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Since 1972

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MARSTON offers a banquet for

Art Song & Tenor Enthusiasts . . .

YVES ST LAURENT presents

GEORGES ENESCU,

ALEXANDER BRAILOWSKY,

ARTUR RODZINSKI & LILI KRAUS . . .

always New Offerings in our ‘SALE’ Section



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  • GEORGES ENESCU, w. Henri Pensis Cond. Luxembourg Phil.: Violin Concerto #2 in E (Bach), Live Performance, 15 May, 1948; GEORGES ENESCU Cond. Cleveland Orch.: Symphony #1 in E-flat (Cond. by the Composer); Tannhauser - Bacchanale (Wagner), Live Performance, 24 Nov., 1948, Severance Hall. (Canada) St Laurent Studio YSL T-1021. Transfers by Yves St Laurent. (S0779)

    “George Enescu is still considered the greatest of all Romanian composers. While he is widely known for just one famous opus, he was in reality a very imaginative, highly skilled composer of music possessing great depth and subtlety, as well as being one of the great concert violinists of his time. For appearances in the West he adapted his name to a form that would prompt the French to pronounce it correctly: Georges Enesco.

    He was given a violin and lessons at the age of four, progressing very rapidly and beginning to compose a year later. Legend has it his first teacher was a Romany fiddler. He entered the conservatory of the Gesellschaft der Musikfreunde in Vienna in 1888 where his primary violin teacher was Joseph Hellmesberger, Sr., one of his teachers and the director of the Vienna Conservatory who hosted Enescu at his home, a place where the child prodigy met his idol, Johannes Brahms. He took piano from Ernst Ludwig and harmony, theory, and composition from Robert Fuchs. He made his violin debut in 1889 in Slanic, Moravia. He remained in the Conservatory until 1894, regarded as a fully formed virtuoso at the age of 13. On 6 February 1898, at the age of only 16, George Enescu presented in Paris his first mature work, ‘Poema Roman’, played by the Colonne Orchestra (at the time, one of the most prestigious in the world) and conducted by Edouard Colonne.

    Nevertheless, he went on to the Paris Conservatory for more violin studies, and took harmony, theory, and composition from Dubois, Gedalge, Massenet, and Faure. This mixture of late Romantic German and French training helped give his music its distinctive quality. That same year he started conducting the Romanian Philharmonic Society in Bucharest.

    Enescu quickly established one of the most important solo and chamber music careers of the time. His recital partner was the great French pianist Alfred Cortot, and he formed a piano trio with Louis Fournier and Alfredo Casella in 1902, and in 1904 the Enescu Quartet. He joined the faculties of the Ecole Normal and the American Conservatory in Paris. Pablo Casals described Enescu as ‘the greatest musical phenomenon since Mozart’ and ‘one of the greatest geniuses of modern music’. Vincent d'Indy claimed that if Beethoven's works were destroyed, they could be all reconstructed from memory by George Enescu. Alfred Cortot, one of the greatest pianists of all time, once said that Enescu, though primarily a violinist, had better piano technique than his own.

    In the meantime, he took an active part in building a classical concert life in his native Romania. He formed a Philharmonic Orchestra in the town of Iasi, and a Composers' Society. He wrote his most famous works, the two ‘Romanian Rhapsodies’, Op. 11, for the Philharmonic. He also worked closely with the Conservatories in Bucharest and Iasi. In 1912 he funded a ‘George Enescu Prize’ in composition, and played the world premieres of the winning works.

    He made his first appearances in the United States in 1923, as violinist and guest conductor with the Philadelphia Orchestra. The brilliant young American prodigy, Yehudi Menuhin, became his most famous pupil. Others were Gitlis, Grumiaux, and Ferras. Through the 1930s he continued work as a violinist, conductor, teacher, musicologist, and organizer, while as a composer he toiled on his powerful opera OEDIPE. In 1936 he was one of the candidates considered to replace Arturo Toscanini as permanent conductor of the New York Philharmonic.

    When World War II broke out, he happened to be at his country estate in Romania and was more or less stuck there for the duration. After the war ended, he went to New York, from which he watched a Soviet-backed government take over his country. He remained in New York, increasingly incapacitated by arthritis. He gave a farewell concert with Menuhin in 1950, then returned to Paris. He suffered a stroke in 1954 and, as a result of it, he spent ten months almost entirely paralyzed.”


  • - Joseph Stevenson, allmusic.com






  • 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)

    "There was a style of tenor singing in the early days of recording that was peculiarly British. It began we can suppose with tenors of the 18th and 19th centuries who did not record, such as Charles Dibdin, John Braham and Sims Reeves, and carried on more or less until the end of the 78rpm era by British tenors who did record until the model for singing tenor in Britain became Peter Pears, whose singing was not really like any of his predecessors. This CD set celebrates the historic and wonderful recordings made by those earlier tenors. They sound old-fashioned because no-one singing today sounds like them. They also sang and recorded a repertory of English songs and opera arias infrequently performed today. Although some of them recorded songs and arias in foreign languages, we have intentionally limited this set to songs, operatic arias and oratorio arias originally sung in English. As Shaw wrote in 1891 in his review of the farewell concert of Sims Reeves, the public was losing the greatest tenor in England and perhaps the greatest tenor in the world. This set is intended to allow us to imagine what a Sims Reeves concert might have been like.

    Included singers: 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 and Evan Williams. This set is a tribute to a school of singing that is now largely lost, and to some very British repertory that is seldom performed."


  • - Ward Marston






  • ARTUR RODZINSKI Cond. NYPO, w.­ALEXANDER BRAILOWSKY: Piano Concerto #2 in c (Rachmaninoff), Live Performance, 21 Jan., 1945, Carnegie Hall; Piano Concerto #2 in c (Rachmaninoff), Live Performance, 24 Feb., 1946, Carnegie Hall. (Canada) St Laurent Studio YSL T-913. Transfers by Yves St Laurent. (C1819)

    "Alexander Brailowsky, the Russian born concert pianist whose interpretation of the works of Chopin brought him worldwide acclaim, was the first to present the entire 169 piano works of Chopin in a cyclic format within a framework of six separate recitals. He performed this feat before capacity audiences in New York, Brussels, Zurich, Mexico City, Buenos Aires, Montevideo and Paris. The scope of his accomplishment was indicated by the fact that the series includes 2 sonatas, 11 polonaises, 4 scherzos, 3 impromptus, 4 ballades, 14 waltzes, 19 nocturnes, 25 preludes, 27 etudes and 51 mazurkas.

    One reviewer noted at the end of Mr. Brailowsky's Chopin series in New York in 1938 that ‘there are few enough pianists who have the prodigious memory, the physical strength, the comprehensive technique required for such an undertaking; there are far fewer who have - plus all these - the requisite musicianship’. ‘Mr. Brailowsky’, the review added, ‘is one of these latter few’.

    As guest soloist with major symphony orchestras, Mr. Brailowsky was noted for his large repertory. He also recorded works by Chopin, Beethoven, Mendelssohn, Scarlatti, Schumann and many others for RCA Victor. And in a series of 17 recitals in eight weeks in Buenos Aires he never repeated a single work.

    Mr. Brailowsky made his debut in New York in 1924 in Aeolian Hall. At the time, Olin Downes of THE NEW YORK TIMES described the youthful pianist as a ‘born virtuoso in the highest sense of that word. He feels instinctively the resources of the piano and makes of it an instrument that sings and throbs with color’. Six years later, the same reviewer found Mr. Brailowsky to be ‘a Chopin interpreter to the manner born’. Other critics had reservations about his tone and interpretations, especially as the Romantic mannerisms Mr. Brailowsky always espoused fell out of fashion."


    - THE NEW YORK TIMES, 26 April, 1976




    "Critic Virgil Thomson once referred to Russian pianist Alexander Brailowsky (1896-1976) as 'an honest virtuoso'. Alexander Brailowsky, at the age of eight, became a student in the Conservatory of Kiev. Later, in 1911, he went to Vienna to study with Leschetizky, but the beginning of World War I caused him to reside in Switzerland. After the war, Brailowsky made his Paris debut in 1924, playing a complete cycle of the works of Chopin. This series included two sonatas, eleven polonaises, four scherzi, three impromptus, nineteen nocturnes, twenty-five preludes, twenty-seven etudes, and fifty-one mazurkas. This performance was repeated three times in Brussels, Zürich, Mexico City, Buenos Aires, Montevideo, and other principal cities. A successful tour of all the principal cities of the world was then made.

    On 31 October, 1938, he was soloist with the Pasdeloup Orchestra of Paris where he played the Chopin e minor Concerto and the Mendelssohn g minor Concerto, and he received a stupendous applause for his interpretation of the two concerti.

    Appearances as soloist were made with major symphony orchestras and his interpretations of the works of Chopin brought him world-wide acclaim. Brailowsky was noted for his large repertory and he recorded for Victor the works of Chopin, Beethoven, Mendlessohn, Scarlatti, Schumann, and others. His recordings for Victor were numerous and used by students as examples of performances of the Chopin works. During a series of nineteen recitals in Buenos Aires, he never repeated a single work."


    - Gary Lemco, Audiophile Audition, 30 July, 2014




    "Although Rodzinski conducted most of the Country's major orchestras, his tenure often ended in a huff. In 1947 he had quit the coveted job of boss of the New York Philharmonic because, he said, he felt hemmed in and hampered by the Philharmonic's businesslike manager.

    Rodzinski was known as a great builder of orchestras. Time and again he took over run-down orchestras, and in a few years, by cajolery, psychology and almost ruthless dedication, built them into the finest of artistic groups."


  • - LOS ANGELES TIMES, 28 Nov., 1958






  • LILI KRAUS: Piano Sonata #12 in F, K.332; w.Jean Fournet Cond. RTF S.O.: Piano Concerto #9 in E-flat, K.271; w.Manuel Rosenthal Cond. RTF S.O.: Piano Concerto #12 in A, K.414 (all Mozart). (Canada) St Laurent Studio YSL T-940, Live Performances, 1953-61. Transfers by Yves St Laurent. (P1360)

    “Lili Kraus, a Hungarian-born pianist much admired in the music of Mozart, was praised for her sensitivity and proportioned balance in the music of Mozart and other classicists. ‘A pianist with taste, skill and heart’, Harold C. Schonberg called her in THE NEW YORK TIMES when she re-entered the American concert scene in 1966 with nine New York programs, in the course of which she played the entire standard canon of 25 Mozart piano concertos.

    Born in Budapest on March 4, 1903, Miss Kraus had two careers, divided by her harrowing experience as a prisoner of war during World War II. Her first career followed her training at the Royal Academy of Music in Budapest, where her teachers included Bartok and Kodaly, and subsequently in Vienna with Edward Steuermann and Artur Schnabel. During the 1930s she toured widely, often in partnership with the violinist Szymon Goldberg.

    In 1930 Miss Kraus married Otto Mandl, a German businessman who died in 1956. Shortly before Germany annexed Austria, the pianist and her husband, who was by then her manager, moved to London with their family, becoming British subjects.

    In 1942, while touring in the Dutch East Indies, now part of Indonesia, Miss Kraus was arrested by the Japanese and spent three years in captivity. After the war she toured Australia and New Zealand and was granted citizenship by New Zealand for her war-relief efforts. But it was not until 1948 that she felt she had regained fully her skills as an artist, whereupon she resumed her international career.

    Miss Kraus's reputation reached new heights with her New York Mozart concerts in the 1966-67 season. Thereafter she lived in the United States. She gave her last concert on June 12, 1982, at Swarthmore College in Pennsylvania. “


  • - John Rockwell, THE NEW YORK TIMES, 7 Nov., 1986








    . . . FROM THE RECENT PAST . . .

    REPEATED








  • A BERLIOZ SPECTACULAR: REQUIEM: Jean Fournet Cond. Radio Paris Orch., Emile Passani Choir & Georges Jouatte - recorded 1943; TE DEUM [World Premiere Recording] Malcolm Sargent Cond. BBC S.O., London Phil. Chorus, Alexandra Choir & Richard Lewis, Live Performance, 5 Sept., 1963, Royal Albert Hall, London; ROMEO ET JULIETTE [World Premiere Recording]: Alfred Wallenstein Cond. NYPO & Juilliard Chorus, w. Nan Merriman, Leopold Simoneau & Donald Gramm - Live Performance, 26 Jan., 1961, Carnegie Hall, w.Broadcast Commentary. (Canada) 3-Immortal Performances IPCD 1120, w.Elaborate 50pp Booklet. Transfers by Richard Caniell. Notes by Dewey Faulkner & Richard Caniell. (C1816)





  • GEZA ANDA: Carnaval (Schumann); Suite for Piano, Op.14 (Bartok), Broadcast Performance, 1960, Paris; w.Michel Plasson Cond. ORTF S.O.: Piano Concerto #3 in c (Beethoven), Live Performance 14 June, 1972, Theatre des Champs-Elysees, Paris. (Canada) St Laurent Studio YSL T-926. Transfers by Yves St Laurent. (P1359)





  • EDWIN FISCHER (Piano & Conducting): Piano Concerto #20 in d, K.466; EDWIN FISCHER & HARRY DATYNER: Piano Concerto #10 in E-flat for Two Pianos, K.365; EDWIN FISCHER Cond.Strasbourg Municipal Orch.: Symphony #10 in g, K.550 (all Mozart); Interview with Charles-Marie de Boncourt, 1951, Paris. (Canada) 2-St Laurent Studio YSL T-1074. Transfers by Yves St Laurent. (P1358)





  • HENRYK SZERYNG, w.Aldo Ciccolini (Pf.): Sonata #1 in G (Brahms), Sonata #2 in g (Schumann), Sonata #7 in c (Beethoven), Sonata #33 in E-flat, K.481 – Adagio (Mozart) - Live Performance, 18 Sept., 1963, Besancon; w.Frantisek Maxian (Pf.): Chaconne (Vitali); Sonata in B-flat, K.454 (Mozart) - Live Performances, 1960 & 1962, Prague. (Canada) 2-St Laurent Studio YSL T-1005. Transfers by Yves St Laurent. (S0778)





  • ROBERT CASADESUS, w.Szell Cond. Kolner Rundfunk S.O.: Piano Concerto #27 in B-flat, K.595 (Mozart), Live Performance, 8 Sept., 1958; w.Szell Cond. NYPO: Piano Concerto #4 in G (Beethoven), Live Performance, 24 Nov., 1963, Philharmonic Hall [This had been programmed for the afternoon of the 22nd. The assassination of JFK at the same time caused the concert to be abbreviated and then cancelled]. (Canada) St Laurent Studio YSL T-1034. Transfers by Yves St Laurent. (P1357)





  • RAYMOND LEWENTHAL: Bach, Field, Weber, Alkan, Gliere (encore, incomplete), Rachmaninoff, Thalberg, Schumann, Liszt, Donizetti, Grieg & Chopin - Live Performance, 23 March, 1974, Frick Collection, New York; Nicola Rescigno Cond. Dallas S.O., w.Shirley Verrett: Non temer, amato bene, K. 505 (Mozart) - Live Performance, 2 Dec., 1969, Dallas. (Canada) 2-St Laurent Studio YSL T-990. Transfers by Yves St Laurent. (P1356)





  • VLADO PERLEMUTER & JEANNE GAUTIER (Pf.): RAVEL D'APRES RAVEL, (featuring the latter's Sonata #2 in G; VLADO PERLEMUTER, JEANNE GAUTIER & ANDRE LEVY: Trio in a). (Canada) St Laurent Studio YSL T-902, Broadcast Performances, 1954, Paris, w.broadcast announcements throughout these recitals. Transfers by Yves St Laurent. (P1355)





  • ZINO FRANCESCATTI: Sonata in G (ben-Haim), Live Performance, 9 Sept., 1958, Besanson; w. Dorati Cond. ORTF S.O.: Concerto in D (Brahms), Live Performance, 26 Sept., 1965, Montreux; w. Bernstein Cond. NYPO: Poeme in G (Chausson), Live Performance, 5 Jan., 1964, Philharmonic Hall, New York. (Canada) St Laurent Studio YSL T-1036. Transfers by Yves St Laurent. (S0777)





  • HERBERT von KARAJAN Cond. Berlin Phil.: Symphony #9 in D (Mahler). (Canada) 2-St Laurent Studio YSL T-1071, Live Performance, 27 Aug., 1982, Salzburg. [An unforgettable performance, not to be missed!] Transfers by Yves St Laurent. (C1817)





  • LEOPOLD STOKOWSKI Cond. Chicago Orch.: The Golden Age - Suite; Symphony #6 in b (both Shostakovitch); w.Mary Sauer (Organ): Symphony #3 (Khatchaturian). (Canada) St Laurent Studio YSL T-992, Live Performance, 15 Feb., 1968, Orchestra Hall. [Replete with broadcast announcer's comments after the Khatchaturian Symphony offering a post-performance tusch (a flourish or fanfare of brass wind musical instruments and drums), with the Maestro addressing the ecstatic audience at the end! An absolute treasure!] Transfers by Yves St Laurent. (C1813)





  • BRUNO WALTER Cond. Vienna Phil., w.Kerstin Thorborg & Charles Kullman: DAS LIED VON DER ERDE (Mahler). (Canada) St Laurent Studio YSL 78-1016, Live Performance, 24 May, 1936, Musikvereinssaal, Vienna. Transfers by Yves St Laurent. (C1812)





  • CHRISTOPHER KEENE Cond. Syracuse S.O.: Symphony #10 in e (Shostakovitch), Live Performance, 1984; Symphonie de Psaumes (Stravinsky), Live Performance, 1981. (Canada) St Laurent Studio YSL T-1056. Transfers by Yves St Laurent. (C1815)





  • 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)





  • 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)





  • TANCREDI PASERO: Arias and scenes (w.Gina Cigna, Beniamino Gigli, Giovanni Malipiero, Gino Vanelli, Paolo Civil, Ebe Stignani, Maria Caniglia, etc.) from Don Giovanni, Barbiere, Semiramide, I Puritani, Norma, Mignon, Faust, Mefistofele, La Forza del Destino, Nabucco, Ernani, Luisa Miller, La Sonnambula, Il Trovatore, Simon Boccanegra, I Vespri Siciliani, Don Carlo & the Verdi Requiem. (Canada) 3-Immortal Performances IPCD 1121, w.Elaborate 18pp Booklet. Transfers by Richard Caniell. Notes by David Cutler & Richard Caniell. (V2636)

    Specially priced at Three discs for the price of Two.







  • OTELLO (Act I, Complete) , Live Performance, 15 Aug. 1939, Castello Sforzecso, Milano, w. Arturo Lucan Cond. La Scala Ensemble; Francesco Merli, Claudia Muzio, Enrico de Franceschi, etc.; Francesco Merli, Claudia Muzio, Giannina Arangi-Lombardi, Bianca Scacciati, Tancredi Pasero, Carlo Galeffi & Gino Vanelli: Duets & Trio from I Lombardi, Aida, Forza, Cavalleria, Manon Lescaut & La Gioconda - recorded 1927-31; Claudia Muzio: La Separazione (Rossini) - recorded 16 Nov., 1923, Edison; Claudia Muzio: La Traviata - Teneste la promessa . . . Addio del passato - recorded 1935. (Canada) 2-Immortal Performances IPCD 1132, w.Elaborate 46pp Booklet. Transfers by Richard Caniell. Notes by Bill Russell & Richard Caniell. [For anyone who hasn't yet heard Muzio's justifiably famous reading of Germont's letter - 'Teneste la promessa' it is here better transferred than anywhere else. It should be mandatory listening!] (OP3354)







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    BOOKS ON SALE



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    “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!



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    . . . 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] . . .





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    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

    To download a copy of Auction #151, simply click the link below:

    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!



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  • Georges Enescu, Vol. IV;  Henri Pensis   (St Laurent Studio YSL T-1021)
    S0779. GEORGES ENESCU, w. Henri Pensis Cond. Luxembourg Phil.: Violin Concerto #2 in E (Bach), Live Performance, 15 May, 1948; GEORGES ENESCU Cond. Cleveland Orch.: Symphony #1 in E-flat (Cond. by the Composer); Tannhäuser - Bacchanale (Wagner), Live Performance, 24 Nov., 1948, Severance Hall. (Canada) St Laurent Studio YSL T-1021. Transfers by Yves St Laurent.
    $19.90
    A Survey of British Tenors before Peter Pears    (3-Marston 53020)
    V2637. 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] - 638335302027
    $53.90
    Artur Rodzinski, Vol. LIII;  Alexander Brailowsky  (St Laurent Studio YSL T-913)
    C1819. ARTUR RODZINSKI Cond. NYPO, w.ALEXANDER BRAILOWSKY: Piano Concerto #2 in c (Rachmaninoff), Live Performance, 21 Jan., 1945, Carnegie Hall; Piano Concerto #2 in c (Rachmaninoff), Live Performance, 24 Feb., 1946, Carnegie Hall. (Canada) St Laurent Studio YSL T-913. Transfers by Yves St Laurent.
    $19.90
    Lili Kraus;  Jean Fournet;  Manuel Rosenthal  (St Laurent Studio YSL T-940)
    P1360. LILI KRAUS: Piano Sonata #12 in F, K.332; w.Jean Fournet Cond. RTF S.O.: Piano Concerto #9 in E-flat, K.271; w.Manuel Rosenthal Cond. RTF S.O.: Piano Concerto #12 in A, K.414 (all Mozart). (Canada) St Laurent Studio YSL T-940, Live Performances, 1953-61. Transfers by Yves St Laurent.
    $19.90