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RICHARD TAUBER, Vol. III now available
from Truesound Transfers . . .
CHRISTOPHER KEENE, Vol. II . . .
OISTRAKH, Vol. XII . . .
MONIQUE de la BRUCHOLLERIE . . .
many more titles on ‘sale’
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RICHARD TAUBER, Vol. III: Songs by Giordani, Braga, Toselli, de Curtis, Leoncavallo, Schubert, Mendelssohn, Grieg, Meyer-Helmund, Luther, Radecke, Silcher, Stransky, Egen, Ries, Loewe, Strauss, Lehar, Reimann, Katsche & Hill; Arias from Don Giovanni, La Traviata, Il Trovatore, Madama Butterfly, Paganini, Das Dreimaderlhaus & Der Evangelimann; Duets w. Carlotta Vanconti from Paganini. (Germany) 2-Truesound Transfers 4013, recorded 1925-1926. Transfers by Christian Zwarg. (V2632)
“Richard Tauber remains, for many, the quintessential Viennese operetta tenor. As well as a performer, he was a composer, his works displaying his understanding of the operetta and song genres. He was not the genius of a Lehar or Johann Strauss, Jr. He did not have a perfect voice; his Bs and Cs were labored and his habit of using falsetto to reach the rest of the upper range, while producing some ravishing results, could become mannered and overly applied. That said, his graceful charm of expression and lyrical warmth made him one of the most beloved singers of his time.
He made his opera debut at the Chemnitz Neues Stadt-Theater in March, 1913, as Tamino in Mozart's THE MAGIC FLUTE. He was almost immediately given a five-year contract by the Dresden Opera where he became the established lyric tenor. As his career continued to develop throughout Germany, he was strongly associated with Mozart; when he appeared as Tamino, Mozart's opera was often jokingly renamed 'DIE TAUBERFLOTE'. Astonishingly, however, his 1915 Berlin Opera debut was as Bacchus in Richard Strauss' ARIADNE AUF NAXOS (a role that many heroic tenors find incredibly taxing), sung with 48 hours' notice and only one rehearsal! Tauber became known for his fast learning and musicianship, and was often called upon for such emergencies. He once took over as conductor for a tour with the London Philharmonic Orchestra.
In the 1920s, he began to specialize in operetta and song, and became best known for those roles and for recitals, recordings, and film work. Lehar wrote the operettas PAGANINI, DER ZAREWITSCH, FRIEDERIKE and THE LAND OF SMILES with him in mind, and in each, made sure to include a showpiece (soon known as the ‘Tauberlied’) for his talents. In 1931, he made his debut in England at the Drury Lane Theater in Lehar's THE LAND OF SMILES, and he remained in England for fear of Nazi persecution (he was of Jewish extraction), becoming a naturalized citizen in 1940. Like most singers, his career was interrupted by the war, but he made his operatic farewell in 1947 as Don Ottavio in Mozart's DON GIOVANNI. Though already seriously ill with the lung cancer that was to kill him the next year, according to critics and documented by air check recordings, it would have been a creditable performance for a singer in the best of health.
Tauber owed much of his fame to his then-prodigious 725 recordings, rivaled only by the recorded output of John McCormack. Tauber's catalog unquestionably displays the most variety, including songs by Jerome Kern and Irving Berlin, arias and duets from Verdi's IL TROVATORE and AIDA, Offenbach's THE TALES OF HOFFMANN, German lieder, and even the Neapolitan and Irish songs in which Caruso and McCormack were the main exponents. He also appeared in several movies, including a film of Leoncavallo's PAGLIACCI, Blossom Time, Heart's Desire, and Forbidden Music. Today, his operetta OLD CHELSEA (which he wrote to celebrate his naturalization as an English citizen) is still sometimes performed.”
- Anne Feeney, allmusic.comCHRISTOPHER KEENE Cond. Syracuse S.O.: Symphony #8 in c (Shostakovitch). (Canada) St Laurent Studio YSL T-1011, Live Performance, 1975. Transfers by Yves St Laurent. (C1790)
“This is Vol. 2 in St. Laurent Studio’s new Christopher Keene series, and unlike the label’s attention to major conductors like Beecham, Munch, Monteux, and Tennstedt in concert, Keene belongs among the ranks of the unsung and nearly forgotten. More volumes are in the works, at the urging of FANFARE's Henry Fogel, who ran the classical music radio station in Syracuse and produced the orchestra's broadcasts during the first three years of Keene's five-year tenure as music director, from 1975 to 1980.
It is startling to think of a community orchestra attempting either the Strauss ‘Symphonia Domestica’ or this Shostakovich Eighth Symphony, but half the rationale behind the Keene series is to showcase how remarkable the Syracuse Symphony was, entirely with professional musicians (it is now defunct, sadly). The other half is to provide Keene with the legacy he deserves. He died of AIDS-related cancer in 1995 at age 48, having left behind a small number of commercial recordings, so these from Syracuse, which capture the music in good, full-range stereo that balances ambience and orchestral detail very well, are invaluable.
I heard Keene in concert only once and came away unimpressed, yet here he displays unexpected depths. Fogel believes that this period was in some ways the finest musically in Keene’s career. He rose to become director of the New York City Opera, the post he held at his death, and yet the big time seemed to make Keene cowed, stiff, or nervous. Whatever the cause, I never expected what is present on this disc, arguably the most musical Shostakovich Eighth recorded by an American conductor. In part this is faute de mieux, because both Leonard Bernstein and James Levine avoided this masterpiece, but there were two notable recordings by Andre Previn (EMI and DG).
Those accounts deliver a level of orchestral execution beyond the Syracuse Symphony, naturally, given that Previn led the London Symphony both times. But Keene is more personally involving. He had confidence enough in his gifts that this performance comes from his debut as music director in Syracuse (on a program filled out by the suite from Copland’s THE TENDER LAND). He also had confidence in the orchestra built by Karl Kritz (1906–69). The string body is full, assured, and in tune, the vital woodwind solos played stylishly, the brass section sounding courageous and at times thrilling.
What Keene brings to the Shostakovich Eighth is an inwardness and sensitivity that isn’t typically heard in this score. I was struck by much the same quality when the young Vasily Petrenko recorded the Eighth with the Royal Liverpool Philharmonic in 2010 (Naxos), because the Soviet tradition, as exemplified by Yevgeny Mravinsky’s towering readings, essayed the music in terms of crushing tragedy and overwhelming power. Petrenko showed that there was another way, and yet here is Keene doing the same thing three decades earlier, and with an unknown orchestra. He shows not the slightest difficulty holding the listener’s attention in the style he has chosen.
The weight of tragedy is heaviest in the long first movement, but it also contains extended legato lines, which Keene leads with assured finesse, never allowing the melody to sag when the music is soft. For Russian performers the dark terrors of World War II linger in the background of the Shostakovich Eighth, but Keene’s reading is outside history, as is Petrenko’s. This gives him the freedom to find beauties in the score that are entrancing rather than constantly sad. But the great tutti climaxes are given full justice, too. What isn’t present in the first movement and the two Scherzos is the shriek of panic one hears from Mravinsky and Gergiev, for example.
The Eighth is Shostakovich’s most haunted score, inescapably overshadowed by death and suffering but also capable of expressing sorrow as elegy. This is most apparent in the first movement’s long English horn solo, here played very expressively and fully at a professional level. There is a letdown at the opening of the second Scherzo, however, because of a weak piccolo line and a momentary lapse of concentration, it would appear, on the conductor’s part, but the movement quickly rights itself.
Keene is in his element in the fourth and fifth movements, which are shattered by some anguished outcries but mostly contain Shostakovich’s most spectral, at times enigmatic, writing. This is where the Eighth Symphony transcends every other one of the fifteen, achieving something like a sadness too deep for tears that at the same time touches redemption. Needless to say, this is abstract, not programmatic music, but the air of mystery is unmistakable.
I realize that the discography of the Shostakovich Eighth is deep and rich, but if you look on this CD as a ticket to a live concert, I think the listening experience is genuinely enjoyable and moving.”
- Huntley Dent, FANFAREMONIQUE de la BRUCHOLLERIE, w. Ansermet Cond. Boston S.O.: Piano Concerto #3 in d (Rachmaninoff), Live Performance, 14 Dec., 1951, Symphony Hall [de la Bruchollerie's North American debut]; MONIQUE de la BRUCHOLLERIE, w. Baudo Cond. Lamoureux Orch.: Piano Concerto #5 in F (Saint-Saens), Live Performance, 18 Nov., 1964, Salle Playel, Paris. (Canada) St Laurent Studio YSL T-1013. Transfers by Yves St Laurent. (P1349)
“A striking, even spectacular, event of the music season was the United States debut yesterday afternoon of the French pianist Monique de la Bruchollerie. She was soloist with the Boston Symphony Orchestra in the Third Piano Concerto of Rachmaninoff. This concert, as that tonight will be, was conducted by Ernest Ansermet, the Swiss musician who has come to Boston as interim leader of the orchestra during the convalescence of Charles Munch.
Miss de la Bruchollerie is that rarity, a musicians' and the public's artist. She has a big keyboard technic which, presently, you more or less forget under the spell of her expressive playing. Speed, agility, the gift of the caressing phrase, a wide range of dynamic effects, and a ‘touch’ capable of infinite colorations of tone all those attributes she has in full measure.
Not a bar was clouded, made rhythmically untidy or anything but an exact statement of what it was supposed to be. What is a good but not great concerto, with a fireworks finale intended to whoop up applause, was admirably set forth in every way. I had a feeling Mlle. de la Bruchollerie let Mr. Ansermet set the pace and general tone of the performance. Had she been in complete command I suspect there would have been more tension and excitement.
At the end, there were cheers, applause and stamping for the small, blonde and attractive artist, who returned to bow at least four times. Unless Mlle. de la Bruchollerie is not back within six weeks to give a solo concert, someone will have been asleep at the switch. That is, providing she has no other commitments to prevent a return.”
- Cyrus Durgin, THE BOSTON GLOBE, 15 Dec., 1951DAVID OISTRAKH, w. Alexander Goldenweiser, Mikhail Terian & Sviatoslav Knushevitsky: Piano Quartet in E-flat (Schumann), recorded 1952, Moscow; DAVID OISTRAKH & YEHUDI MENUHIN, w. Georgescu Cond. Enescu Phil.: Concerto for Two Violins in d (Bach), live performance, 18 Sept., 1958 - First Enescu Festival. (Canada) St Laurent Studio T-1004. Transfers by Yves St Laurent. (S0770)
"David Oistrakh is considered the premiere violinist of the mid-twentieth century from the Soviet Union. His recorded legacy includes nearly the entire standard violin repertory up to and including Prokofiev and Bartok. In 1937 the Soviet government sent him to Brussels to compete in the International Ysaye Competition, where he took home first prize. With his victory in Brussels, Soviet composers began to take notice of their young compatriot, enabling Oistrakh to work closely with Miaskovsky and Khachaturian on their concerti in 1939 and 1940, respectively. In addition, his close friendship with Shostakovich led the composer to write two concerti for the instrument (the first of which Oistrakh played at his, and its, triumphant American premiere in 1955). During the 1940s Oistrakh's active performing schedule took him across the Soviet Union but his international career had to wait until the 1950s, when the political climate had cooled enough for Soviet artists to be welcomed in the capitals of the West.
Throughout his career David Oistrakh was known for his honest, warm personality; he developed close friendships with many of the leading musicians of the day. His violin technique was virtually flawless, though he never allowed purely physical matters to dominate his musical performances. He always demanded of himself (and his students) that musical proficiency, intelligence, and emotion be in balance, regardless of the particular style. Oistrakh felt that a violinist's essence was communicated through clever and subtle use of the bow, and not through overly expressive use of vibrato. To this end he developed a remarkably relaxed, flexible right arm technique, capable of producing the most delicate expressive nuances, but equally capable of generating great volume and projection."
- Blair Johnston, allmusic.com
. . . . FROM THE RECENT PAST . . .
REPEATEDRICHARD TAUBER: Songs by Schubert, Grieg, Weingartner, Schmalstich, Tauber, Katscher, Dezso Antalffy, Franz Lehar, Gruber, Massenet, Tosti & Percy B. Kahn; Arias from Evgenij Onegin, Carmen, Mignon, La Boheme, Tosca, Frasquita, Die Bacchusnacht, Eine Nacht in Venedig, Die Tote Stadt, Der Zigeunerbaron, Grafin Mariza; Duets w. Sabine Kalter - Aida & Il Trovatore; w.Lotte Lehmann - Die Tote Stadt; w.Carlotta Vanconti - Grafin Mariza. (Germany) 2-Truesound Transfers 4012, recorded 1923-1925. Transfers by Christian Zwarg. (V2631)
LOTTE SCHONE: The Complete Recordings, incl. Songs by Schubert, Schumann, Brahms, Mendelssohn, Wolf, Richard Strauss, Josef Strauss, Johann Strauss, Rossini, Rubinstein, Benedict, Debussy, Chausson, Ravel & Roussel; Arias & Duets (w.Wittrisch, Janssen, Domgraf-Fassbander & Hislop), from Nozze, Don Giovanni, Cosi fan Tutte, Die Zauberflote, Barbiere, Don Pasquale, Les Huguenots, Manon, Ballo, Rigoletto, Turandot, La Boheme, Madama Butterfly, Die Lustigen Weiber von Windsor, Eine Nacht in Venedig, Der Vogelhandler, Der Obersteiger, The Geisha, Cagliostro in Wien, Die Schone Galathee, Der Arme Jonathan & Die Fledermaus. 5-Marston 55002, recorded 1921-50. Specially priced, 5-CDs for the price of 4. (V2630)
CHRISTOPHER KEENE Cond. Syracuse S.O.: Symphonia Domestica (Strauss), Live Performance, 1978; Symphony #10 in F-sharp – Adagietto (Mahler), Live Performance, 1983. (Canada) St Laurent Studio YSL T-1010. Transfers by Yves St Laurent. (C1787)
LOEWENGUTH QUARTET (Alfred Loewenguth, Maurice Fueri, Roger Roche & Pierre Basseux) & STROSS QUARTET: Octet in E-flat (Mendelssohn), Live Performance, 26 March, 1960, Paris; LOEWENGUTH QUARTET, w.Jean Fournier & Ginette Doyen: Concert for Violin, Piano & String Quartet (Chausson). Live Performance, 3 July, 1957, Divonne-les-Bains, France. [A most treasurable issue!] (Canada) St Laurent Studio YSL T-933. Transfers by Yves St Laurent. (S0769)
WITOLD MALCUZYNSKI: Chopin & Szymanowski Recital. (Canada) St Laurent Studio YSL T-863, Live Performances, 17 Sept., 1960 & 20 Dec., 1956. Transfers by Yves St Laurent. (P1348)
KLAUS TENNSTEDT Cond. Philadelphia Orch.: Adagio for Strings (Barber), Live Performance, 21 Nov., 1985; 'Song of the Night' Symphony #7 in e (Mahler), Live Performance, 5 Feb., 1987. (Canada) 2-St Laurent Studio YSL T-1026. [The Mahler is an overwhelming performance in the beauty of the Academy of Music acoustic!] Transfers by Yves St Laurent. (C1791)
VLADO PERLEMUTER: Preludes, Op.28 - recorded 15 Dec., 1960, BBC; w. Sir Andrew Davis Cond. BBC S.O.: Piano Concerto #2 in f - Live Performance, 7 Aug., 1971, Royal Albert Hall, London (both Chopin). (Canada) St Laurent Studio YSL T-891. Transfers by Yves St Laurent. (P1347)
CHRISTIAN FERRAS, w. Pierre Barbizet (Pf.): Violin Sonata #2, Op.121 (Schumann); w.Vaclav Jiracek Cond. Prague S.O.: Violin Concerto #2 in e (Mendelssohn); w.Bigot Cond. Paris Radio S.O.: Poeme (Chausson). (Canada) St Laurent Studio YSL T-985, Live Performances, 1955-59. Transfers by Yves St Laurent. (S0768)
RICARDO VINES: Scarlatti, Gluck-Brahms, Blancafort, Borodin, Debussy, Allende, Troiani, Lopez-Buchardo, de Falla, Turina & Albeniz. (Canada) St Laurent Studio YSL 78-953, recorded 1930 & 1936. Transfers by Yves St Laurent. (P1344)
THIERRY de BRUNHOFF: Bach Recital, w.Louis Auriacombe & Oubradous Cond (incl. Concerto in c for two pianos, w.Veyron-Lacroix). (Canada) St Laurent Studio YSL T-993, Live Performances, 1961-70; includes Nouvelle etude #2 (Chopin) plus Interview, 1964. Transfers by Yves St Laurent. (P1346)
ALINE van BARENTZEN: Brief Chopin recital; w.Maurice Vieux (Alto): Sonata for Alto & Piano (de Breville); w.Rene Benedetti: Violin Sonata in d, Op.36 (Pierne); w.Pol Mule Cond. Nice S.O.: Piano Concerto in d (Bach). [A highly impressive recital offering both de Breville & Pierne] (Canada) St Laurent Studio YSL T-856. Transfers by Yves St Laurent. (P1343)
PRADES FESTIVAL, Vol. III: PABLO CASALS, JOSEPH FUCHS, EUGENE ISTOMIN, WARD FEARN, DAVID GLAZER, PAUL TORTELIER, JUNE ROTENBERG, JOHN SHAMLIAN & KAREN TUTTLE: (all Beethoven). (Canada) St Laurent Studio YSL T-1003, Live Performance, 3 June, 1953, Abbaye Saint-Michel de Cuxa. Transfers by Yves St Laurent. (C1789)
TOSCA, Live Performance, 19 March, 1965 (not a broadcast), w.Cleva Cond. Met Opera Ensemble; Maria Callas, Franco Corelli, Tito Gobbi, Clifford Harvuot, Andrea Velis, etc. [in compromised sound quality]; TOSCA - Excerpts, Live Performance, 19 Dec., 1958, Paris, w.Sebastian Cond. Maria Callas & Tito Gobbi. (Canada) 2-St Laurent Studio YSL T-1020 (OP3349)
ANDREA CHENIER, Live Performance, 17 Nov., 1962 , w.Cleva Cond. Met Opera Ensemble; Franco Corelli, Zinka Milanov, Anselmo Colzani, Mignon Dunn, Lili Chookasian, Norman Scott, etc. (Canada) 2-Yves St Laurent T-1024. Transfers by Yves St Laurent. [This performance is the only ANDREA CHENIER Milanov and Corelli ever sang together; a PROMPTER'S BOX recording, thus the remarkable clarity! It's easy to determine where the recording was made - the prompter is lightly heard throughout, and the sound from the audience is rather distant since the microphone was facing the stage!] (OP3347)
MET SINGERS' ROUNDTABLE, Vol. VII, incl. Henry Butler interviews Martina Arroyo, Judith Raskin, Ezio Flagello & William Walker, 1 Feb., 1969; Marcia Davenport interviews Zinka Milanov, Nicolai Gedda & Justino Diaz, 1 Jan., 1966; Francis Robinson recalls Antonio Scotti, 19 Dec., 1970. [In professional sound, the ideal gift for any opera lover who already has everything! These mementi are irresistible components to any aficionado's collection!] (Canada) St Laurent Studio YSL T-1000. Transfers by Yves St Laurent. (V2628)
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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V2632. RICHARD TAUBER: Songs by Giordani, Braga, Toselli, de Curtis, Leoncavallo, Schubert, Mendelssohn, Grieg, Meyer-Helmund, Luther, Radecke, Silcher, Stransky, Egen, Ries, Loewe, Strauss, Lehár, Reimann, Katsche & Hill; Arias from Don Giovanni, La Traviata, Il Trovatore, Madama Butterfly, Paganini, Das Dreimäderlhaus & Der Evangelimann; Duets w. Carlotta Vanconti from Paganini. (Germany) 2-Truesound Transfers 4013, recorded 1925-1926. Transfers by Christian Zwarg.
C1790. CHRISTOPHER KEENE Cond. Syracuse S.O.: Symphony #8 in c (Shostakovitch). (Canada) St Laurent Studio YSL T-1011, Live Performance, 1975. Transfers by Yves St Laurent.
P1349. MONIQUE de la BRUCHOLLERIE, w. Ansermet Cond. Boston S.O.: Piano Concerto #3 in d (Rachmaninoff), Live Performance, 14 Dec., 1951, Symphony Hall [de la Bruchollerie's North American debut]; MONIQUE de la BRUCHOLLERIE, w. Baudo Cond. Lamoureux Orch.: Piano Concerto #5 in F (Saint-Saëns), Live Performance, 18 Nov., 1964, Salle Playel, Paris. (Canada) St Laurent Studio YSL T-1013. Transfers by Yves St Laurent.
S0770. DAVID OISTRAKH, w. Alexander Goldenweiser, Mikhail Terian & Sviatoslav Knushevitsky: Piano Quartet in E-flat (Schumann), recorded 1952, Moscow; DAVID OISTRAKH & YEHUDI MENUHIN, w. Georgescu Cond. Enescu Phil.: Concerto for Two Violins in d (Bach), live performance, 18 Sept., 1958 - First Enescu Festival. (Canada) St Laurent Studio T-1004. Transfers by Yves St Laurent.