Historical Reissue Classical CDs, LPs, 78s,
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Auction Number 148 - AUCTION Closing Date: Saturday, 15 April, 2017
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(Closing Date: Saturday, 15, 2017
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Section I - 7” Records Nos. J0001 – J0033
J0001. ALBERTO BACHMANN (Violin):
LE CARNAVAL DES ANIMAUX – Le Cygne /
Rialto Orch.: LES CONTES D’HOFFMANN – Barcarolle (Offenbach). 7” Emerson 769 (2128-1/ 2136-2),
only form of issue, 1916. A-B, decent copy has lt.rubs & few mks, in original sleeve. MB 15
“Born in Switzerland and a pupil of Eugen Ysaÿe, Bachmann was active on the concert stage and as a composer. In addition, he was the author of four books on the violin and violinists: LE VIOLON in1906, LES GRANDS VIOLINISTES DU PASSÉ in 1913, GYMNASTIQUE À L’USAGE DES VIOLINISTES in 1914, and the culmination of his work as a writer in 1925 with the publication of his ENCYCLOPEDIA OF THE VIOLIN (1925).”
- WikipediaJ0002. IRMA SEYDEL (Violin):
Minuet in G (Beethoven) / FLAVILLA (Accordion):
LUCIA DI LAMMERMOOR – Sextet (Donizetti).
7” Emerson 7198 (2554 / 2413), only form of issue, 1917. A-B, decent copy has lt.rubs & few mks, ltly audible. MB 15
“Irma Seydel … [achieved] virtuoso status and made her way as a concert soloist at least into the 1920s. Seydel was helped along by having a father in the Boston Symphony who started her on the violin at the age of three. She studied with Charles Martin Loeffler from the age of ten, and later on made the obligatory ‘finishing’ trip to study in Europe. Seydel clearly progressed rapidly, and in 1909, at the age of 13, she was soloist with the Gurzenich Orchestra in Cologne. During her career, she was to perform with the Berlin, Leipzig, and Vienna Philharmonic Orchestras. In America she appeared with the New York Philharmonic, the Chicago, San Francisco, Philadelphia and Baltimore Symphonies, and multiple times with the Boston Symphony.”
- Cora Cooper, Violin Music by WomenJ0003. CHARLES D’ALMAINE (Violin):
MARITANA – Scenes that are brightest (Wallace), announced.
7” black Victor First Dog Label 1211, only form of issue, 21 Jan., 1902, Philadelphia.
A to M-A, a truly extraordinary copy of a remarkably ‘forward’ recording! MB 35
“Charles D'Almaine was born in Hull, England on 13 June, 1871. At some point he came to the United States and played first violin at the Grand Opera House in Chicago in the 1890s. In 1898 he relocated to New York City, the only major recording center of the time. One of the earliest violinists to make recordings, D'Almaine's first was recorded in 1899 and released on an Edison cylinder. He went to the Berliner Gramophone studios in January and February 1900, where at least 13 of his recordings were issued. When a standing orchestra was established at the Edison studios, D'Almaine was made concertmaster. Beginning his association with the Victor company in 1901, he eventually became concertmaster of the house unit, the Victor Orchestra. His musical duties outside the recording studio included positions at the Metropolitan Opera House. In addition to performing, he also made several violins. He continued his musical career and was second-violinist with the New York Metropolitan Opera orchestra for the 1921–1922 season, and was employed there until the 1924–1925 season in the violin section. He was released, having spent 17 years at the Met.”
- WikipediaJ0004. PAULINE DONALDA:
CARMEN – En vain pour éviter (Card Scene) / CHARLES MORATI:
Pour un baiser (Tosti).
7” Emerson 7218 (2582-1/ 2484-2), only form of issue, 1917. A, exceptional copy, in original sleeve. MB 45
“Born in Montréal 5 March, 1882, Donalda auditioned for the title role in Massenet's CHÉRUBIN but lost it to Mary Garden. With Massenet's help, however, she made her début 30 Dec., 1904 in Nice, singing Manon. She was equally successful in the roles of Marguerite, Micaëla, and Mimi. Leoncavallo was in Nice for the French premiere of his CHATTERTON, in which Donalda sang Jenny and, subsequently, under his direction, she sang Nedda in PAGLIACCI.
She made her London début 24 May, 1905 at Covent Garden, singing Micaëla with Emmy Destinn and Charles Dalmorès, under the direction of André Messager. At Covent Garden on 28 June, 1905 she sang the role of Ah-Joe in the premiere of Franco Leoni's L'ORACOLO, with Dalmorès, Scotti, and Vanni-Marcoux as partners. On 24 July, 1919 she sang Concepción in the English premiere of Ravel's L'HEURE ESPAGNOLE. Considered a rival of Melba, she often replaced her and thus sang Mimi with Enrico Caruso. She made her New York début 7 Dec., 1906 in FAUST and sang in CARMEN, MARTHA, DON GIOVANNI, LA TRAVIATA, LOHENGRIN, and PAGLIACCI in the course of Hammerstein’s historic season that brought together Melba, Calvé, Bonci, Ancona, Sammarco, Renaud and Gilibert. In the spring of 1910, she opened the Covent Garden season replacing Luisa Tetrazzini, on short notice, in LA TRAVIATA with McCormack and Sammarco. Returning to Montréal in 1937 Donalda opened a studio there. She founded the Montréal Opera Guild in 1942 and directed it until 1969”
- Gilles Potvin, HISTORICA CANADAJ0005. BICE ADAMI:
LA BOHEME – Mi chiamano Mimi. 7” etched Milano Berliner 53111 (3206a),
recorded 1899, only form of issue. A to M-A, superlative copy has the ubiquitous wee pressing indents, but plays beautifully. MB 250J0006. BICE ADAMI:
FAUST – Le Roi de Thulé; Air des bijoux (in Italian). 7” etched Milano Berliner 53165 (2700),
recorded 1899, only form of issue. A-B, superb copy has few lt.rubs & faint scrs, but plays beautifully. MB 225J0007. BICE ADAMI:
CAVALLERIA – Voi lo sapete.
7” etched Milano Berliner 53163 (2681), recorded 1899, only form of issue.
B, lovely copy has lt.rubs & scrs, occasionally audible. MB 225
“At an early age, Bice Adami came to Argentina and studied in Buenos Aires with the pedagogue Stiattesi. She made her début in 1896 at Politeama Argentino of Buenos Aires in CAVALLERIA RUSTICANA and PAGLIACCI. In 1898 she was engaged to sing in the Italian opera in Amsterdam. In the Netherlands she met her husband, the baritone Ferruccio Corradetti. After the turn of the century Adami sang primarily in Italian opera houses. She sang also in the Rome premiere of Mascagni’s LE MASCHERE (17 January, 1901, Teatro Costanzi). After her retirement, she lived as a pedagogue in Padua. Her daughter, Iris Adami-Corradetti, also a soprano, was the definitive Cio-Cio-San.”
- Ashot ArakelyanJ0008. IDA SAMBO:
FORZA – La Vergine degli angeli. 7” dark green (German pressed) Milano Zonophone 515 Stamper II, recorded 1901, announced, only form of issue. [Sambo débuted in 1887 at the City of Rijeka in Ponchielli’s I PROMESSI SPOSI.
Although her career was as a mezzo, all her discs are of soprano arias.] B-C, decent copy has grey on peaks, various rubs & scrs. MB 75J0009. ELISA MATTIUZZI:
LUCREZIA BORGIA – Il Segreto. 7” black Milano Zonofono 1309, recorded 1902, announced,
only form of issue. [It is presumed Mattiuzzi made her début in 1885 at Palermo’s Teatro Politeama as Ulrica in BALLO.]
A-, extraordinary copy has faintest rubs & one very light scr, positively inaud. [A remarkably ‘forward’ recording!] MB 75J0010. SELMA KURZ:
BALLO – Saper vorreste (in German) (Verdi). 7” black Wien G & T 43305 (2486-B),
Original Stamper, recorded 1902, minimally announced, only form of issue, this version.
A-, excellent copy has faintest pap.scr, inaud.; pinpoint nd is very faintly audible. MB 95J0011. MAUD FOSTER (Contralto):
Sweet Rosie O’Grady (Nugent). 7” etched Berliner 564,
only form of issue, 4 Dec., 1896, Washington, DC, self-announced as she asks everyone to join in the chorus.
A to M-A, superlative copy has the ubiquitous wee pressing indents & few lt.rubs, but plays beautifully. MB 85J0012. RAMONA GALAN:
PAGLIACCI – O Columbina (Serenata d’Arlecchino, as sung by a soprano!).
7” etched Milano Berliner 53175 (2715), recorded 1899, only form of issue. B, lovely copy has lt. grey on peaks,
rubs & scrs, inaud; wee closed pressing bump sounds a few turns. [A remarkably ‘forward’ recording!] MB 225J0013. RAMONA GALAN & GIOVANNI CESARINI:
IL TROVATORE – Ai nostri monti.
7” etched Milano Berliner 54127 (2896), recorded 1899, only form of issue. B-C, very decent copy has lt. grey on peaks,
rubs & scrs, ltly audible. [A remarkably ‘forward’ recording!] MB 185
“Ramona Galán studied in Badajoz and there, in 1891, she was listed as comprimaria in the season of the Lopez Avila Theater. She moved to Madrid where she was heard by Mattia Battistini who gave her valuable advice. Her real début was in 1894. After her withdrawal, she entered in the chorus of Theatre Calderon in Madrid.”
- Ashot ArakelyanJ0014. GIOVANNI CESARINI:
FEDORA – Amor ti vieta. 7” etched Milano Berliner 52584 (2885),
recorded 1899, ‘truncated’ announcement, only form of issue. A-B, lovely copy has the ubiquitous
wee pressing indents, lt. rubs & lt.grey on peaks, inaud; [A remarkably ‘forward’ recording!] MB 225J0015. GIOVANNI CESARINI:
LUCREZIA BORGIA – Di pescatori ignobile. 7” etched Milano Berliner 52587 (2847),
recorded 1899, ‘truncated’ announcement, only form of issue. A-B, lovely copy has the ubiquitous wee pressing
indents & lt. rubs, inaud; minuscule ndl.cut near end, very briefly audible. [A remarkably ‘forward’ recording!] MB 185J0016. GIUSEPPE RIZZINI:
IL TROVATORE – Di quella pira. 7” black Milano Zonofono 10807, recorded 1902, announced,
only form of issue. A-B, excellent copy has the ubiquitous wee pressing indents; 1 ‘stressed’ groove at very beginning,
before performance, plus a few wee scrs, very ltly audible. [Rizzini made his début in 1885 at Verona's Ristori in ATTILA.] MB 75J0017. GIOVANNI VALS:
IL TROVATORE – Deserto sulla terra. 7” black Milano G & T 52897 (7395r), recorded 1905,
only form of issue. A-, remarkably fine copy has faintest rubs & hint of grey on peaks, inaud.
[A remarkably ‘forward’ recording!] MB 65J0018. IGNAZIO ODDO:
ERNANI – Come ruggiada al cespite. 7” black Milano G & T 52290 (Con.62), recorded 1903,
only form of issue. B-C, decent copy has rubs & lt.scrs, positively audible, but plays remarkably clearly; disfigured label. MB 45
“In 1895 Oddo appeared at the Teatro Nazionale in Catania in the premiere of Gianni Bucceri’s MARIEDDA as Piero. At the second performance of LUCIA DI LAMMERMOOR, in which Signor Oddo, the new tenor appeared, Caruso decided to be present in order that he might see for himself what would happen. He paid two and a half lire for a seat in the fourth row….“But the surprise was to come. No sooner was my presence discovered than I was taken from my chair and pushed up and upon the stage. And standing there, I was unwillingly compelled to see this young tenor (who had a very beautiful voice) led from the stage. I finished his part in the opera apparently to the satisfaction of the audience."
- Enrico Caruso, ENRICO CARUSO, A BIOGRAPHY, (Pierre V. R. Key), pp.64-65J0019. ORESTE MIELI:
LA FAVORITA – Una vergine, un angiol di Dio. 7” black Milano Zonofono 10667, recorded 1901-02, announced, only form of issue. B-C, decent copy has rubs & numerous lt.scrs, positively audible; disfigured label. MB 75
“Mieli’s career appears to have been primarily in Italian provincial theatres. In 1900 he sang at the Teatro Sociale
in Rovigo as Andrea Chénier on 17 Jan.,1901, then in one of the six simultaneous premieres of Mascagni’s
LE MASCHERE at Turin’s Teatro Regio. On 30 Nov.,1904, he sang at Turin’s Teatro Vittorio Emanuele in the premiere of Alfano’s RISURREZIONE as Prince Dimitri. He ended his career as a baritone.
- Ashot ArakelyanJ0020. LEO SLEZAK:
LE PROPHÈT - Pour Berthe, moi je soupire (in German) (Meyerbeer). 7” black Wien G & T 42755 (2449-B), Stamper II, recorded 1902, announced, only form of issue, this version. A to M-A, a superb copy. MB 125J0021. FRANZ NAVAL:
Das Mühlrad (Folksong). 7” black Wien G & T 42702 (2340-B), Original Stamper,
recorded 1902, announced, only form of issue. A to M-A, spectacular copy has 3 faintest pap.scrs, inaud. MB 95J0022. EMIL MÜNCH (T):
Rattenfängerlied. 7” purple Oxford 1168, recorded 1903, pressed by Columbia.
A-B, very decent copy has lt.rubs & occasional wee pap.mk, inaud. MB 15J0023. FRITZ SCHRÖDTER:
DIE FLEDERMAUS – Brüderlein und Schwesterlein (Johann Strauss). 7” black Wien G & T 42776 (2484-B), Original Stamper, recorded 1902, announced, only form of issue. A-, excellent copy has faintest nr, inaud. MB 95J0024. LEOPOLD DEMUTH:
Lockruf (Rückauf). 7” black Wien G & T 42779 (2531-B), Original Stamper,
recorded 1902, announced, only form of issue. A, excellent copy has faintest edge scuff, minimally audible at very beginning. MB 145J0025. LEOPOLD DEMUTH:
Weile, weile, lieber Mond (Gast). 7” black Wien G & T 2-42020 (2530-B), Original Stamper,
recorded 1902, announced, only form of issue. A, excellent copy has faintest barely visible nr on label. MB 145J0026. LEOPOLD DEMUTH:
Hell schmetternd ruft die Lerche (Brückner). 7” black Wien G & T 2-42021 (2532-B), Original Stamper, recorded 1902, announced, only form of issue. A, excptional copy. MB 145J0027. WILHELM HESCH:
ZIGEUNERMELODIE – Songs my mother taught me (Dvorák). 7” black Wien G & T 42764 (2423-B), Original Stamper, recorded 1902, announced, only form of issue. A-, lovely copy has hint of grey on peaks, inaud.;
neatly mended triple hlc, very faintly audible just a few turns. MB 75J0028. ROBERT LEONHARDT:
Im Krug zum grünen Kranze (Zöllner). 7” black Wien G & T 42009 (2752-B), Stamper II,
recorded 1902, announced, only form of issue. A-, lovely copy has faintest rubs, inaud.; tiny hlc at edge, inaud.
[A remarkably ‘forward’ recording!] MB 85J0029. NIKOLAJ G. SEVERSKY (Bar.):
ADSKAYA LYUBOV - Ariya Veltzevula (Beelzebub's aria) (Grizor).
7” etched St Petersburg Berliner 22694 (1781B), recorded 1900, only form of issue.
A-, lovely copy has very light rubs., inaud. MB 85
“Seversky apparently confined his activities to operetta, with a pleasing voice and with great charm.”
- John Freestone, Program Notes to Harold Wayne, Vol. XII J0030. MARIAN ALMA:
LOHENGRIN – Mein lieber Schwan. 7” black Berlin G & T 42536 (239), Stamper II,
recorded 1901, announced, only form of issue. A-, lovely copy has the ubiquitous
wee pressing indents, faintest rubs & sev. minuscule scrs, inaud.; nr on label. MB 85
“Marian Alma made his début in Lvov in 1878 as Lorenzo in Auber’s FRA DIAVOLO. He remained in this Opera House until 1884. Then he appeared in the 1884-85 season at the Opera House in Olmütz (under surname Manoli), in the 1885-86 season at the Vienna Court Opera, from 1886-88 at the Municipal Theatre of Mainz, in the 1888-90 seasons at the Berlin Court Opera, from 1890-93 at the Opera House of Dusseldorf, in the 1893-94 season at the Opera House of Wroclaw, in the 1894-95 season at the Municipal Theatre of Magdeburg, in the end, in 1895-1914 again at the Berlin Court Opera. From 1900 he appeared there primarily as a comprimario. He made guest appearances at the Opera Houses of Warsaw (1895), Cracow (1895) and Prague. In 1887 he sang at the Berlin Krolloper, also at the Court Theatre in Schwerin and in 1902 at Opera House of Leipzig. In 1904 he appeared at the Berlin Court Opera in the premiere of Leoncavallo’s DER ROLAND VON BERLIN, in 1911 in the Berlin première of DER ROSENKAVALIER. He continued his career at the Berlin Court Opera until 1914, after which he became a singing teacher in the German capital.”
- Ashot ArakelyanJ0031. DESIRE de FRERE:
La Marseillaise (de l’Isle) / TOTO CAMPI:
O sole mio (di Capua).
7” Emerson 7172 (2483-2 / 2507-2), only form of issue, 1917. A-, lovely copy has lt. rubs, inaud. MB 15
“Désiré Defrère, stage director and former baritone of the Metropolitan Opera Company, [known] particularly in French opera, [was] one season at the Met stage director for 14 productions. His knowledge and versatility made it possible for him to sing offstage high notes for tenors and substitute in small women's roles onstage
Mr. Defrère was born in Liege, Belgium, on 22 Feb., 1888. He was singing at Covent Garden in London when he was engaged by Oscar Hammerstein for appearances at the Manhattan Opera House. However, the baritone made his American début with the resident Chicago company in 1911 and remained with it until its dissolution in 1934. In this period he made appearances with the Metropolitan Opera during the 1914-15 season. With the collapse of the Chicago company he became a permanent member of the Met in 1935, both as a singer and stage director. His final appearance as a singer was in 1938.”
- THE NEW YORK TIMES, 2 Sept., 1964J0032. GABRIEL VALENTIN SOULACROIX:
LES NOCES DE JEANNETTE – Enfin me voilà seul (Massenet).
7” etched Paris Berliner 32879, recorded 1900, only form of issue. A to M-A, superlative copy has the ubiquitous
wee pressing indents & 2 infinitessimal pap.scrs., inaud.; this exceptional copy plays beautifully. MB 85
“Gabriel-Valentin Soulacroix…had an extremely striking career, encompassing a number of prestigious opera houses and an unlikely array of roles. During his seven seasons in Brussels he was a regular spring guest at Covent Garden, where he made his début in 1881. This came to an end with his engagement at the Opéra-Comique, where he was a favorite as Figaro and where Hérold’s ZAMPA was revived for him. He was the first Clément Marot in Messager’s LA BASOCHE (1890) as well as Ford for the French premiere of FALSTAFF (1894), among many other creations. After nine seasons at the Opéra-Comique, he left to star in a successful revival of Planquette’s RIP at the Gaîté, where he also created the same composer’s title role in PANURGE (1895).
- Christopher Norton-Welsh, Marston Program NotesJ0033. NAT M. WILLS (T):
B.P.O.E. (Order of Elks Song) / Parody on ‘Stars and Stripes Forever’.
7” Emerson 7246 (2504-1/ 2456-2), only form of issue, 1917. A to M-A, choice copy has, Sd.2 only, wee rub, inaud. MB 15
“A master of Satire, Wills tells the satirical story here of his initiation and subsequent experiences with the ‘Best People on Earth’ the BPOE (The Benevolent and Protective Order of the Elks! Wills entertained delighted Audiences for many years with his own unique brand of singing these kinds of songs, until his tragic accidental death in 1917. Some of the history of the BPOE initiation ceremony alluded to by Wills in this song with tongue in cheek humor indicates that early candidates found that a physician's certificate of examination was necessary as a part of the joining process, and the male prospect had to be in top condition to even be considered. Then, once the candidate had met that criteria and was in the Lodge room, he was blindfolded, and instead of dimmed lights and beautiful words, he was subjected to much horseplay.”
- Bruce ‘Victrolaman’ Young