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MARK REIZEN returns from
an all-Dargomyzhsky Recital,
YVES ST LAURENT offers
PRADES FESTIVAL, Vol. 5 . . .
GEZA ANDA, Vol. 2 . . .
SCHNABEL, Vol. 8 . . .
always New Offerings in our ‘SALE’ Section
-----------------------------------------PRADES FESTIVAL, Vol. V: PABLO CASALS, JOSEPH FUCHS, EUGENE ISTOMIN, ORREA PERNEL, MILTON THOMAS, MADELEINE FOLEY & BERNARD GOLDBERG: (Mozart & Beethoven). (Canada) St Laurent Studio YSL T-1077, Live Performances, 1953 & 1954, Abbaye Saint-Michel de Cuxa & Eglise Saint-Pierre de Prades. Transfers by Yves St Laurent. (C1827)
"The first Prades Festival was held in 1950 to mark the bicentenary of Bach’s death and to coax Casals out of retirement. Several of the world’s most notable musicians attended, and Columbia was on hand to record the proceedings….The quality of the recorded sound is fine and the audience very quiet. The performances also have one endearing quality of broadcast recordings from the 1950s: there is no editing."
- David Radcliffe, AMERICAN RECORD GUIDE, March/April, 2007
"These historical recordings are a vital link to the 19th Century attitude toward chamber music because many of the older musicians who played at Prades in the 1950s came of age towards the end of the 19th Century [offering] a great deal of extremely creative music-making…."
- Elaine Fine, AMERICAN RECORD GUIDE, May/June, 2003MARK REIZEN: Dargomyzhsky Songs; w.Nebolsin Cond. Nelepp & Pokrovskaya: RUSALKA (Dargomyzhsky) - Excerpts. (Russia) Aquarius AQVR 390, recorded 1939-50. (V2454)
“Certain voices draw you immediately into their orbit and hold you under their spell: so it is with me and the Ukranian bass Mark Reizen….In a brief article reproduced in the booklet, Reizen tells us that he fell in love with ‘I bless you, forests’, and he sings it with eloquence….I could say something positive about every song in this memorable collection.
The Ukranian bass Mark Reizen, a famous exponent of the Miller’s role like Chaliapin before him, starred in excerpts from Dargomyzhsky’s RUSALKA, which were recorded for Soviet Radio in 1949 and 1950. We hear four substantial chunks, amounting to about 45 minutes of music. The Miller’s famous aria is delivered with rumbustious rhythm and character, and Reizen is in tremendous voice - it must have been riveting on stage. Nebolsin conducts ably, and both chorus and orchestra are excellent, as is the sound quality.
Comparisons with such singers as Chaliapin and Gmyrya are rewarding, but do not find Reizen wanting in any way."
- Tully Potter, THE RECORD COLLECTOR, 2015
“A superb singer and powerful actor with a highly expressive, rich voice of astonishing color and range, [Reizen’s] forte was legendary, but he also had a pianissimo so expressive it could stop a rehearsal to allow Natalia Shpiller singing opposite him to regain her composure, while the rest of the cast were drying their eyes.”
- Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS
“Certainly one of the most sonorous, expressive and beautifully-controlled bass voices ever to have been recorded was that of Mark Reizen. He was a legend in his own lifetime in Russia and, at the age of 90, he was still able to make a remarkable stage appearance, singing Prince Gremin in EUGEN ONEGIN….one of the greatest bass singers of the 20th century.”
- Alan Bilgora, THE RECORD COLLECTOR, 2010GEZA ANDA, w.Leinsdorf Cond. Boston S.O.: Piano Concerto #17 in G, K.453 (Mozart), Live Performance, 3 Dec., 1963, Symphony Hall; w.Jean Martinon Cond. ORTF S.O.: 'Emperor' Concerto #5 in E-flat (Beethoven), Live Performance 27 May, 1970, Salle Pleyel, Paris. (Canada) St Laurent Studio YSL T-1067. Transfers by Yves St Laurent. (P1364)
“[Anda] was a superb musician, if not always a dead-accurate technician, who excelled particularly in works that demanded and drew from him crisp, rhythmically incisive, some might even say steely and brittle playing….Geza Anda was a fine artist….”
- Jerry Dubins, FANFARE, July/Aug., 2004
“In an age of well trained automata set to shine briefly on the competition circuit, Anda’s was a wholly personal voice backed by pianism and craftsmanship of a transcendental sheen and precision….Geza Anda’s tragic death at the age of 54 extinguished a light that could never be replaced."
- Bryce Morrison, GRAMOPHONE, Aug., 2008ARTUR SCHNABEL: 'Hammerklavier' Sonata #29 in B-flat, Op. 106; Seven Bagatelles (both Beethoven), recorded 1935 & 1938. (Canada) St Laurent Studio YSL 78-1052. Transfers by Yves St Laurent. (P1363)
“In its sheer scale, density of thought and technical requirements, the ‘Hammerklavier’ presents a more severe test of a pianist's capabilities than any other of Beethoven's 32 piano sonatas. The trio of sonatas that followed it - Op 109, 110 and 111 - may be more elusive and require a very special musical eloquence to illuminate all their facets, but Op 106, composed in 1817 and 1818, tests every aspect of a pianist's art, almost to the point of destruction.
If the last three sonatas are about reflection and the different kinds of poetic resolution a composer can achieve, this work deals unashamedly in confrontation, generating tensions that can't be resolved in any other way than in the gigantic explosion of the final fugue, whose deliberately clashing sonorities and raw-edged piano sound create a music that it is impossible to prettify. Yet the great slow movement, with its arching melodic lines and bewitching harmonic shifts, demands a different kind of authority altogether; and it's the fusion of these two worlds in the sonata that is unique even in late Beethoven.
The work has inevitably tempted almost all the significant pianists of the last 100 years, yet even some of the greatest fail to bring it off triumphantly; Artur Schnabel, for instance, whose reputation rests, in large part, upon his recordings of the Beethoven sonatas, is not at his most convincing in the ‘Hammerklavier’, where the sheer difficulties of the piano writing seem to destroy his poise.
Of all the more or less ‘historic’ versions, the one by Solomon recorded in 1956, comes closest to the ideal, centered upon the most moving account of the slow movement yet put on disc, and with sound that has come up miraculously well in its CD transfer.
I would be more than happy to live with that version to the exclusion of all others, but there are a number of more modern versions that match its profoundity and have a marginally better piano sound, with a list of contenders that includes many of the supreme keyboard artists of our time - Svitatoslav Richter, Emil Gilels, Alfred Brendel, Maruzio Pollini, Daniel Barenboim, Claudio Arrau and Richard Goode.”
- GRAMOPHONE, 21 Jan., 2000
“The more I hear of Schnabel's Beethoven, the less I desire to hear other pianists in this literature. I know that this is a narrow-minded attitude, but I have never heard any other pianist who could approach this kind of vital and profound music-making. Much has been said about Schnabel's supremacy in the late Sonatas, but his mastery of these early works is also supreme. He brings to these works a sparkle and restless vitality in the fast movements that makes the music come alive as no one else can. And he has the courage to respect the extreme slow tempi of the slow movements. The Rondo a capricio ‘Rage over a Lost Penny’ is breathtaking in its drive, yet all the charm and wit of the piece is there. Once you hear Schnabel, no one else will do."
- Ralph J. Steinberg
. . . FROM THE RECENT PAST . . .
RUSLAN AND LYUDMILA (Glinka), Recorded 1938, w.Samuil Samosud Cond. Bolshoi Opera Ensemble; Mark Reizen, Valeria Barsova, Maxim Mikhailov, Nikandr Khanaev, Elizaveta Antonova, Vassily Lubentsov, Lyubov Stavrovskaya & Solomon Khromchenko; RUSLAN & LYUDMILA (Glinka) - Excerpts, recorded 1937-38, w.Samuil Samosud Cond. Bolshoi Opera Ensemble; Alexander Baturin, Valeria Barsova, Elena Slivinskaya, Bronislava Zlatogorova, Lyubov Stavrovskaya & Solomon Khromchenko; MARK REIZEN: Farlaf's rondo (Act 2) tonfilm; MAXIM MIKHAILOV: Ruslan's aria (Act 2) Gramplasttrest 03568; VALERIA BARSOVA: rare tonfilm recordings incl. Farandole ( Bizet), Waltz (Arditi); Arias from Madama Butterfly, Romeo et Juliet & Mignon; VALERIA BARSOVA & GEORGY VINOGRADOV: Romeo et Juliet - duet (all in Russian), recorded 1936-40. (Russia) 4-Aquarius AQVR 418. Slipcase Edition. (OP3362)
BORIS GODUNOV, Live Performance, 13 Feb., 1943, w. Milton Cross' broadcast commentary; George Szell Cond. Met Opera Ensemble; Alexander Kipnis, Kerstin Thorborg, Rene Maison, Alessio de Paolis, John Garris, Leonard Warren, Nicola Moscona, Norman Cordon, etc.; BORIS GODUNOV – Excerpts, w.Reiner Cond. Alexander Kipnis & NYPO, 23 July, 1944; FAUST – Excerpts, w. Stopoff Cond. Alexander Kipnis, Ernest McChesney, Marita Farell & Martha Lipton, 5 June, 1943; Kipnis reminisces on his life and career. (Canada) 3-Immortal Performances IPCD 1124, w.Elaborate 38pp Booklet. Transfers by Richard Caniell. Notes by William Russell & Richard Caniell. (OP3361)
Specially priced at Three discs for the price of Two.
DIE LUSTIGE WITWE (Lehar) - Complete Recording with the original Berlin Cast (1907) plus Highlights with the World Premiere Cast (Wien 1906) and from Eric Charell's revised version (Berlin 1929), w.Gustav Matzner, Marie Ottmann, Poldi Deutsch, Louise Obermaier, Fred Carlo, Edmund Korner, Fritz Burmester, Emilie Symalla, Gustav Beer, Mizzi Schutz, Richard Grohe, Mieze Laudan, Alfred Walters & Max Obal; 1906 Excerpts by Mizzi Gunther, Louis Treumann, etc. (Germany) 2-Truesound Transfers 4014. Transfers by Christian Zwarg. (OP3356)
ARIADNE AUF NAXOS, Live Performance, 11 June, 1944, w.Karl Bohm Cond. Vienna Staatsoper Ensemble; Maria Reining, Max Lorenz, Irmgard Seefried, Alda Noni, Erich Kunz, etc.; ARIADNE AUF NAXOS (Opera portion only), Live Performance, 11 June, 1935, w.Clemens Krauss Cond. Grosses Orchester des Reichsenders, Berlin; Viorica Ursuleac, Helge Roswaenge, Erna Berger, Karl Hammes, Eugen Fuchs, etc.; IRMGARD SEEFRIED, w.Erik Werba (Pf.): Songs by Haydn [in English], Mendelssohn, Schumann & Strauss, Live Performance, 1959, Edinburgh Festival. (Canada) 3-Immortal Performances IPCD 1127, w.Elaborate 54pp Booklet. Transfers by Richard Caniell. Notes by Dewey Faulkner & Richard Caniell. (OP3360)
SAMSON ET DALILA, recorded 1946, w.Fourestier Cond. L'Opera Ensemble; Helene Bouvier, Jose Luccioni, Paul Cabanel, Charles Cambon, etc. (Canada) 2-St Laurent Studio YSL T-1053, taken from pristine copies of the original Pathe 78s. Transfers by Yves St Laurent. (OP3358)
LA FORZA DEL DESTINO, Live Performance, 9 March, 1968, w.Milton Cross’ broadcast commentary, w.Molinari-Pradelli Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Robert Merrill, Jerome Hines, Louise Pearl, Fernando Corena, Louis Sgarro, Carlotta Ordassy, Robert Schmorr & Robert Goodloe; FRANCO CORELLI, w.Alberta Maisiello (Pf.): Recital from Englewood, NJ, 18 March, 1962; FRANCO CORELLI, w.Stokowski Cond. Philadelphia Orch.: Concert of 19 Jan., 1963; FRANCO CORELLI: Concert from 15 Dec., 1969, Monaco; FRANCO CORELLI, w.Fausto Cleva Cond. Met Opera Ensemble: Excerpts from his role debut, Rodolfo, 29 Feb., 1964; LEONTYNE PRICE, w.Kurt Adler Cond. Met Opera Orch.: Concert of 26 July, 1966, Lewisohn Stadium, New York. (Canada) 4-Immortal Performances IPCD 1131, w.Elaborate 42pp Booklet. Transfers by Richard Caniell. Notes by Ken Meltzer & Richard Caniell. (OP3357)
LE JONGLEUR DE NOTRE-DAME – Excerpts (Massenet), w.Charles Burles, Etienne Arnaud, Adrien Legros, Andre Payel, etc. (France) Malibran AMR 155. [AMR titles are issued without rear tray-cards] (OP0210)
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)
JEAN MARTINON Cond. RTF S.O.: Symphony #10 in F-sharp (Mahler; 1st Deryck Cooke Version). (Canada) St Laurent Studio YSL T-874, Live Performance, 27 May, 1970, Orchestra Hall. Transfers by Yves St Laurent. (C1826)
VLADO PERLEMUTER: Sonatine; Miroirs; Jeux d'eau; Valses nobles et sentimentales; Gaspard de la nuit; Le tombeau de Couperin (all Ravel). (Canada) St Laurent Studio YSL T-904, Live Performance, 12 June, 1954, Château des Rohan, Saverne, France. [A breathtaking all-Ravel recital!] Transfers by Yves St Laurent. (P1362)
ROGER DESORMIERE Cond. RTF S.O.: 'Italian' Symphony #4 in A (Mendelssohn); L'Arlesienne Suites – Excerpts (Bizet); Symphony #4 in B-flat (Rivier) [World Premiere Performance]; w. LOUIS PERLEMUTER: Violin Concerto #1 in A (Saint-Saens) . (Canada) St Laurent Studio YSL T-1046, Live Performance, 15 Dec., 1947, Theatre des Champs-Elysees. Transfers by Yves St Laurent. (C1825)
CHRISTOPHER KEENE Cond. Syracuse S.O., w. Shirley & Patti Thompson: 'Resurrection' Symphony #2 in c (Mahler), Live Performance, 1978. (Canada) St Laurent Studio YSL T-1055. Transfers by Yves St Laurent. (C1814)
WILLIAM STEINBERG Cond. Boston Symphony Orchestra: Symphony #2 in E-flat; w.ZARA NELSOVA: Cello Concerto in e; WILLIAM STEINBERG Cond. Cleveland Orchestra: Enigma Variations (all Elgar). (Canada) 2-St Laurent Studio YSL T-948, Live Performances, 1969, Symphony Hall, Boston & 1957, Severance Hall, Cleveland. Transfers by Yves St Laurent. (C1821)
CHARLES MUNCH Cond. Boston S.O.: Octet in E-flat (Mendelssohn); w.FRANCIS POULENC & EVELYNE CROCHET: Concerto in d for Two Pianos; w.ADELE ADDISON: Gloria [World Premiere](both Poulenc). (Canada) St Laurent Studio YSL T-978, Live performance, 21 Jan., 1961, brilliantly displaying the splendor of the Symphony Hall acoustic! Transfers by Yves St Laurent. (C1824)
PAUL FINEL: Arias from La Damnation de Faust, Werther, Herodiade, La Juive, Sigurd, Polyeucte, Tosca, Le Cid, La Reine de Saba, Aida, Andrea Chenier, Turandot, Faust, Romeo et Juliette, Carmen, Pagliacci, Lohengrin & Siegfried; Duets w.Claude Bergeret & Suzanne Sarroca. (France) Malibran 830. (V2639)
BORIS CHRISTOFF in London; BORIS CHRISTOFF in Bulgaria. MICHAEL LETCHFORD, Ed. U.K., Goar Lodge, Privately Printed by the Author, 2020. 116pp. Index; Bibliography, Chronology, Discography, Numerous Photos; Illus. (Pictorial thick paper covers) (B1862)
BOOKS ON SALE
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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.
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V2454. MARK REIZEN: Dargomyzhsky Songs; w.Nebolsin Cond. Nelepp & Pokrovskaya: RUSALKA (Dargomyzhsky) - Excerpts. (Russia) Aquarius AQVR 390, recorded 1939-50. - 4607123631546
C1827. PRADES FESTIVAL, Vol. V: PABLO CASALS, JOSEPH FUCHS, EUGENE ISTOMIN, ORREA PERNEL, MILTON THOMAS, MADELEINE FOLEY & BERNARD GOLDBERG: (Mozart & Beethoven). (Canada) St Laurent Studio YSL T-1077, Live Performances, 1953 & 1954, Abbaye Saint-Michel de Cuxa & Eglise Saint-Pierre de Prades. Transfers by Yves St Laurent.
P1364. GÉZA ANDA, w.Leinsdorf Cond. Boston S.O.: Piano Concerto #17 in G, K.453 (Mozart), Live Performance, 3 Dec., 1963, Symphony Hall; w.Jean Martinon Cond. ORTF S.O.: 'Emperor' Concerto #5 in E-flat (Beethoven), Live Performance 27 May, 1970, Salle Pleyel, Paris. [Two brilliant ANDA performances, both in superlative sound with the celebrated acoustic of Symphony Hall being particularly outstanding] (Canada) St Laurent Studio YSL T-1067. Transfers by Yves St Laurent.
P1363. ARTUR SCHNABEL: 'Hammerklavier' Sonata #29 in B-flat, Op. 106; Seven Bagatelles (both Beethoven), recorded 1935 & 1938. (Canada) St Laurent Studio YSL 78-1052. Transfers by Yves St Laurent.