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This Week's Offerings: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)
Yves St Laurent’s 7th volume of JORGE BOLET features
baritone THOMAS PALMER . . .
GEORGES ENESCU in recital . . .
PABLO CASALS conducting WILLIAM KAPELL . . . .
SERGIO FIORENTINO’s last recital . . .
plus new titles on ‘Sale’
“Thomas M. Palmer, a baritone who made his Metropolitan Opera debut in 1974, singing Silvio in Franco Zefferelli's production of PAGLIACCI, also sang with the San Francisco, Houston and Santa Fe opera companies. He was a member of the New York Chamber Soloists, and made recordings for Vanguard and Columbia Records.
Mr. Palmer taught voice at Indiana University, the University of Bridgeport, Florida State University and the University of South Florida, and was the general manager of the St. Petersburg Opera Company in Florida and Florida Opera West.”
- THE NEW YORK TIMES, 22 June, 1994
“Bolet was a master of color and texture and had a world-class technique, all still evident here at the end of his life. This abounds in colors and subtle voicings….”
- James Harrington, AMERICAN RECORD GUIDE, March/April, 2011PABLO 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)
“In 1919 Casals founded the Orquestra Pau Casals in Barcelona. Although the project was quite successful, the outbreak of civil war in 1936 forced its dissolution. Casals, who spoke out vehemently against the Franco regime, was forced to seek refuge in the Catalan village of Prades. Following the Second World War, saddened by the lack of any definitive action against the Franco regime by major world powers, Casals elected to cease performing as an act of protest.
Inspired by the Bach bicentenary celebrations of 1950 at the first annual Prades Festival, Casals came out of retirement to begin a new series of recordings and concerts. In 1956 he made a new home in Puerto Rico, where he founded the Puerto Rico Festival. Though nearing 85, he began a campaign for peace in 1962, traveling around the world to conduct performances of his oratorio EL PESSEBRE (The Manger). Casals continued to make occasional concert appearances until virtually the end of his life in 1973.
Always scornful of ‘flashy’, superficial virtuosi, Casals strove tirelessly to develop and maintain the kind of intense musical concentration which he considered to be the true artist's responsibility.”
- Blair Johnston, allmusic.com
“William Kapell was one of the most promising American pianists of the postwar generation, producing a few recordings that have attained legendary status after his untimely death.
He studied in New York with Dorothea Anderson la Follett, and then at the Philadelphia Conservatory with Olga Samaroff, and then went to the Juilliard School when she relocated there. He won the Philadelphia Orchestra's youth competition and the Naumberg Award in 1941. He debuted in New York through his prize from the Naumberg Foundation; this debut recital won him the Town Hall Award for the outstanding concert of the year by an artist under 30.
A national recital career quickly developed, leading to a recording contract with RCA. One of his enthusiasms was for the recently composed Piano Concerto in D flat major by Soviet composer Aram Khachaturian, which he frequently played. Because it is an extroverted and flashy work, he gained a reputation as a specialist in such music. His recorded legacy shows that he performed in the appropriate style from graceful renditions of Mozart to powerful Prokofiev.
After World War II, he expanded his touring to cover the world. It was on his return from a tour of Australia that his airplane crashed into King's Mountain near San Francisco.”
- Joseph Stevenson, allmusic.comGEORGES 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)
“George 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 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 OEDIPUS. 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.comSERGIO 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)
"Fiorentino is one of those lost legends of the last century, known by far too few, whose singular musicality enriches all who encounter it. Without going into too much detail, his career was marked by numerous retreats from the public eye, including a span of 20 years where he did little but teach. After resurfacing in 1996 at the Newport Music Festival, he took up international public performance in earnest until his untimely death in 1998….I’ve never heard long-breathed melodies like this that seemingly go on for minutes at a time. The piano also magnifies the sound. Everything sounds bigger in Fiorentino’s hands – not just the grandest passages, but even the ones played piannissimo. It sounds simply majestic….Fiorentino may have been overlooked for too long, but his is a voice that is too powerful to ever be forgotten.”
- Brent Auerbach, AMERICAN RECORD GUIDE, Nov. / Dec., 2012
“'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.”
. . . 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, FANFARELE 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, FANFARERIGOLETTO, 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, FANFAREPIERRE 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
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)
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)
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)
ARTUR RODZINSKI Cond. NBC S.O.: Symphony #8 in G (Dvorak); Mathis der Maler (Hindemith); Till Eulenspiegel (Strauss). (Canada) St Laurent Studio YSL 78-600, Live Performance, 17 Dec., 1938. Transfers by Yves St Laurent. (C1739)
HUNGARIAN QUARTET (Koromzay, Palotai, Szekely & Moszkowski): Quartet #2 in A (Arriaga) - Broadcast Performance, 1950, Paris; Quartet #6 (Bartok); Quartet in B-flat, Op.18, #6 (Beethoven) - Live Performance, 21 July, 1961, Menton, France. (Canada) St Laurent Studio YSL T-895. Transfers by Yves St Laurent. (S0749)
GYORGY CZIFFRA: Beethoven, Chopin, Liszt & Schumann (incl. the latter's Sonata #1 in f-sharp plus a blazing rendition of his Toccata in C). [Unquestionably, this coruscating recital is one of the greatest treasures in the YSL Catalogue, in brilliant sound!] (Canada) St Laurent Studio YSL T-832, Live Performance, 16 Sept., 1961, Besancon. Transfers by Yves St Laurent. (P1317)
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)
VLADO PERLEMUTER: Ravel Recital (featuring the latter's Sonatine, Gaspard de la nuit & Miroirs). (Canada) 2-St Laurent Studio YSL T-813, Broadcast Performances, April - June, 1952, Paris, w.broadcast announcements throughout these recitals. Transfers by Yves St Laurent. (P1315)
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)
SERGIU CELIBIDACHE Cond. Teatro la Fenice S.O.: Pictures at an Exhibition (Mussorgsky-Ravel); Intrada (Sven-Erik Back). (Canada) St Laurent Studio YSL T-837. Transfers by Yves St Laurent, Live Performance, 31 Oct., 1965. (C1738)
DIMITRI MITROPOULOS Cond. NYPO, w.PIETRO SCARPINI: Piano Concerto #2 in g - Live Performance, 7 Nov., 1954, Carnegie Hall; w.GINA BACHAUER: Piano Concerto #3 in C - Live Performance, 29 Jan., 1956, Carnegie Hall (both Prokofiev). [Without a moment's hesitation, this is one of the greatest issues from St Laurent Studio, in superb sound!] (Canada) St Laurent Studio YSL T-854. Transfers by Yves St Laurent. (C1730)
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!
SMARTER THAN BOTH OF US ! ! !
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 Googles 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!!!
. . . 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] . . .
Our 50% Discount Sale continues,
now offering more than 2500 titles . . .
------------------ ANNOUNCEMENT -----------------
Auction #150 Is Now Closed ! ! !
Norbeck, Peters & Ford's
Annual 78rpm Auction is now closed!
Norbeck, Peters & Ford's new
78rpm AUCTION #150 is now still online
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closing date is this Friday, 17 May.
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P1319. JORGE BOLET, w.Thomas Palmer (Bar.): Songs by Debussy, Liszt, Strauss, Wolf & Lehár. (Canada) St Laurent Studio YSL T-786, Live Performance, 15 March, 1976, Bloomington. Transfers by Yves St Laurent.
C1744. 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. [A very minor caveat is that there is the very occasional transmission problem]
Transfers by Yves St Laurent.
P1314. 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.
S0750. GEORGES ENESCU, w. Céline 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.