Historical Reissue Classical CDs, LPs, 78s,
Related Books & Ephemera
Auction Number 150 -
AUCTION Closing Date: Friday, 17 May, 2019
Regarding AUCTION #150
(Closing Date: Friday, 17 May, 2019
), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.
If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option. TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Saturday,
when PETER FORD
is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX,
telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].
Section IV - Cello 78rpm records Nos. M0412 – M0459M0412. JOSEPH HOLLMAN:
Mazurka (Chopin). 10” black Paris G & T G.C.-3-7853 (4477o), only fom of issue, 1906. A to M-A, beautiful copy has faintest rubs, inaud. MB 65M0413. JOSEPH HOLLMAN:
Mazurka (Chopin) / Le Rouet / Extase
(both Played by the Composer). 11¼” black H & D paper label US-Pathé 40181,
recorded 1916, Paris. M-A, appears unplayed! MB 12M0414. JOSEPH HOLLMAN:
Melody in F (Rubinstein) / Serenade de Milenka (Blockx).
11¼” violet H & D paper label US-Pathé 40055, recorded 1916, Paris. M-A 12M0415. JOSEPH HOLLMAN:
Herbstblume (Popper) / Reverie (Schumann). 11¼” violet
H & D paper label US-Pathé 40132, recorded 1916, Paris. M-A, appears unplayed! MB 12M0416. JOSEPH HOLLMAN:
Petite valse (Played by the Composer).
12” Pat.’08 V 74001 (C3079), POM-1 Feb., 1906, only form of USA issue.
M-A, superb copy has faintest label nr. MB 8M0417. JOSEPH HOLLMAN:
Ave Maria (Schubert).
10” (5-line) Pat.’08 V 64001 (B3078), POM-1 Feb., 1906. M-A MB 8M0418. JOSEPH HOLLMAN:
Le Carnaval des Animaux – Le Cygne (Saint-Saëns)
10” V 64046 (B3027), POM-19 Jan., 1906. M-A, lovely copy has faintest rubs, inaud. MB 8M0419. JOSEPH HOLLMAN:
Serenade de Milenka (Blockx).
12” GP V 74045 (C3080), POM-1 Feb., 1906, only form of issue, USA. M-A MB 8M0420. JOSEPH HOLLMAN:
Andante religioso (Played by the Composer).
12” V 74002 (C3028), POM-19 Jan., 1906, only form of USA issue.
M-A, superb copy has faintest rubs, inaud. MB 8M0421. JOSEPH HOLLMAN:
Kinderszenen - Träumerei (Schumann).
12” (5-line) Pat.’08 V 74044 (C3026), POM-19 Jan., 1906. M-A MB 8M0422. JOSEPH HOLLMAN
, w.Thomas Griselle (Pf.): Le Carnaval des Animaux –
Le Cygne (Saint-Saëns) / Gavotte #2 (Popper). 10” dark-green Gennett 10059 (7806/7807), POM-1921. A-, lovely copy has faint rubs, inaud. MB 8
“Joseph Hollman was one of the most prominent concert cellists of his generation. He studied in St Petersburg (with Karl Davidov), Brussels and Paris, toured widely, and performed with Saint-Saëns and Ysaÿe. The former wrote his double concerto ‘La muse et le poète’ for Hollman and Ysaÿe.”
- David Barker, MusicWeb InternationalM0423. VICTOR HERBERT:
Pensée amoureuse (Played by the Composer).
12” Pat.’08 V 74286, only form of issue, 26 Jan., 1912; although assigned a blue label number, this was never used. A to M-A, lovely copy has faintest rubs, inaud. MB 12M0424. VICTOR HERBERT:
Simple aveu (Thome). 12” Pat.’12 V 74300,
Orig. ‘A’ Plate Issue, only form of issue, 26 Jan., 1912; although assigned a
blue label number, this was never used. A-, lovely copy has lt. rubs, inaud. MB 12M0425. VICTOR HERBERT:
The angel’s whisper (Lover).
10” Pat.’12 V 64240, POM-26 Jan., 1912, issued USA only. M-A MB 12M0426. VICTOR HERBERT:
Petite valse (Played by the Composer).
10” Pat.’12 V 64297, POM-25 Jan., 1912, issued USA only. M-A MB 12M0427. VICTOR HERBERT:
The Low-back’d Car (Lover).
10” Pat.’08 V 64239, only form of issue, 25 Jan., 1912.
M-A, lovely copy has faintest rubs, inaud. MB 12M0428. VICTOR HERBERT:
Scherzo (van Goens).
10” Pat.’12 V 64298, Orig. ‘A’ Plate Issue, only form of issue, 26 Jan., 1912;
M-A MB 12
“Although Victor Herbert enjoyed important careers as a cello soloist and conductor, he is best known for composing many successful operettas that premiered on Broadway from the 1890s to World War I. In the early 1880s, Herbert began a career as a cellist in Vienna and Stuttgart, during which he began to compose orchestral music. In 1885 Herbert became romantically involved with Therese Förster, a soprano who had recently joined the Court Opera for which the Court Orchestra played. Förster sang several leading roles at the Stuttgart Opera in 1885-86. After a year of courtship, the couple married on 14 August 1886. On 24 October 1886, they moved to the United States, as they both had been hired by Walter Damrosch and Anton Seidl to join the Metropolitan Opera. Herbert was engaged as the Met's principal cellist, and Förster was engaged to sing principal roles with the Met. He led the Pittsburgh Symphony from 1898 to 1904 and then founded the Victor Herbert Orchestra, which he conducted throughout the rest of his life. In the early years of the twentieth century, Herbert championed the right of composers to profit from their works. In 1909, he testified before the United States Congress, influencing the formation and development of the Copyright Act of 1909. This law helped to secure the rights of composers to charge royalties on the sales of sound recordings. Herbert also worked closely with John Philip Sousa, Irving Berlin and others in founding the American Society of Composers, Authors, and Publishers (ASCAP) on 13 February, 1914, at the Hotel Claridge in New York, becoming its vice-president and director until his death in 1924. The organization has historically worked to protect the rights of creative musicians and continues to do this work today.”
- ASCAPM0429. BEATRICE HARRISON:
Liebesfreud (Kreisler) /
Kaleidoscope - Orientale (Cui). 10” blue V 45066, POM-17 / 15 April, 1915,
only form of issue, Sd.1. M-A, lovely copy has faintest rubs, inaud. MB 10M0430. BEATRICE HARRISON:
Zur guitarre (‘Take’ 2) (Popper) /
May Night – Schlummerlied (Rimsky-Korsakov). 10” blue V 45072, POM-17 / 15 April, 1915,
only form of issue, Sd.1. M-A, choice copy has, Sd.1 only, wee ec, not to grooves. MB 10M0431. BEATRICE HARRISON:
Ave Maria (Schubert) / Meistersinger - Preislied (Wagner).
12” blue V 55067, POM-27 Dec., 1915, only form of issue, both sides.
A to M-A, lovely copy has faintest rubs, inaud. MB 10M0432. BEATRICE HARRISON
, w.Margaret Harrison (Pf.): Melody (Dawes) /
Hassan – Serenade (Delius). 10” PW plum HMV B 3274, only form of issue, 28 Oct., 1929.
M-A, appears unplaued! MB 12M0433. BEATRICE HARRISON
, w.Margaret Harrison (Pf.):
The Broken Melody (van Beine) / Harlequinade (Popper).
12” PW plum HMV C 1626, only form of issue, 20 Aug., 1928. M-A MB 12M0434. BEATRICE HARRISON
, w.May Harrison (Pf.) & Henry Coates (Organ):
Benediction (based on Mozart’s ‘Ave Verum’) / Angelus (based on Arcadelt’s ‘Ave Maria’) (both Henry Coates). 10” PW plum HMV B 4399,
only form of issue, 14 Dec., 1926. M-A MB 12M0435. BEATRICE HARRISON
, w.Harold Craxton (Pf.): Cello Sonata (Delius), 4s.
2-12” PW black HMV D 1103/04, only form of issue, 1926. M-A MB 15M0436. BEATRICE HARRISON
, w.Eric Fenby Cond.: Caprice and Elegy (both Delius).
10” PW plum HMV B 3721, only form of issue, 25 Nov., 1930.
M-A, lovely copy has, Sd.2 only, wee cluster dust mks, positively inaud. MB 12
“Beatrice Harrison was the leading British cellist of her day - the first woman cellist to play in 1913 at Carnegie Hall, and the first woman soloist with the Boston and Chicago Symphonies. According to pianist Gerald Moore, ‘Delius wrote his violoncello works with Beatrice Harrison in mind, and no wonder, for she had a poignant and luscious cantabile well suited to his music. Delius wrote his Double Concerto for Violin and Cello for Beatrice and her sister May’. May and Beatrice Harrison entered Delius' life as muse-like figures, inspiring a number of compositions. Beatrice Harrison [made] a request of Delius for new work to take with her on an upcoming American tour, [resulting in] the ‘Caprice and Elegy’. Beatrice Harrison recorded the ‘Caprice and Elegy’ in 1930.”
- Janet Horvath, Forgotten Cellists, 17 Feb., 2018M0437. BEATRICE HARRISON
, w.Princess Victoria (Pf.): Cello Concerto – Adagio / BEATRICE HARRISON
& MARGARET HARRISON
, w.Princess Victoria (Pf.):
Salut d’Amour (both Elgar). 12” vinyl Symposium 1026 (Cc14165/62),
POM-25 Aug., 1928, both from Unpublished Masters,
accompanied by Michael Plant’s 1987 printed notes. MINT MB 15M0438. FLORENCE HOOTON
, w.Ross Pratt (Pf.): Cello Sonata (Sammartini-Moffat), 2s.
12” red Eng. Decca K.909, only form of issue, 1939. M-A MB 15
“Florence Hooton’s father enrolled her with his own teacher, Warren Evans, who was well-known as a chamber player. She stayed with him until she was 14, when she began to attend the London Cello School. Her teacher there was one of the leading cellists in the British Isles, Douglas Cameron. After she won a scholarship at the Royal Academy of Music she continued studies with Cameron. She made a notable debut recital at Wigmore Hall in 1934. She had founded a trio with Frederick Grinke and Dorothy Manley, and with them played her first orchestral appearance, at the Proms with the BBC Symphony Orchestra under Sir Henry Wood, in the Beethoven Triple Concerto.
Hooton took an interest in modern British music, and soon gave the world premieres of Gordon Jacob's Divertimento for Unaccompanied Cello and the Legend-Sonata by Arnold Bax, with Bax's favored pianist, Harriet Cohen. Even so, she continued her studies, going to Zurich, where Emmanuel Feuermann had settled to teach. During one of her performances in 1934, present in the audiences were the composers Frank Bridge and his pupil Benjamin Britten. Bridge noticed that the piece she was playing had a large proportion of very high notes and whispered to Britten, ‘If that girl gets one more of those top notes spot-on I'm going round to ask if she'd like to give the first performance of my cello sonata’. The work in question had been turned down by two leading British cellists without changes to its high notes. Hooton worked on it for two years, working out practical fingerings for this work once called unplayable, and in 1936 did successfully premiere the concerto, which is called ‘Oration’.”
- Joseph Stevenson, allmusic.comM0439. MAY MUKLE
, w.George Falkenstein (Pf.): Au bord du ruisseau (Adolphe Fischer) / Lullaby (Alice Bredt Verne). 10” black V 17844, only form of issue, 14 May, 1914.
A-, lovely copy has faint rubs, inaud.; wee label nr, Sd.1 MB 8
“May Mukle, one of the first female British cellists to achieve international acclaim, began to tour as a teenager - throughout England, Europe, Australia, USA, and even Asia and Africa, earning herself the moniker, ‘the female Casals’. Mukle was equally dedicated to chamber music and joined such great artists as Pierre Monteux on viola, Jacques Thibaud, Paul Kochanski, Lionel Tertis, and Arthur Rubinstein. Her obituary in THE LONDON TIMES says: ‘by the turn of the century she was fully recognized not only as an outstanding musician but as one of the most remarkable cellists this country had produced’.
- Janet Horvath, Forgotten Cellists, 5 May, 2018M0440. CHARLES WARWICK EVANS
, w.Ellen Tuckfield (Pf.):
Chanson de Matin (Elgar) / Song of the Volga boatmen (arr. Geehl).
10” dark-blue Eng. Col. 2954 (69619/18), only form of issue, c.1916. A to M-A MB 12
“In 1908 he was leading cello in the Queen's Hall Orchestra. Warwick Evans formed the idea of a string quartet worked up to the standard of a solo virtuoso, and approached Waldo Warner. He left his position in the Queen's Hall Orchestra to devote himself to the String Quartet. They then enlisted Thomas W. Petre and Albert Sammons, the new Concertmaster of Thomas Beecham's orchestra, to lead the quartet. After two years of rehearsing, they gave their first concert on January 26, 1910, at Bechstein (Wigmore) Hall…Warwick Evans suggested the name 'London String Quartet', and in 1911 it was adopted.”
-WikipediaM0441. CORNELIUS VAN VLIET:
Gavotte #2 (Popper) / Meistersinger - Preislied (Wagner). 9½” dark-green H & D paper label US-Pathé 25041, rec. 1920. M-A MB 20M0442. CORNELIUS VAN VLIET:
Le Carnaval des Animaux – Le Cygne (Saint-Saëns) / Tarantelle (Popper). 10” paper label Edison H & D 52355 (18604-B/05-C), POM-3 July, 1928. [Exceedingly Rare EL issue from this customarlly ‘popular‘ series!] M-A MB 45
“Cornelius van Vliet was born in Holland. He played with the Concertgebouw and later became principal of the orchestras at Leipzig and Prague. He moved to the United States in 1911 to play with the Minneapolis Symphony Orchestra. The New York Trio was founded in 1919, the original members being Scipione Guidi, violin, Cornelius van Vliet cello and Clarence Adler piano. van Vliet went on to become principal cello with the New York Philharmonic from 1922 to 1929, beginning with Mengelberg’s tenure as music director. He then became principle cellist with the Pittsburgh Symphony Orchestra. Van Vliet later taught at the University of Colorado, retiring in 1953.”
- Fluff on the Needle, 16 June, 2012M0443. NICOLAI GRAUDAN
, w.Hansl Freudberg (Pf.):
Organ Toccata in C – Adagio (Bach-Casals-Siloti) / Scherzo
(von Dittersdorf-Kreisler). [Recorded in a vibrant hall with a
gorgeous acoustic!] 12” dark-blue Clangor MD 9265/66, only form of issue, 1932.
[Graudan co-founded the Festival Quartet, with Goldberg, Primrose & Victor Babin.]
A to M-A, lovely copy has faintest pap. rubs, inaud. MB 35
“Nikolai Graudan, cellist, was known as an interpreter of Beethoven, Bach and Brahms. With his wife, Joanna Graudan, pianist, he formed a duo that was heard in the capitals of Europe, throughout the United States, and in Asia. They played frequently at New York’s Town Hall. As orchestra soloist Mr. Graudan had played under Wilhelm Furtwangler, Sir Adrian Boult and Dimitri Mitropoulos, among others. As a youth, Nikolai studied at the St. Petersburg Conservatory from which he graduated with highest honors. Through the recommendation of Alexander Glazounov, the director, he was elected a professor, one of the youngest in the history of the Conservatory.
From 1926 to 1935, Mr. Graudan was first cellist with the Berlin Philharmonic. After coming to the United States, he was for a time a cellist with the Metropolitan Opera Company. Subsequently he was first cellist with the Minneapolis Symphony.”
- THE NEW YORK TIMES, 14 Aug., 1964M0444. HANS KRONOLD:
Eili Eili / Kol Nidrei. 9½” dark-green H & D paper label
US-Pathé 25032, recorded 1920. M-A, appears unplayed! MB 15
“Hans Kronold was a Jewish-born Polish cellist, composer, educator, and a member of symphony orchestras of New York and Boston. He was the first musician to make cello recordings on phonograph cylinders for Gianni Bettini. In 1886, he emigrated to New York, resuming his studies with cellist Anton Hekking and S. Vreeman. Kronold soon joined the Metropolitan Opera Orchestra, and shortly after the NYPO, where he played for five consecutive seasons. From 1900, he toured the United States and Canada for five years under the direction of Walter Damrosch, accompanying not only singers and acclaimed violinists such as Maud Powell, but also other renowned instrumentalists of his time.”
- WikipediaM0445. RUDOLF HINDEMITH
, w.Felix Guenther Cond. Berlin S.O.:
Concerto n D (Tartini), 4s. 2-12” black PW German Homocord 4-9009/12 (M.510/513), POM-1929 [with superimposed ‘The Hit’ labels!]. [Hindemith’s signature
embossed in run-out grooves, Sd.4] M-A MB 65, the Pair.M0446. RUDOLF HINDEMITH
, w.Felix Guenther Cond. Berlin S.O.:
Concerto in D (Tartini), 4s. 2-12” red Decca-Odeon 25239/40 (M.510/513), POM-1929. [Hindemith’s signature embossed in run-out grooves, Sd.4]
A to M-A, lovely copy has faint rubs, inaud. MB 35, the Pair.M0447. RUDOLF HINDEMITH
, w.Alice Ehlers (Harpsichord): Sonata in F (Marcello), 2s.
10” red Decca-Odeon 20078 (H-62447/48), POM-1929. M-A MB 20
“Rudolf Hindemith (officially Paul Quest, pseudonym Hans Lofer), was mostly in the shadow of his more famous brother Paul. The two unequal but highly musical brothers in childhood, began to play together professionally in the Amar Quartet, one of the leading groups in the New Music scene of the 1920s, in which Rudolf played the cello. But he soon departed and switched to the genre of brass music and jazz. When brother Paul emigrated from Nazi Germany to Switzerland in 1938, he remained a conductor in Germany. He became the conductor of the Symphony Orchestra of the General Government in Cracow, southern Poland, a project of Gauleiter Hans Frank, who was later hanged in Nuremberg in 1946 for his numerous crimes. After WW-II, Rudolf Hindemith led a restless life as a composer, conductor and educator with numerous pseudonyms.”
- WikipediaM0448. PHYLLIS KRAEUTER
, w.Leonore Kraeuter (Pf.): Fond recollections / Impromptu (both Popper). 10” Orth Vla 4185, only form of issue, 5 Dec., 1930. M-A MB 12
“Kraeuter made her New York debut at Town Hall in 1927 as a winner of the Walter W. Naumburg Musical Foundation's prize, which carried with it a public debut.”
- THE NEW YORK TIMES, 11 Nov., 1964M0449. PABLO CASALS:
Liebesträum (1915 Version) (Liszt) /
Suite #3 in D - Air on the G String (Bach). 12” Tri-Color Col. A5756 (37262/63),
POM-5 May, 1915. A-, lovely copy has faint rubs, inaud. MB 12M0450. PABLO CASALS:
Quintet in D, K.593 - Larghetto (Mozart) /
Tannhäuser – O du mein holder Abendstern (Wagner).
12” Tri-Color Col. A5953 (48718/16), POM-21 April, 1916.
A-, lovely copy has faint rubs, inaud. MB 12M0451. PABLO CASALS:
Gavotte in D (Popper).
12” Tri-Color Col. 98012, POM-17 March, 1922.
A to M-A, lovely copy has faintest rubs, inaud. & a short lamination hlc. MB 12M0452. PABLO CASALS:
Le Carnaval des animaux - Le cygne (Saint-Saëns).
12” Tri-Color Col. 49796, POM-22 April, 1920.
A to M-A, lovely copy has faintest rubs, inaud. MB 12M0453. PABLO CASALS:
Xerxes – Ombra mai fu (Handel). 12” Tri-Color Col. 49802,
POM-23 April, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 12M0454. PABLO CASALS:
Suite #1 in G, 6s; Suite #6 in D (Bach),14s.
7-12” PW V 17672/78, POM-1938/’39, Paris, in Orig. Album DM-742.
M-A, appears unplayed. MB 175, the Set.M0455. PABLO CASALS:
Suite #2 in d, 6s.; Suite #3 in C (Bach), 6s.
6-12” PW V 15671/76, POM-1936, London, in Orig. Album M-611.
M-A, appears unplayed. MB 175, the Set.M0456. PABLO CASALS:
Suites Nos 4 and 5 for Cello Unaccompanied, 13s /
Sd.14 = PABLO CASALS
, w.Nikolai Mednikoff (Pf.): Toccata in C - Adagio (all Bach).
7-12” RCA 12-0890/96, POM-13 June, 1939 / 28 Feb., 1927, Paris,
gorgeous late issue, partially with beveled-edge pressings,
in Orig. Album DM 1302. M-A, appears unplayed. MB 175, the Set.M0457. EDMUND KURTZ
, w.Artur Balsam (Pf.): Larghetto (Handel) /
Requiebros (Cassado). 12” RCA 11-9953, POM-1948.
A to M-A, lovely copy has, Sd.2, faintest rub, inaud. MB 20M0458. EDMUND KURTZ
, w.Emanuel Bay (Pf.):
Adagio (Grazioli) / Danse orientale (Rachmaninoff). 12” V 11-9024, POM-1948.
A to M-A MB 12M0459. EDMUND KURTZ
, w.William Kapell (Pf.): Cello Sonata in g (Rachmaninoff), 8s.
4-12” RCA 12-0576/79, POM-23 April, 1947, Orig. Album DM-1261. M-A MB 35, the Set.
“The cellist Edmund Kurtz, born St Petersburg, whose international career as soloist, principal cellist and chamber musician spanned some 60 years, always treasured a letter written by Klengel in 1924, in which he wrote, ‘In spite of his youth, Edmund Kurtz is already one of the most outstanding violoncellists of today…rarely have I found a pupil who developed so rapidly’. Kurtz was only 16 when he made his début recital in Rome, where he received much praise, and he repeated this success the following year in Berlin. This led to well-received solo appearances in all the main cities of Europe. In Paris he came under the influence of Pablo Casals, who recommended a further period of study, with the controversial teacher Diran Alexanian, which Kurtz found extremely helpful. In 1926-27 he was principal cellist of the Bremen Opera Orchestra and from 1927 until 1930 toured as personal cellist to the great Russian ballerina Anna Pavlova. He reflected that he must have played the Saint-Saëns ‘Dying Swan’ solo hundreds of times.
He was principal cellist of the Prague German Opera Orchestra under Georg Szell, 1932-36, after which he moved to the United States where he was principal cellist of the Chicago Symphony Orchestra for the next eight years. During this time he also toured internationally as
cellist in the distinguished Spivakovsky Trio with the violinist Tossy Spivakovsky and his pianist brother, Jascha. In 1944 Kurtz resigned from orchestral playing in order to devote himself to his rapidly expanding solo career. He first appeared as a soloist before the American public in 1945 playing the Dvorák Concerto with the NBC Symphony Orchestra under Arturo Toscanini.
- Margaret Campbell, THE INDEPENDENT, 23 Aug., 2004