Gerstein described Lupu’s uniqueness well in a recent interview:
When asked what it is that makes Lupu such a significant pianist, Gerstein mused that ‘(Lupu) transcends any technical or musical issues and creates a certain magic that he conjures up in the air in the concert hall. He manages to create a very intimate atmosphere. It is something that you can’t get from a recording’, Gerstein continued, ‘you must experience it live. His sound in the concert hall is absolutely irreplaceable’.
What is it about Lupu’s sound, then? Sound is notoriously hard to describe in words, but here’s a stab at it. The basic tone of the piano is, on its own, quite neutral by comparison with other instruments. This means that the sound worlds evoked by the piano vary enormously, depending on how different composers write for it. In the core classical repertoire (Beethoven, Mozart, Schubert), for which Lupu is best known, you expect a sound that is muscular, objective, straightforward. In another school of piano writing (extending, say, from Chopin to Debussy and Scriabin), something more diaphanous and sensual seems appropriate. Here, for comparison, is the same pianist, Claudio Arrau, playing in one style, and the other.
What Lupu somehow has done, I think, is to find greater amplitude, more layered gradations of subtlety, within the world of the basic classical sound than anyone else. His playing is infinitely refined without ever exceeding the bounds of what’s idiomatic for the music….to me, it’s as if a new light glows from the very heart of the piece. I remember, a few years ago, hearing Lupu play the quietest, strangest, but maybe most compelling ‘Appassionata’ I’ve ever heard. Not a quiet piece, you would think, but, actually, a lot of the final movement is marked ‘quiet’ in the score, and playing it this way imparts a nocturnal quality.
There’s another facet to the excitement of a Lupu concert: he no longer records. You know that when you hear him play, you will never hear the piece like this again….when you go to his concerts, your ears and brain have to drink in all they can. There are details of his performances that I can remember years later….But I also know that there were many more such details than I could possibly remember. They have left a vague imprint of wonderment, as after a dream….That sound again. Instead of foreground and background, melody and accompaniment, there seemed to be a whole ecosystem of sound: lines emerging, glowing briefly, then fading.”
- Leo Carey, THE NEW YORKER, 24 Jan., 2013LAZAR BERMAN: Shostakovitch, Scriabin, Schubert, Liszt (incl. the latter's Sonata in b) & Beethoven (incl. the latter's Sonata #18 in E-flat, Op.31, #3). (Canada) 2-St Laurent Studio YSL T-1211, Live Performance, 2 Feb., 1976, Kaufmann Concert Hall, New York. Transfers by Yves St Laurent. (P1422)
“The Russian pianist Lazar Berman was a virtuoso in the grandest of grand traditions. Long confined to the Soviet Union and its then communist satellite countries, he began his international career only in the mid-1970s, achieving extraordinary celebrity through performances of great power and command.
Berman continued his studies with Alexander Goldenweiser at the Central Children's music school - his concerto debut given with the Moscow Philharmonic when he was 10 - and then, from 1948 to 1953, at the Moscow Conservatory, where his postgraduate studies continued until 1957. At the time he entered the Queen Elizabeth international competition in Brussels in 1956, such events were star-studded: on that occasion the competitors included Vladimir Ashkenazy, John Browning and Cecile Ousset, and the jurors Arthur Rubinstein, Emil Gilels and Annie Fischer. Berman came fifth, and a European tour followed, including a 1958 London recital of Beethoven, Prokofiev and Liszt at the Royal Festival Hall.
Though Gilels had already described him as ‘the phenomenon of the musical world’, Berman was however then confined to the Soviet Union for 17 years from 1959, possibly because of his marriage to a French woman. Nonetheless, his reputation was still able to grow through recordings on the Melodiya label. Once he was free to resume international touring in 1976, he took London, Paris, New York and the rest of the musical west by storm, appearing with such celebrated conductors as Karajan, Giulini, Abbado, Bernstein and Barenboim, and with orchestras such as the Berlin and the New York Philharmonics. Extravagantly billed as ‘the world's greatest living pianist’, he played to awe-struck audiences in programmes that often included the Liszt and Rachmaninov works known from the early recordings; new recordings included Tchaikovsky's First Piano Concerto and Rachmaninov's Third. And if his Liszt recordings rank among the most intimidating displays of physical bravura, they were also notably for an intense drama and romantic fervour.
From 1980, at the height of his success, he was beset by further travel restrictions after the discovery of banned American books in his luggage. In 1990, he left Moscow to teach in Norway and Italy, where he eventually settled.”
- Bryce Morrison, THE GUARDIAN, 13 Feb., 2005
“Lazar Berman, a Russian pianist with a huge, thunderous technique that made him a thrilling interpreter of Liszt and Rachmaninoff and a representative of the grand school of Russian Romantic pianism, had a gentle manner that seemed at odds with his often-muscular approach to the piano. His repertory, though, was broader than his reputation would suggest. It ran from Bach and Handel, through Mozart, Clementi and Beethoven, to Scriabin and Shostakovich. Although Mr. Berman was best known for the grandeur of his Liszt, Chopin, Prokofiev and Rachmaninoff playing, he played Mozart and early Beethoven, for example, with a light touch that could surprise listeners who had typecast him as a firebrand. He also proved a supportive and deferential chamber music collaborator in recitals with his son, the violinist Pavel Berman, in the early 1990s.
Lazar Berman studied with Alexander Goldenweiser, a renowned Russian pianist who remained Mr. Berman's teacher at the Moscow Conservatory in the 1940s and 1950s.
Mr. Berman made his professional debut at age 10, playing a Mozart concerto with the Moscow Philharmonic. By the mid-1950s, he had won several competitions in the Soviet Union, as well as prizes at the Queen Elisabeth Competition and at the Franz Liszt competition. A European tour and a legendary recording of Liszt's Transcendental Etudes for the Melodiya label, in 1959, helped solidify his reputation as a virtuoso player. So did a glowing report from Emil Gilels, one of the greatest Russian pianists of the time, who called Mr. Berman ‘the phenomenon of the music world’. When Harold C. Schonberg, then the chief music critic of THE NEW YORK TIMES, heard Mr. Berman in Moscow in 1961, he wrote that the pianist had 20 fingers and breathed fire.
Soviet authorities, however, prevented Mr. Berman from traveling to the United States until 1976, when he was 45. When he made his New York debut, playing the Tchaikovsky Piano Concerto #1 with Lukas Foss and the Brooklyn Philharmonic, Schonberg wrote that ‘he may be that rarest of musicians - a real, true blue Romantic, one who understands the conventions and has the ability to put them into effect’. Still, Mr. Berman left the piano world deeply divided. Just as he was idolized by fans of titanic Romanticism, other listeners faulted him for perceived deficits in subtlety or stylistic variety. At any rate, his American career was short-lived. After a flurry of performances between 1976 and 1979, he was again prevented from touring by the Soviet authorities after American books were discovered in his luggage.
By the time he could travel again in 1990, Mr. Berman had largely tired of the concert stage, preferring to devote himself to teaching and to judging competitions, with occasional performances on his own or with his son. He moved to Florence in August 1990 and was granted Italian citizenship in 1994.”
- Allan Kozinn, THE NEW YORK TIMES, 9 Feb., 2005SIEGFRIED WAGNER Cond. London S.O. & Staatskapelle Berlin: Huldigungs-March; Lohengrin - Act I Prelude; Das Rheingold - Einzug der Gotter in Walhall; Tristan - Vorspiel & Liebestod; Die Walkure - Walkurenritt; Siegfried - Idyll; Parsifal - Charfreitags-Zauber - recorded 1926-27; Carlo Sabajno, Felix Weingartner & Fourestier Cond.; Peter Cornelius, Raoul Jobin, Richard Crooks, Emmy Bettendorf, Michael Bohnen, Carl Martin Oehmann, etc.: Orchestral & Vocal segments; Charles Courboin: Tannhauser - O du mein holder Abendstern (as Organ solo); Clement Doucet (Pf.): Wagneria; Isoldina - recorded 1908-48 (all Wagner). [Certainly a most eclectic potpourri, following the Composer's son Siegfried, but a marvelous program - especially the delightful 1927 Clement Doucet piano solos!] (Canada) 2-St Laurent Studio YSL 78-1249. Transfers by Yves St Laurent. (C1982)
“Siegfried Wagner was a German composer and conductor, the son of Richard Wagner. He was an opera composer and the artistic director of the Bayreuth Festival from 1908 to 1930.
Helferich Siegfried Richard Wagner, nicknamed ‘Fidi’, was born in 1869 to Richard Wagner (1813-1883) and his future wife Cosima Wagner (1837-1930) (nee Liszt), at Tribschen on Lake Luzern in Switzerland. Through his mother, he was a grandson of Franz Liszt, from whom he received some instruction in harmony.
Some youthful compositions date from about 1882. After he completed his secondary education in 1889, he studied with Wagner’s pupil Engelbert Humperdinck (1854-1921), but was more strongly drawn to a career as an architect and studied architecture in Berlin and Karlsruhe.
In 1892 he undertook a trip to Asia with a friend, the English composer Clement Harris. During the voyage he decided to abandon architecture and commit himself to music. Reputedly, it was also Harris who first aroused his homoerotic impulses. While on board ship he sketched his first official work, the symphonic poem SEHNSUCHT, inspired by the poem of the same name by Friedrich Schiller. This piece was not completed until just before the concert in which Wagner conducted it in London on 6 June, 1895. He composed more operas than his father. Though his works are numerous, none entered the standard repertory.
He made his conducting debut as an assistant conductor at Bayreuth in 1894; in 1896 he became associate conductor, sharing responsibility for conducting the RING Cycle with Felix Mottl (1856-1911) and Hans Richter (1843-1916), who had conducted its premiere 20 years earlier. In 1908 he took over as Artistic Director of the Bayreuth Festival in succession to his mother, Cosima Wagner (1837-1930).
Wagner was bisexual. For years, his mother urged him to marry and provide the Wagner dynasty with heirs, but he fought off her increasingly desperate urgings. Around 1913, pressure on him increased due to the Harden-Eulenburg Affair (1907-1909), in which the journalist Maximilian Harden accused several public figures, most notably Philipp, Prince of Eulenburg-Hertefeld, a friend of Kaiser Wilhelm II, of homosexuality. In this climate, the family found it suitable to arrange a marriage with a 17-year-old Englishwoman, Winifred Klindworth, and at the Bayreuth Festival of 1914 she was introduced to the then-45-year-old Wagner. The two married on 22 Sept., 1915. The couple had four children: Wieland (1917-1966), Friedelind (1918-1991), Wolfgang (1919-2010) & Verena (born 1920). Though the marriage provided for the dynastic succession, the hope that it would also bring an end to his homosexual encounters and the associated costly scandals was disappointed, as Wagner remained sexually active with other men.
Wagner died in Bayreuth in 1930, having outlived his mother by only four months. Since his two sons were still only adolescents, he was succeeded at the helm of the Festival by his wife Winifred.”
- Mahler Foundation
“Clement Doucet was born in Laeken (now a suburb of Brussels) and had studied with Arthur De Greef (a pupil of Franz Liszt). He found work as a pianist on ships and travelled to the United States. On his return, it was in Paris that Jean Wiener discovered him, and it was with him that he performed between 1924 and 1939, with more than 2000 concerts and a hundred recordings, still available on CD. Capable of unsurpassed virtuosity in the classical repertoire as well as in jazz (he could read a detective novel while playing at the Boeuf sur le toit), he composed several arrangements of classics (Chopinata, Isoldina, Wagneria, Griegiana).”
- Mauro Piccinini- - - REPEATED FROM THE RECENT PAST - - -
LAZAR BERMAN: Rachmaninoff, Liszt, de Falla & Beethoven (the latter's Sonata #18 in E-flat, Op.31, #3). (Canada) St Laurent Studio YSL T-1208, Live Performance, 30 Sept., 1954, Moscow. [The producer, Yves St Laurent, offers the caveat of some sound problems.] Transfers by Yves St Laurent. (P1421)
JORGE BOLET: Cello Sonata in c (Rachmaninoff) (w. JOEL KROSNICK); 'Forellen' Piano Quintet in A (Schubert) (w. DONALD PALMA (Double Bass) & Juilliard String Quartet); JUILLIARD STRING QUARTET: Eine Kleine Nachtmusic, K.525 (Mozart) - Live Performance, 19 Dec., 1978, Coolidge Auditorium, Library of Congress; JORGE BOLET, w. Members of NYPO (Kenneth Gordon, Oscar Ravina, Dorian Renee & Nathan Stutch): Piano Quintet in f (Franck), Live Performance, 5 Jan., 1987, Kaufman Music Center. [Among the most prized Bolet issues from Yves St Laurent, this treasure offers the celebrated Rachmaninoff Cello Sonata!] (Canada) 2-St Laurent Studio YSL T-1268. Transfers by Yves St Laurent. (P1419)
BELA SIKI: Partita #6 in e (Bach); 'Waldstein' Sonata #21 in C, Op.53 (Beethoven); Ballade #3 in A-flat, Op.47; Scherzo #3 in c-sharp, Op.39; Etude in F, Op.10, #8; Several Mazurkas, Op.50 (all Chopin), Live Performance, 5 Jan., 1990, Seattle; w.Ruben Gurewich Cond. University of Washington S.O.: Piano Concerto #3 in D (Prokofiev), Live Performance, 19 April, 1989. [A jewel of a recital in marvelous sound! Issues like this enrich our lives and give us great encouragement to continue our work!] [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-1296. Transfers by Yves St Laurent. (P1418)
SERGIO FIORENTINO: French Suite #5 in G (Bach); Prelude, Aria & Finale (Franck); Sonata #21 in B-flat, D.960; Moments musicaux, #3, Allegro moderato in F Minor, D. 780 (both Schubert); Der Rosankavalier - Walzer (Strauss). (Canada) 2-St Laurent Studio YSL T-1219, Live Performance, 17 July, 1994, Erwitte, Germany. Transfers by Yves St Laurent. (P1409)
JEAN MARTINON Cond. ORTF S.O.: 'Titan' Symphony #1 in D; w.Jocelyne Taillon & Siegmund Nimsgern: Des Knaben Wunderhorn (both Mahler). (Canada) 2-St Laurent Studio YSL T-1227, Live Performance, 17 Nov., 1971, Theatre des Champs-Elysees. Transfers by Yves St Laurent. (C1981)
CARL SCHURICHT Cond. l'Opera de Monte-Carlo Orch.: 'London' Symphony #104 in D (Haydn); 'Haffner' Symphony #35 in D, K.395; w.CHRISTIAN FERRAS: Violin Concerto #4 in D,K.218 (both Mozart). (Canada) St Laurent Studio YSL T-1292, Live Performance, 15 Aug., 1959, Basilique Saint-Michel Archange de Menton, France. Transfers by Yves St Laurent. (C1980)
ENRIQUE GRANADOS: Enrique Granados, The Composer As Pianist Pierian 0002, recorded 1912 & 1913, from ‘Duo-Art system’ piano music rolls. Long out-of-print, Final Sealed Copy! (P0049)
CHARLES REINER: Sonata #1 in g for solo Violin (Bach); w.HENRYK SZERYNG: Violin Sonata #2 in A, Op. 100 (Brahms); Romanian Folk Dances (Bartok); Violin Sonata in a, Op.13 (Paderewski); Encores by Halffter, de Sarasate, Novacek, Marroquin, de Falla & Brahms. (Canada) 2-St Laurent Studio YSL T-1230, Live Performance, 26 Feb., 1984, Roy Thompson Hall, Toronto. Transfers by Yves St Laurent. (P1417)
MAGDA TAGLIAFERRO: Chopin, Mompou, Albeniz & Beethoven Recital (the latter's 'Appassionata' Sonata #23 in f), Live Performance, 13 March, 1964, Palais d'Orsay, Paris; w. OUBRADOUS Cond. Paris Chamber Orch.: 'Coronation' Piano Concerto #26 in D, K.537 (Mozart), Live Performance, 27 March, 1955. (Canada) St Laurent Studio YSL T-1242. Transfers by Yves St Laurent. (P1420)
GUARNERI QUARTET: String Quartet #3 in D, Op.18, #3; String Quartet #11 in f, Op.95; String Quartet #16 in F, Op.135; String Quartet in G, Op.76, #1 - Allegro ma non troppo (Haydn). [Highly distinguished performances recorded in a fresh, open acoustic before an ecstatic audience!] (Canada) St Laurent Studio YSL T-1225, Live Performance, 11 Jan., 1980, Salle Pleyel, Paris. Transfers by Yves St Laurent. (S0810)
TAKASHI ASAHINA Cond. New Japan Phil.: Symphony #1 in c (Brahms), Live Performance, 5 Feb., 1990, Orchard Hall, Tokyo; TAKASHI ASAHINA Cond. Osaka Phil.: Die Meistersinger – Prelude (Wagner), Live Performance, 4-5 Feb., 1980, Osaka Festival Hall. (Canada) St Laurent Studio YSL T-1248, Live Performance, 21-25 July, 1993, Festival Hall, Osaka. [A treasurable issue from Yves St Laurent!] Transfers by Yves St Laurent. (C1976)
HERBERT von KARAJAN Cond. Vienna Phil.: Concerto Grosso in E-flat, op. 4/10 (Locatelli); ‘Unfinished’ Symphony #8 in b (Schubert); Also sprach Zarathustra (Strauss); Delirium Waltz (Josef Strauss). (Canada) St Laurent Studio YSL T-1224, Live Performance, 9 April, 1962, Theatre des Champs-Elysees, Paris. Transfers by Yves St Laurent. (C1974)
PIERRE BOULEZ Cond. Paris Opera Orch.: Symphony #10: - Adagio; w. YVONNE MINTON & JON VICKERS: DAS LIED VON DER ERDE (both Mahler) (Canada) St Laurent Studio YSL T-1276, Live Performance, 20 Feb., 1981. Transfers by Yves St Laurent. (C1973)
AARON COPLAND Cond. Hungairan State S.O.: Serenade (Kadosa); Decoration Day - Holidays Symphony (Ives); Symphony #3 (Roy Harris); Fanfare for the Common Man; Billy the Kid – Suite (both Cond. by the Composer). (Canada) St Laurent Studio YSL T-1228, Live Performance, 28 Sept., 1973, Budapest. Transfers by Yves St Laurent. (C1979)
GERARD POULET Cond. RTF S.O.: ‘Rhenish’ Symphony #3 in E-flat (Schumann); Espana (Chabrier); w.MICHELE BOUSSINON: Violin Concerto #3 in b (Saint-Saens). (Canada) St Laurent Studio YSL T-1300, Live Performance, 26 July, 1956, Paris. Transfers by Yves St Laurent. (C1977)
GEORGES SEBASTIAN Cond. RTF S.O., w.Colette Herzog, Liane Synek, Ruth Hesse, Helga Jenckel, William Blankenship, Hans-Otto Kloose & Gerhard Nienstedt: ‘Symphony of a Thousand’ #8 in E-flat (Mahler). (Canada) St Laurent Studio YSL T-1297, Live Performance, 3 Nov., 1964, Theatre des Champs-Elysees, Paris. Transfers by Yves St Laurent. (C1978)
GEORGE GROSSMITH, Jr.: George Grossmith’s records for the Gramophone Company, incl. Songs & Duets from Theodore, Peggy, Our Miss Gibbs, The Sunshine Girl, Peggy, The Girl on the Film, The Cabaret Girl, Tonight’s the Night, Genevieve de Brabant, The Naughty Princess, Sally, No, No Nanette & Lady Mary; three additional songs plus the 1908-10 Jumbo Records. (England) 2-Palaeophonics 173A & 173B, recorded 1909-28. [Of note: This 2-CD Set of improved restoration replaces the earlier Palaeophonics issues Nos. 86 & 100], w.Elaborate 'The Play' 24pp. Brochure replete with numerous photos from various productions & biographies. Excellently transferred from the legendary Acoustic 78rpm rarities. [Beyond any doubt, this piece de resistance, Dominic Combe's most recent and elaborate production, is the ultimate of his delightful creations; the duet from GENEVIEVE DE BRABANT is among these priceless renditions!] (PE0364)
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C1983. 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.
P1423. RADU LUPU: Impromptu in E-flat, #2; Impromptu in G-flat, #3; Impromptu in A-flat, #4 (all D.899); Piano Sonata in a, D.784; Piano Sonata in G, D894 (all Schubert). (Canada) St Laurent Studio YSL T-1312, Live Performance, 4 April, 1975, Schlosstheater, Schwetzingen, Germany. Transfers by Yves St Laurent.
P1422. LAZAR BERMAN: Shostakovitch, Scriabin, Schubert, Liszt (incl. the latter's Sonata in b) & Beethoven (incl. the latter's Sonata #18 in E-flat, Op.31, #3. (Canada) 2-St Laurent Studio YSL T-1211, Live Performance, 2 Feb., 1976, Kaufmann Concert Hall, New York. Transfers by Yves St Laurent.
C1982. SIEGFRIED WAGNER Cond. London S.O. & Staatskapelle Berlin: Huldigungs-March; Lohengrin - Act I Prelude; Das Rheingold - Einzug der Gòtter in Walhall; Tristan - Vorspiel & Liebestod; Die Walküre - Walkürenritt; Siegfried - Idyll;
Parsifal - Charfreitags-Zauber - recorded 1926-27; Carlo Sabajno, Felix Weingartner & Fourestier Cond.; Peter Cornelius, Raoul Jobin, Richard Crooks, Emmy Bettendorf, Michael Bohnen, Carl Martin Oehmann, etc.: Orchestral & Vocal segments; Charles Courboin: Tannhäuser - O du mein holder Abendstern (as Organ solo); Clément Doucet (Pf.): Wagneria; Isoldina - recorded 1908-48 (all Wagner). [Certainly a most eclectic potpourri, following the Composer's son Siegfried, but a marvelous program - especially the delightful 1927 Clément Doucet piano solos!] (Canada) 2-St Laurent Studio YSL 78-1249. Transfers by Yves St Laurent.