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TENNSTEDT with PEINEMANN in Chicago . . .
KLAUS TENNSTEDT Cond. Chicago Orch.: Oberon – Overture (von Weber); Also sprach Zarathustra (Strauss); w. EDITH PEINEMANN: Violin Concerto #2 in e (Mendelssohn). (Canada) St Laurent Studio YSL T-1062, Live Performance, 7 or 8 June, 1984, Orchestra Hall. Transfers by Yves St Laurent. (C1833)
YALE Historical Recordings on ‘Sale’ . . .
STEINBERG with FRANCESCATTI in Cologne . . .
GEZA ANDA wth Fricsay & Jochum . . .
our ‘SALE’ items continue with
additions each week . . .
“In his lifetime Klaus Tennstedt was closely associated with the masterpieces of the Austro-German repertoire, making the biggest impression with his Beethoven, Bruckner, and Mahler. Insofar as Richard Strauss carried that tradition forward, Tennstedt wasn’t really identified with his music. Any live performance of a major Strauss work is all the more valuable, and here we get ALSO SPRACH ZARATHUSTRA
from 1984 in Chicago displaying Tennstedt’s gifts in his prime.
The context of this event is important, first because we are hearing Georg Solti’s Chicago Symphony, which was famous for its Strauss, done in blockbuster fashion under a galvanizing conductor. Sometimes reviewers say that an orchestra has been trained to perform repertoire in a certain way by the conductor. I have only faint belief in this, but it would be undeniable that the CSO
and Solti were a brand name in Strauss. As for Tennstedt himself, he had enjoyed a meteoric rise after making his first U.S. appearance in Boston in December, 1974 [C1425]
. Every major orchestra wanted him to guest conduct, and he was capable of greatness leading concerts in Chicago, Boston, Philadelphia, and New York.
Those cities have been the main American sources for the invaluable Tennstedt Edition issued by St. Laurent Studios, of which this is Vol. 35. There’s always a question of sound quality from live broadcasts and, happily, except for some negligible background hiss, this Chicago concert comes in very good FM-quality stereo. The perspective and balances are natural, including the placement of Edith Peinemann’s violin in the Mendelssohn concerto. Only a few details, such as the over-reverberant timpani at the outset of ZARATHUSTRA
, might give pause, and they are a matter of taste. I’ve heard more obtrusive timpani in commercial recordings of the piece.
It’s no surprise to discover that Tennstedt’s ZARATHUSTRA
is very different from Solti’s. The emphasis is on musicality rather than showiness, with beautiful phrase-shaping and the shirking of bombast and overblown climaxes. The opening prelude isn’t spectacular by hi-fi standards, but in the next two sections – ‘Von den Hinterweltlern’ (Of the Backworldsmen) and ‘Von der großen Sehnsucht’ (Of the Great Longing) - Strauss’ long buildup, which takes six minutes, is done with great control. Other conductors, most recently Gustavo Dudamel with the Vienna Philharmonic (DG), have slowed down these movements, reaching for the same suspenseful accumulation of harmonic tension, but Tennstedt does it masterfully, without sounding the least idiosyncratic.
I don’t want to imply that the Chicago Symphony tamps down their virtuosity. The playing is never less than spectacular and thrilling. When the music reaches one of those ecstatic plateaus so characteristic of Strauss, as in the next section ‘Von den Freuden und Leidenschaften’ (Of Joys and Passions), the CSO
soars to great heights. Tennstedt always had the ability to liberate his players as well as to guide and control the performance. Both aspects are beautifully on display here, and one mustn’t overlook the individuality of the first-desk solos, one of the hallmarks of a world-class orchestra.
The other highlight here is Weber’s OBERON
Overture, which is more than a curtain-raiser. The beauty of Weber’s major overtures remains fresh today, which Tennstedt underscores in a reading that feels at once natural and joyful. Less prominent for the conductor’s role perhaps but still admirable is the Mendelssohn Violin Concerto. Born in Mainz, Germany, in 1937 (and still very much alive), Edith Peinemann had a major career, and the reputation that went with it. But her recorded legacy is slim.
I don’t have a real image of Peinemann’s playing in my mind, but in the Mendelssohn her poise, purity of tone, and aristocratic manner (to use a long-outmoded term) remind me of Nathan Milstein. This is altogether a beautiful reading, not only for Peinemann’s immaculate solo performance but also for Tennstedt’s accompaniment, which bends naturally to every gesture of the violinist. It’s rare to hear a performance so seamlessly sympathetic. As in the Weber, one feels how fresh and sparkling such familiar music can be.
As for potential overlaps in Tennstedt’s discography, I find no indication of a previous Mendelssohn Violin Concerto, so this account is even more valuable. The OBERON
Overture can be found on a deleted BBC
Legends recording, also live and very fine, with the London Philharmonic. ALSO SPRACH ZARATHUSTRA
was recorded commercially with the LPO
in 1990. It has had many reissues and is currently available either on the used market or as a download from online sources. A poor-sounding version of this Chicago ZARATHUSTRA
from 1984 can be found on YouTube. The CSO
has released none of these performances. Obscurely, the Strauss appeared on a Japanese pirate label called Navikiese.
Lacking a complete Tennstedt discography I can’t, however, claim that my remarks are anywhere close to definitive. But I can confidently recommend everything on this new release as a prime example of Tennstedt at his best, and for collectors it is a ‘must-listen’. Brief final applause has been included after each piece.”
- Huntley Dent, FANFARE
“Edith Peinemann (born 3 March 1937) is an internationally recognized German violinist and professor of violin. At age nineteen she won the ARD International Music Competition in Munich, and made her U.S. debut as soloist in 1962 with Max Rudolf, after which she became a protege of George Szell. In 2005 she became president of the European String Teachers Association. She made few recordings during her career, making her a ‘cult figure among violinists’. Peinemann is considered one of the world's ‘finest violinists of her time’.
Peinemann was born in Mainz, Germany, the daughter of a Mainz orchestra's concertmaster, with whom she learned violin until the age of fourteen. She later studied with Max Rostal in London and would fulfill the prophecy of violinist Yehudi Menuhin who, upon hearing her play when she was 19, predicted a 'brilliant and successful career'.
In 1956, she won the first prize in the International Competition of the German Radio in Munich. At that competition, conductor William Steinberg, who was among the judges, invited her to make her American debut with the Pittsburgh Symphony Orchestra, which she did in 1962. Word spread among Germany's conductors, such as Max Rudolf, about her achievements in the U.S., including her Cleveland debut where she played Dvorak's Violin Concerto.”
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)
WILLIAM STEINBERG Cond. Kolner Rundfunk S.O.: Symphony #2 in B-flat (Schubert); Romeo et Juliette – Excerpts (Berlioz); w. ZINO FRANCESCATTI: Violin Concerto in D (Tschaikowsky). (Canada) 2-St Laurent Studio YSL T-949, Live Performance, 11 Dec., 1967, Koln. [An outstanding concert featuring Francescatti at his most glorious!] Transfers by Yves St Laurent. (C1832)
"Zino Francescatti (1902-91) was a musician's musician who won over audiences more by charm than prowess. His unmistakably French manner was out of vogue in an era-dominated by Russian-trained violinists, but so much the better for him. He was trained by his father, a concertmaster in Marseilles, and performed in the Straram Orchestra of Paris before coming late to a career as a soloist and chamber musician. He was not the last French violinist standing, though in the 1950s it could seem that way.
While his repertoire was wide, Francescatti's recordings naturally emphasized French music, where he figures as a latter-day Jacques Thibaud. He has the same rich, dark tone; but while his phrasing is also very lyrical, it tends to be more tempered and neoclassical. This seems more of a generational difference than anything else."
- David Radcliffe, AMERICAN RECORD GUIDE, Sept./Oct., 2012
"Everything about Francescatti's approach to every piece he plays is unique. He does not follow any 'school' of interpretation, and the only similarities that I noticed from piece to piece is that he is an impeccable violinist, and as a musician he stretches the boundaries of expression while always playing with exquisite taste. There is something regal about his playing, and at the same time there is a deep sense of musical integrity - a kind of moral directive from within that compels him to play beautifully and honestly for the sake of the music and the sacred nature of the performance."
- Elaine Fine, AMERICAN RECORD GUIDE, Sept./Oct., 2006
"In 1960 Steinberg scored a great success guest-conducting the Boston Symphony Orchestra and was the preferred choice of its board for their next music director, as Charles Munch was stepping down from the position. However, RCA, the orchestra's record company, successfully pressured them to appoint Erich Leinsdorf, already on their roster of conductors. After Leinsdorf's tenure, one of mixed success ended, they did appoint Steinberg to the post, effective 1969."
- Joseph Stevenson, allmusic.com
"William Steinberg is one of those conductors highly respected by musicians and critics familiar with his work, but who never developed the kind of public acclaim accorded to some of his contemporaries. His relative neglect is partly due to Steinberg’s long association with the Pittsburgh Symphony, an orchestra whose reputation, while good, was not seen as front rank. Many collectors prized his recordings with Pittsburgh on the Command label (and his EMI discs too), but in those days there was more glamour associated with Charles Munch in Boston, George Szell in Cleveland, and Fritz Reiner in Chicago."
- Henry Fogel, FANFAREGEZA ANDA, w.Fricsay Cond. Deutsches S.O.: Piano Concerto #3 in c (Beethoven), Live Performance, 5 Feb., 1961, Grosser Sendessal, Berlin; w.Jochum Cond. RTF S.O.: Piano Concerto #3 in E (Bartok), Live Performance 20 Sept., 1960, Montreux, Switzerland; 1967 Interview w.Anda in French. [Monumental performances; the Beethoven cadenza will grasp your breath!] (Canada) St Laurent Studio YSL T-1070. Transfers by Yves St Laurent. (P1370)
“Geza Anda was a Swiss-Hungarian pianist, a celebrated interpreter of classical and romantic repertoire, particularly noted for his performances and recordings of Mozart, he was also a tremendous interpreter of Beethoven, Schumann, Brahms and Bartok. In his heyday he was regarded as an amazing artist, possessed of a beautiful, natural and flawless technique that gave his concerts a unique quality.
Anda was born in 1921 in Budapest. He studied with some of the renowned teachers of the 20th century such as Imre Stefaniai and Imre Keeri-Szanto, and became a pupil of Ernst von Dohnanyi and Zoltan Kodaly at the Franz Liszt Academy in Budapest. In 1940 he won the Liszt Prize, and in the next year he made an international name for himself with his performance of Brahms' Piano Concerto #2. In 1941, he also made his debut with the Berlin Philharmonic under Wilhelm Furtwangler, who dubbed him ‘troubadour of the piano’. In 1943, he settled in Switzerland. In the mid-1950s, Anda gave masterclasses at the Salzburg Mozarteum, and in 1960 he took the position of director of the Lucerne masterclasses, succeeding Edwin Fischer.
As a performer, Anda was particularly noted for his interpretation of Schumann's and Brahms' piano music. The New Grove Dictionary cites his ‘charismatic readings of Bartok and Schumann’. He was regarded as the principal Bartok interpreter of his generation, even if other pianists since his death have made more obviously exciting recordings of that composer's concertos. Although he played very little Mozart in his early career, he became the first pianist to record the full cycle of Mozart's piano concerti; he recorded them between 1961 and 1969, conducting himself from the keyboard. His performance of the Andante from Mozart's Piano Concerto #21 in C on the soundtrack of the 1967 film ELVIRA MADIGAN led to the epithet ‘Elvira Madigan’ often being applied to the concerto.”
- Concours Geza Anda, Zurich
“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., 2008
. . . FROM THE RECENT PAST . . .
JOSEF LHEVINNE: The Complete Josef Lhevinne: Josef Lhevinne, Rosina Lhevinne, Members of Perole String Quartet, John Barbirolli Cond. NYPO, etc.: Mozart, Beethoven, Schumann, Brahms, Chopin, Debussy, Tschaikowsky, Rachmaninoff, & Schulz-Evler. 3-Marston 53023, recorded 1920-36. (P1369)
MYRIAM SOLOVIEFF, w.Julius Katchen (Pf.): Fantasy in C (Schubert), Live Performance, 27 Sept., 1959; w.Tasso Janopoulo (Pf.): Vivaldi, Mozart, Ysaye, Kreisler, Bloch, Ravel & Bartok Recital, Live Performance, 11 March, 1963, Musee d'Orsay, Paris. (Canada) St Laurent Studio YSL T-1089. Transfers by Yves St Laurent. (S0780)
HERBERT von KARAJAN Cond. Berlin Phil.: Symphony #5 in c-sharp (Mahler). (Canada) 2-St Laurent Studio YSL T-1072, Live Performance, 15 May, 1978, Salzburg. Transfers by Yves St Laurent. (C1830)
CHRISTOPHER KEENE Cond. Syracuse S.O.: Symphony #2 in E-flat (Elgar), Live Performance, 5 March, 1984; La Mer (Debussy), Live Performance, 30 April & 1 May, 1976. (Canada) St Laurent Studio YSL T-1057. Transfers by Yves St Laurent. (C1831)
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)
GEORGES NORE: Arias & Duets w.Nan Merriman, Geori Boue, Mado Robin, Solange Michel, Denise Monteil & Robert Benedetti, from Oberon, Romeo et Juliette, Le Roi d'Ys, Werther, Faust, Rigoletto & Madama Butterfly. (France) Malibran 824. (V2640)
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)
TRISTANISSIMO - The Authorized Biography of Heroic Tenor Lauritz Melchior [Foreword by Birgit Nilsson], (Shirlee Emmons). New York, Schirmer, 1990. 462pp. Index; Bibliography; Definitive Hansen Discography; List of Melchior's Roles; Photos; DJ. Very long out-of-print, final New copies! (B0094)
DIE FLEDERMAUS, Broadcast Performance, 20 Feb., 1938 [before a most ethusiastic audience], w.Gorlich Cond. Stuttgart Reichssenders; Margarete Teschemacher, Peter Anders, Martina Wulf, Karl Schmitt-Walter, Robert Kiefer, Karl Mikorey, Einar Kristjansson, etc. (Party Guests incl. Erna Berger, Ester Rethy & Maria Reining). (Germany) 2-Gebhardt 0022. Long out-of-print, Final Sealed Copies! (OP0182)
LA FORZA DEL DESTINO, Live Performance, 26 Oct., 1961, Parma, w.Ottavio Ziino Cond. Teatro Regio Ensemble; Marcella de Osma, Flaviano Labo, Piero Cappuccilli, Fiorenza Cossotto, Ivo Vinco, etc. (Slovenia) 2-Living Stage 1061. Long out-of-print, Final Sealed Copies! (OP2781)
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 GODOUNOV (Moussorgsky), recorded 1948, w.Golovanov Cond. Bolshoi Opera Ensemble; Mark Reizen, Maxim Mikhailov, Nikandr Khanaev, Georgi Nelepp, Ivan Kozlovsky, Maria Maksakova, etc. (Russia) 3-Aquarius AQVR 177. (OP3152)
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)
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)
VLADO PERLEMUTER, w.Kosler Cond. ORTF S.O.: Piano Concerto #4 in G - Live Performance, 9 Jan., 1973, w.Chagrin Cond. ORTF S.O.: Piano Concerto #3 in c - Live Performance, 22 June, 1971 (both Beethoven). (Canada) St Laurent Studio YSL T-947. [Outstanding performances in deservedly superb sound!] Transfers by Yves St Laurent. (P1368)
JORGE BOLET: Haydn, Reger, Godowsky, Liszt, Chopin & Schumann (the latter's Carnaval). (Canada) 2-St Laurent Studio YSL T-1079, Live Performances, 31 Jan., 1977, Bloomington & 5 Feb., 1972, Tully Hall, New York. Transfers by Yves St Laurent. (P1366)
EMIL GILELS: Debussy & Prokofiev Recital, Studio Recording from East Berlin, 1954; w.Otto Matzerath Cond. Hessischen Rundfunks S.O.: Piano Concerto #21 in C, K.467 (Mozart); Piano Concerto #1 in b-flat (Tschaikowsky), Live Performance, 14 Nov., 1960, Frankfurt. (Canada) St Laurent Studio YSL T-1048. Transfers by Yves St Laurent. (P1365)
GEZA 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)
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!
. . . 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] . . .
COLLECTOR ALERT ! ! !
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
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Once again . . .
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V0639. 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, Järnefelt, Kruszelnicka, Seligman, Marák, Levik, Simonsen, Destinn, Tartakov, Gibert, Maturová, Filippi-Myzhuga, O'Sullivan, Litvinne, de Lussan, Henschel, Greef-Andreissen, Saville, Lassalle, Gailhard, Tariol-Baugé, Muratore, Piccaluga, Marié de Lisle, Clément, 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!
Regular price: $39.90
Sale price: $9.90
C1833. KLAUS TENNSTEDT Cond. Chicago Orch.: Oberon - Overture (von Weber); Also sprach Zarathustra (Strauss); w.EDITH PEINEMANN: Violin Concerto #2 in e (Mendelssohn). (Canada) St Laurent Studio YSL T-1062, Live Performance, 7 or 8 June, 1984, Orchestra Hall. Transfers by Yves St Laurent.
C1832. WILLIAM STEINBERG Cond. Kölner Rundfunk S.O.: Symphony #2 in B-flat (Schubert); Roméo et Juliette - Excerpts (Berlioz); w. ZINO FRANCESCATTI: Violin Concerto in D (Tschaikowsky). (Canada) 2-St Laurent Studio YSL T-949, Live Performance, 11 Dec., 1967, Köln. [An outstanding concert featuring Francescatti at his most glorious!] Transfers by Yves St Laurent.
P1370. GÉZA ANDA, w.Fricsay Cond. Deutsches S.O.: Piano Concerto #3 in c (Beethoven), Live Performance, 5 Feb., 1961, Grosser Sendessal, Berlin; w.Jochum Cond. RTF S.O.: Piano Concerto #3 in E (Bartok), Live Performance 20 Sept., 1960, Montreux, Switzerland; 1967 Interview w.Anda in French. [Monumental performances; the Beethoven cadenza will grasp your breath!] (Canada) St Laurent Studio YSL T-1070. Transfers by Yves St Laurent.