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Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Since 1972


CRESPIN's 'other' TOSCA,

the 1968 Met performance with


Yves St Laurent's

3rd volume of GABRIEL PIERNE. . .

the 4th volume of SZERYNG . . .

the 6th volume of ANNIE FISCHER . . .

plus new titles on 'sale'

This Week's Offerings:

  • GABRIEL PIERNE Cond. Concerts Colonne Orch.: Chabrier & Ravel Program. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-893, recorded 1928 & 1931. Transfers by Yves St Laurent. (C1745)

    “Gabriel Pierne has been called the most complete French musician of the late Romantic / early Twentieth Century era. In his own music Pierne blended a seriousness of purpose (acquired in part through his studies with Cesar Franck) with a lighter, more popular flavor reminiscent of Jules Massenet (with whom Pierne also studied); his dedication to the music of his contemporary French composers earned him a reputation as a conductor of deep integrity….by 1871 he had entered the Paris Conservatoire to study composition with Massenet and organ with Franck (Franck's organ class, however, often focusing more on composing than on playing). At age 11 Pierne earned a medal for his solfege skills, and he later went on to win top prizes in organ, composition, and piano, as well as (in 1882) the coveted Prix de Rome (for the cantata EDITH).

    In 1890 Pierne succeeded his teacher, Franck, as organist at St. Clotilde Cathedral, a distinct honor for a young man of 27. In the late 1890s he abandoned his career as an organist and in 1903 made his debut as assistant conductor of the Concerts Colonne (of which he served as principal conductor from 1910 to 1934, devoting a great deal of rehearsal time to the preparation of new works). In addition to his activities on the podium, Pierne served on the administration of the Paris Conservatoire and composed for the Ballet Russes (three successful ballets produced between 1923 and 1934). In the years prior to his death in 1937 he was elected to the Academie des Beaux Arts and made a Chevalier of the Legion d'Honneur.”

  • - Blair Johnston,

  • TOSCA, Live Performance, 13 Jan., 1968, w.Mehta Cond. Met Opera Ensemble; Regine Crespin, Gianni Raimondi, Gabriel Bacquier, etc. (Canada) 2-St Laurent Studio YSL T-911. (OP3320)

    "[Crespin's] Tosca ranks with the best. Crespin is in superior vocal form, the command of her uniquely colored instrument impressive at both ends of the quantity spectrum, with a wealth of intermediate stages to augment expression....the voice possesses a marvelous gloom, its timbre creamy and full, even at half voice....At the precise moment when she demands to know Scarpia's price ('Quanto' uttered low in the chest, like Milanov), Crespin's Tosca is transformed. She changes from woman to negotiator - one can hear her adopt a bargaining stance. One regrets this Tosca's fate more than most."

  • - Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.437-38

  • HENRYK SZERYNG, w.Schmidt-Isserstedt Cond. Bayerischen Rundfunks S.O.: Violin Concerto in D (Beethoven), Broadcast Performance, 1966, Munich; w.Bour Cond. SWR S.O.: Violin Concerto in d (Schumann), Broadcast Performance, 18 Feb., 1971, Baden-Baden. (Canada) St Laurent Studio YSL T-830. Transfers by Yves St Laurent. (S0751)

    "Henryk Szeryng, one of the more elegant representatives of a now fading school of Romantic violin playing, was known for the purity of his playing - exact intonation, well-organized phrasing and a broad, sweet, vibrato-filled tone that nevertheless did not sound oppressive. In the Romantic tradition, Mr. Szeryng applied his long, lyrical style to Mozart, Bach and Vivaldi as well as to Brahms and Tchaikovsky. The various schools of interpretation, in other words, were filtered through the single 19th-century Central European tradition that was his heritage. Among his teachers were Carl Flesch in Berlin and Jacques Thibaud and Nadia Boulanger in Paris.

    Mr. Szeryng began his concert career in 1933 and spent World War II as liaison officer to the exiled Polish Premier. His musical life continued its close contact with politics and diplomacy when the Mexican Government invited him in 1943 to teach at the National University in Mexico City. He became a Mexican citizen and later traveled on a diplomatic passport as the country's Culture and Good Will Ambassador. After 10 relatively quiet years of teaching and occasional concerts, Mr. Szeryng met Arthur Rubinstein after a recital in Mexico City. With the help of his fellow pianist and Polish compatriot, Mr. Szerying developed an international career that was still flourishing at his death. While retaining his home and teaching responsibilities in Mexico City, he also kept apartments in Paris and Monte Carlo.

    Mr. Szeryng also became a busy recording artist, with a discography of about 250 works. Mr. Szeryng's tastes ran to the standard literature. He was especially fond of Paganini, yet 20th-century composers like Carlos Chavez, Benjamin Lees and Michael Ponce wrote music for him. Mr. Szeryng also liked to play music by the contemporary Polish composer Karol Szymanowski. He exercised his diplomatic responsibilities in part by championing the music of Mexican composers, and he expressed his belief in the humanistic powers of music as an adviser to UNESCO. He was also said to donate large portions of his income to charities. From Mr. Szeryng's collection of violins, 12 have been given away since 1975 – one, a Stradivarius presented to the city of Jerusalem, another a gift to the young violinist Shlomo Mintz. Mr. Szeryng retained for himself the 1743 Guarnerius named 'Le Duc'.''

  • - Bernard Holland, THE NEW YORK TIMES, 4 March, 1988

  • ANNIE FISCHER: Liszt recital, 28 March, 1978, Budapest; w.Emmanuel Krivine Cond. Orchestre de Paris: Concerto #22 in E-flat, K.482 (Mozart), Live Performance, 19 March, 1981, Palais de congres, Paris; w.Peter Mura Cond. Hungarian Phil.: Piano Concerto #1 in E-flat (Liszt), Live Performance, 3 Jan., 1975, Budapest. (Canada) St Laurent Studio YSL T-860. Transfers by Yves St Laurent. (P1320)

    “Annie Fischer, a Hungarian pianist known for the elegance of her Mozart performances and her vital, prismatic approach to early Romantic repertory, was a pianist who played with an intensity of concentration and focus that seemed almost at odds with the poetry and impetuousness of her interpretive style. She shunned the machinery of modern career-making and rarely gave interviews. Preferring not to be far from Budapest, she performed mostly in Europe, although she undertook several brief tours of the United States over the last 13 years. And because she disliked making recordings, the comparatively few disks she recorded for Deutsche Grammophon and EMI are prized by collectors.

    Miss Fischer was born in Budapest on July 5, 1914, and studied with Anton Szekely and Ernst von Dohnanyi at the Franz Liszt Academy. She made her public performing debut in Budapest when she was 8, and she toured as a concerto soloist when she was 12. Her mature career began in 1933 when she toured Europe as the winner of the first prize in the Franz Liszt International Piano Competition. In 1935 she married the musicologist and conductor Aladar Toth, who died in 1971. In 1941 they left Hungary for Sweden, and Miss Fischer suspended her performing career during World War II. She began touring Europe again in 1946, after she and her husband returned to Budapest. But she did not make her United States debut until 1961, when she played the Mozart Concerto in E flat (K. 482) with George Szell and the Cleveland Orchestra at Carnegie Hall. Her American performances thereafter were sporadic, and she made her belated Carnegie Hall recital debut in 1982. In recent seasons, she gave recitals every two or three years at the Metropolitan Museum of Art.

    Early in her career, Miss Fischer developed a large repertory that ranged from Bach to Bartok, but from the start her Mozart, Beethoven, Schubert and Schumann performances were singled out for particular praise. Critics often noted that her appeal was in her interpretations rather than in her technique. She could expand rhythms beyond their natural boundaries, and particularly in her later years, complete accuracy in dense passages sometimes eluded her. Yet the impression one carried away from her performances was of an insightful and intensely musical player. On three occasions Miss Fischer was awarded the Kossuth Prize by the Hungarian Government.”

  • - Allan Kozinn, THE NEW YORK TIMES, 13 April, 1995

    . . . REPEATED . . . FROM THE RECENT PAST . . .

  • LA TRAVIATA, Live Performance, 6 April, 1957, w.Cleva Cond. Met Opera Ensemble; Renata Tebaldi, Giuseppe Campora, Leonard Warren, etc. (Canada) 2-St Laurent Studio YSL T-910. (OP3319)

    “…one of the most lusciously sung Violettas on record. Tebaldi’s voice was a uniquely beautiful instrument, immediately identifiable once you have heard it, rich in colors, and particularly attractive in its middle and upper middle registers. While she was not a vocal actor capable of the kind of specificity exhibited by Callas, neither was she a cipher. This is an impassioned performance with a wide range of emotional expression. Violetta pleading with the elder Germont will tear at your heart, and ‘Addio del passato’ conveys all the fragility of Violetta’s poignant ill condition while still serving as a master class in beautiful singing.

    Speaking of which, there is Leonard Warren’s Germont. This great Verdi baritone is heard here in his prime, pouring out a unique gigantic but always beautiful sound, and inflecting the role with meaning. ‘Di Provenza’ is exemplary in its sculpting of Verdi’s broad phrases, and positively thrilling.

    The surprise to many might well be Giuseppe Campora, though experienced collectors will expect a high quality of lyric tenor singing. Campora was the superb Pinkerton on Tebaldi’s first BUTTERFLY recording. He sang frequently at the Met in the 1950s and 60s, but that was an era of truly great tenors on the order of Carlo Bergonzi, Jussi Bjorling, Giuseppe Di Stefano, and Richard Tucker. Campora was left in the shade, but today we would pay a great deal to hear an Alfredo of this quality. There is a nice, warm glow to the sound and a completely natural feel for the shape of the music (something all three principals share). Campora’s voice and Tebaldi’s blend beautifully, particularly in ‘Parigi o cara’ but also in the first act.

    You will search long and hard to find a more beautifully vocalized recording of LA TRAVIATA, but you shouldn’t make the mistake of thinking that this is code for ‘dramatically uninteresting’. In addition to utterly remarkable singing the likes of which simply does not exist today, here is a dramatically alive, impassioned performance. St. Laurent Studio has done its usual fine job of making the transfer sound as good as any 1950s Met broadcast could. As usual, no notes, but complete tracking information.”

  • - Henry Fogel, FANFARE

  • LE PROPHETE, Live Performance, 29 Jan., 1977, w.Henry Lewis Cond. Met Opera Ensemble; Marilyn Horne, Renata Scotto, James McCracken, Jerome Hines, etc. (Canada) 3-St Laurent Studio stereo YSL T-859. Transfers by Yves St Laurent. (OP3316)

    “Fides is a role that suits [Marilyn Horne] perfectly, and she throws herself into it. She sings with abandon, astonishing technique, and steady, gleaming tone at all extremes of her wide range. Renata Scotto is beset by a bit of shrillness at the upper edge of her range, but for the most part she was still singing beautifully in 1977, and she always sang with intelligence and dramatic conviction. In no passage do we ever get the sense that the singer is coasting, waiting for the next ‘big moment’. Rather, every single line has meaning to Scotto and as a result to us. James McCracken was a true heroic tenor, but here he is singing a role that wants more than that. In the Opera’s big moments, McCracken is triumphant. His hefty tone and explosive manner make an impact….Jerome Hines and Morley Meredith are splendid as the two lower-voiced males in the cast. Both were Met stalwarts over long careers, and one can hear why. Hines in particular sings with resonance and dramatic specificity. The Met chorus and orchestra perform very well, even though this was new music to all of them; the last Met production of LE PROPHETE was in 1928!

    As usual, St. Laurent Studio gives us a good-quality transfer. On balance, even if it isn’t a first choice there is much to be said for this Met broadcast. Although McCracken is not faultless in his approach, there is something undeniably exciting about the throbbing intensity of his singing at the most dramatic moments….If you are interested at all in Meyerbeer’s work, this performance gives a vibrant example of it. As usual, St. Laurent Studio gives us a good-quality transfer.”

  • - Henry Fogel, FANFARE

  • RIGOLETTO, Live Performance, 28 March, 1959, w.Cleva Cond. Met Opera Ensemble; Leonard Warren, Roberta Peters, Eugenio Fernandi, Margaret Roggero, William Wilderman, Norman Scott, etc. [This riveting performance was Warren's final Rigoletto at the Met, his very last one being two months afterward on the Met Tour in Toronto, 29 May] (Canada) 2-St Laurent Studio YSL T-864. Transfers by Yves St Laurent. (OP3314)

    “As much as I love [Warren’s] 1945 performance, I would not be without this one. There are elements of dramatic shading here, vividly conveying Rigoletto’s scorn and hatred of the courtiers and his tender love for his daughter, that make this portrayal much more than great singing. The decrescendo Warren manages before launching into ‘Sì vendetta’ does not come off like a vocal trick but convincingly depicts a man trying to control, for his daughter’s sake, an almost uncontrollable rage. The dramatic pauses the singer puts in his entrance in the third act, ‘La la, la la…’, are wonderful touches reflecting the internal conflict of a jester who is entertaining the courtiers while hating them. Throughout, Warren colors his voice with a specificity aimed at the particular dramatic moment. He did not always do this (the same quality is missing from his 1950 studio recording for RCA). Everything about this performance is the summing up of a professional lifetime with the role, both in vocal splendor and dramatic insight.

    Roberta Peters, in addition to a pure, bright, evenly produced soprano, quite effective conveys Gilda’s naivete and at the same time the steel-like determination that ultimately leads to her death as she tries to protect the Duke….I have heard very few more beautiful performances of ‘Caro nome’ than the one captured here, with an exquisite high E at the end….Eugenio Fernandi had a lovely spinto tenor voice that could be comfortable in lighter roles as well as heavier ones (his one complete opera on commercial disc was as Calaf to Maria Callas’ Turandot for EMI). He knew the style intimately and was a fine musician….In sum, this is a splendid example of the powers of one of America’s greatest operatic baritones still at the peak of his abilities, and with him we hear one of America’s most important and under-rated coloratura sopranos. St. Laurent Studio’s transfer is up to its usual superb quality, reflecting the Met’s generally fine monaural broadcast sound in the late 1950s. There are no notes but ample tracking information and documentation.”

  • - Henry Fogel, FANFARE

  • JORGE BOLET, w. THOMAS PALMER (Bar.): Songs by Debussy, Liszt, Strauss, Wolf & Lehar. (Canada) St Laurent Studio YSL T-786, Live Performance, 15 March, 1976, Bloomington. Transfers by Yves St Laurent. (P1319)

  • PABLO CASALS Cond. Prades Festival S.O., w.JOSEPH FUCHS (1st Violin): Brandenburg Concerto #6 in B-flat (Bach); Symphony #5 in B-flat (Schubert); w.WILLIAM KAPELL: Piano Concerto #17 in G, K.453 (Mozart). (Canada) St Laurent Studio YSL T-879, Live Performance, 30 June, 1953. Transfers by Yves St Laurent. (C1744)

  • GEORGES ENESCU, w. Celine Chailley-Richez (Pf.): Violin Sonata #2 in d (Schumann) - Broadcast Performance, 30 Nov., 1950, Paris; Violin Sonata #2 in f (Played by the Composer) - Broadcast Performance, 7 Dec., 1950, Paris; Decet for Winds in d (Played by the Composer), Live Performance, 8 Dec., 1951, Paris. (Canada) St Laurent Studio YSL T-823. Transfers by Yves St Laurent. (S0750)

  • WILLIAM STEINBERG Cond. Boston Symphony Orchestra, w.MAUREEN FORRESTER & JON VICKERS: Das Lied von der Erde (Mahler). (Canada) St Laurent Studio YSL T-880, Live Performance, 2 Jan., 1970, Symphony Hall, Boston. [This glorious live performance beautifully displays the splendor of the Symphony Hall acoustic.] Transfers by Yves St Laurent. (C1742)

  • SERGIO FIORENTINO: The Final Recital, incl. Bach, Rachmaninoff, Beethoven (the latter's 'Les Adieux' Sonata #26 in E-flat, Op.81) & Chopin (incl. the latter's Sonata #3 in b, Op.58). (Canada) St Laurent Studio YSL T-899, Live Performance, 10 Aug., 1998, Rocca Vescovile di Bertinoro, Italy. Transfers by Yves St Laurent. (P1314)

    “'He is the only 'other' pianist', said the legendary Arturo Benedetti Michelangeli of Sergio Fiorentino (1927-1998). How is it that one of the greatest musical geniuses of the 20th century is still so unknown? Sergio Fiorentino was an exceptional pianist who turned his back on the concert arenas at the peak of his powers to concentrate on teaching and returned twenty years later with mastertly technique and musicality undiminished to an acclaim that most artists only dream of. Fiorentino was badly hurt in an air crash in 1954 which put an end to illustrious engagements throughout Europe and America. At that time he was being described as one of the the most promising pianists of his generation.

    He received a scholarship to San Pietro Majella Conservatory in 1938 and although his teachers were among the most distinguished of their time, he stressed that his influences came from watching Alfred Cortot, Walter Gieseking and Edwin Fischer and from listening to recordings, principally those of Rachmaninov playing his own music. From 1947 the young virtuoso was noticed in Europe and was awarded top prizes in the international competitions in Naples, Genoa and Geneva. The most prestigious agents sought him out and by 1953 he had made his American debut in the Carnegie Hall. All seemed set for the predicted glittering career, but the following year, while on tour in South America, the aircraft carrying him crashed. He was unable to play for some years and when he was able to return to the instrument he had to relearn some of his technique. By the late 1950s he decided to set about re-establishing himself and embarked on a series of recordings in Britain, principally for Saga, Fidelity, Summit labels and their regularly reincarnated successors which often offered intriguing budget-priced repertoire. Most recordings were never reviewed as a result.

    Quite why he decided in 1974 to give up playing concerts and return to a professional role at the Conservatory where he had studied is not entirely clear, but points to the self-effacing and non-combative temperament of the artist Fiorentino who was no career-hunter, lacked a big ego and was always focused on serving the music instead of himself. He disliked the publicity machine and cocktail circuit that often went with concerts and the music business. His decision to remove himself entirely from international career ambitions until the end of his life was entirely his own and one he did not appear to regret.

    Ernst Lumpe, a German record collector and a long-time admirer of the pianist through the 30 or so London recordings, had begun a friendship that led to an invitation to play publicly again in Germany. These engagements were in small local halls with a tiny audience and perhaps that is why Florentino responded to the idea. His return to the stage, after his retirement from the Conservatory in 1993, must be one of the rare examples of an enthusiast persuading a professional artist to think again. During his five last years, Sergio Fiorentino was dubbed a pianist of the Golden Age and was lauded wherever he went. The deep musical insights which he used to turn the most familiar repertoire into a revelation and his understanding of composers from Bach to Scriabin will ensure that his name and stature remain at the forefront wherever great piano playing is appreciated.”

  • -

  • PIERRE BOULEZ Cond. NYPO, w. JESSYE NORMAN, KENNETH RIEGEL, JUSTINO DIAZ & WILLIAM PARKER: LA DAMNATION DE FAUST (Berlioz) (Canada) 2-St Laurent Studio YSL T-881, Live Performance, 12 May, 1977, Avery Fisher Hall. Transfers by Yves St Laurent. (C1737)

    “I felt eager anticipation at this release by St. Laurent Studio….Boulez never made a studio recording of Berlioz’s FAUST, so this is a significant addition to his discography. To allay any doubts, it is a great performance in which Boulez and everyone concerned give of their best. The Philharmonic, which Boulez had brought to a level of excellence it would not regain for more than a decade, plays wonderfully. Boulez had a great ear, and the balances he achieves in Berlioz’s orchestration couldn’t be improved upon. As an interpretation, every phrase is deeply considered, and within a few minutes of Faust’s entry, you can’t tear yourself away….There is no end of intensity in this performance, but Boulez is at pains to give the score more than one dimension, and whenever he is slow or reflective, there’s a musical purpose at hand.

    Among the soloists, Kenneth Riegel makes for an absorbing, continually expressive Faust. Riegel never quite became an international opera star, and because he sang during this period at the New York City Opera rather than across the plaza at the Met, he was underrated. There is some effortful singing at first, and Riegel’s timbre isn’t glamorous, but he’s so totally involved and musical that I must count him a standout - we’d be thrilled to hear a tenor of his caliber in the role today.

    The Puerto Rican bass-baritone Justino Diaz had a major career at both City Opera and the Met, and his Méphistophélès is strongly sung with secure tone and a powerful delivery. Having a commanding singer in the role is no small thing, so I can forgive Diaz for missing the slyness, wit, and malice in the character. Jessye Norman brings star power to Marguerite’s solos, even if she is the opposite of a fragile maid. None of the soloists sings in idiomatic French, but if it was good enough for Pierre Boulez, it is more than good enough for me. This isn’t a singer’s DAMNATION OF FAUST, even though everyone here is very fine. The real marvel is Boulez’s conducting, and even when he is accompanying an aria, the delicacy and finesse of the orchestral part is captivating.

    Needless to say, I can give this release the highest recommendation. As a bonus we get the ceremonial remarks made by the chairman of the orchestra board, Aaron Copland, and Boulez. There are no notes or libretto, but that’s a small drawback in such a well-known work.”

  • - Huntley Dent, FANFARE

  • EUGEN JOCHUM Cond. Boston S.O.: 'Romantic' Symphony #4 in E-flat (Bruckner). (Canada) St Laurent Studio YSL T-896, Live Performance, 20 July, 1974, Tanglewood, Berkshire Festival. Transfers by Yves St Laurent. (C1740)

    “Although Bruckner now has many advocates, that was not always the case. And, while past early proponents of his symphonies included such renowned names as Karl Böhm, Wilhelm Furtwängler, Eduard van Beinum, and Bruno Walter, arguably his greatest champion was Eugen Jochum. For me, his two complete studio cycles (for DG and EMI) still remain the standards by which all other Bruckner performances are to be judged, and compared to which most fall woefully short. Like Bruckner a devout Roman Catholic, Jochum had the ability to enter into the mystical spiritual ethos of Bruckner’s scores, far beyond the mere notes on the printed page.

    Since Jochum remained active until only a few months before his death in 1986, there are also numerous live Bruckner performances with him that have circulated on various CDs. The greatest of those - one of the most magnificent renditions of any Bruckner symphony I have ever heard, captured in stunningly gorgeous sound - is the Concertgebouw performance of 16 January 1975, released by Tahra. But this one with the Boston Symphony at the Tanglewood Music Festival from six months earlier is of very considerable interest and value in its own right. The silken, suave, virtuoso playing of the Boston Symphony fully justifies its onetime advertising moniker as ‘the aristocrat of orchestras’. The recorded sound is quite good for the era. Although the movement timings do not differ appreciably from those of Jochum’s other live and studio accounts of this work, this version has a remarkable sense of swiftly flowing motion. Much of that effect, I think, is due to the unusual clarity with which all the manifold strands of Bruckner’s overlapping instrumental lines are captured here; I hear many parts and effects that have not been apparent to me before. I also suspect that this is linked to the orchestra’s longstanding and strong excellence in French repertoire; indeed, there is something of a lighter, elegant French accent to this Bruckner that sheds an intriguingly different light upon it. In sum, this is a performance that very much belongs in the library of every devoted Brucknerian."

  • - James A. Altena, FANFARE

  • KARL BOHM Cond. ORTF S. O.: 'Jupiter' Symphony #41 in C, K.551 (Mozart); Leonore Overture, III (Beethoven); w.BIRGIT NILSSON: Tristan und Isolde - Vorspiel & Liebestod (Wagner); Salome - Final Scene (Strauss). (Canada) St Laurent Studio YSL T-894, Live Performance, 25 June, 1975, Salle Pleyel, Paris. Transfers by Yves St Laurent. (C1741)

  • GEORGE SZELL Cond. Czech National S.O.: Coriolan Overture; w.Tikalova, Krilova, Zidek & Mraz: 'Choral' Symphony #9 in d (Beethoven). (Canada) St Laurent Studio YSL T-768, Live Performance, 3 June, 1959, Smetana Hall, Prague Spring International Festival. Transfers by Yves St Laurent. (C1743)

  • ALEXANDER BRAILOWSKY, w.Fricsay Cond. RIAS S.O.: Piano Concerto #1 in e (Chopin), Live Performance, 1952, Berlin [Brailowsky's Chopin is from a long-lost world of aesthetics. It truly breathes . . . and renders one breathless!]; w.Boult Cond. RDF S.O.: Piano Concerto in a (Schumann), Live Performance, 18 Sept., 1955, Montreux, Switzerland. (Canada) St Laurent Studio YSL T-900. Transfers by Yves St Laurent. (P1316)

  • JEAN MARTINON Cond. Chicago Orchestra: Symphony #10 in F-sharp (Mahler). (Canada) St Laurent Studio YSL T-873, Live Performance, 19-20 May, 1966, Orchestra Hall. Transfers by Yves St Laurent. (C1734)




    “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!


    We are grateful to so many of our readers who continue to note that our once-regular use of accent marks have become rather erratic. Due to the ever-growing popular use of ‘Smart’ Phones, Google automatically and frequently is restricting such marks, as well as that which we consider regular punctuation. In compliance with Google’s restrictive demands, as well as the fact that such complicated listings will require too long a period during which to download, or may not succeed in downloading at all, most of our newer listings are deleting such marks, much to our sense of loss. While our older listings so far retain such marks, we are informed that it won’t be long before they too automatically will be amended. We certainly take pride in our presentation, but are being compelled to adapt to another loss of style in these fast-paced times! We very sincerely appreciate so many of your valued comments and commiseration!!!


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  • Gabriel Pierne, Vol. III    (St Laurent Studio YSL 78-893)
    C1745. GABRIEL PIERNE Cond. Concerts Colonne Orch.: Chabrier & Ravel Program. [Breathtaking transfers of these glorious performances! Highly recommended!] (Canada) St Laurent Studio YSL 78-893, recorded 1928 & 1931. Transfers by Yves St Laurent.
    Tosca  (Mehta;  Regine Crespin, Gianni Raimondi, Gabriel Bacquier)   (2-St Laurent Studio YSL T-911)
    OP3320. TOSCA, Live Performance, 13 Jan., 1968, w.Mehta Cond. Met Opera Ensemble; Régine Crespin, Gianni Raimondi, Gabriel Bacquier, etc. (Canada) 2-St Laurent Studio YSL T-911
    Henryk Szeryng, Vol. IV;  Schmidt-Isserstedt;  Bour   (St Laurent Studio YSL T-830)
    S0751. HENRYK SZERYNG, w.Schmidt-Isserstedt Cond. Bayerischen Rundfunks S.O.: Violin Concerto in D (Beethoven), Broadcast Performance, 1966, Munich; w.Bour Cond. SWR S.O.: Violin Concerto in d (Schumann), Broadcast Performance, 18 Feb., 1971, Baden-Baden. (Canada) St Laurent Studio YSL T-830. Transfers by Yves St Laurent.
    Annie Fischer, Vol. VI;  Krivine;  Mura   (St Laurent Studio YSL T-860)
    P1320. ANNIE FISCHER: Liszt recital, 28 March, 1978, Budapest; w.Emmanuel Krivine Cond. Orchestre de Paris: Concerto #22 in E-flat, K.482 (Mozart), Live Performance, 19 March, 1981, Palais de congrès, Paris; w.Peter Mura Cond. Hungarian Phil.: Piano Concerto #1 in E-flat (Liszt), Live Performance, 3 Jan., 1975, Budapest. (Canada) St Laurent Studio YSL T-860. Transfers by Yves St Laurent.