English Vocal 78rpm records

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

Since 1972

Auction Number 149 ­- AUCTION Closing Date: Monday, 21 May, 2018

Regarding AUCTION #149 (Closing Date: Monday, 21 May, 2018), 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.

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Section VIII - English Vocal 78rpm records Nos. V1107 - V1144

V1107. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Lied der Mignon / Nachtstück (both Schubert). 12” yellow PW HMV Private Record JG 19, only form of issue, 7 July, 1937. A-, lovely copy has faintest pap. rubs, inaud. MB 25

V1108. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Die Junge Nonne / Liebesbotschaft; Die Liebe hat Gelogen (all Schubert). 12” yellow PW HMV Private Record JG 20, only form of issue, 7 July, 1937. A, lovely copy has faintest pap. rubs, inaud. MB 25

V1109. SUSAN METCALFE-CASALS, w.Gerald Moore (Pf.): Die Lotusblume; Schneeglockchen; Zum Schluss / Herzeleid; Liebeslied (all Schumann). 12” yellow PW HMV Private Record JG 21, only form of issue, 7 July, 1937. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 35

“Susan’s niece, Susan Metcalfe Kobbé Pitkin, discoursed effusively about her aunt’s studies in an Italian conservatory and later in Paris and also described Parisian music sessions where Metcalfe sampled new songs by fashionable composers such as Gabriel Fauré before she began her U.S. career (around 1901). In those years, Metcalfe frequented artistic circles that often overlapped with those of Pau Casals, making an eventual encounter possible, indeed quite probable.”
- Silvia Lazo, Cornell University. 16 Aug., 2011

“As a recitalist, Susan Metcalfe Casals made her début in New York in 1897 and gave few, but very select recitals each year. In 1904 she met the cellist Pablo Casals, gave a recital with him (Casals accompanying her at the piano), and briefly developed a 'fervid' friendship, which however was abated when Casals established his close relationship with Guilhermina Suggia in 1906. In 1908 Metcalfe embarked on a European tour during which she sang for the British royal family. As the Suggia relationship became strained, Metcalfe and Casals corresponded. They met again after Casals had given a concert in Berlin, and were married on 8 April, 1914. After this they moved together to Europe. The marriage lasted until 1928, when they were formally separated, but they did not divorce until 1957. During their artistic life together, Casals and his wife often gave recitals together in which he accompanied her song sets at the piano and also performed cello sets in the same concert. The marriage with Casals was stormy, and following their separation in 1929 Mme Metcalfe Casals lived in Paris. Her last known recital was at the École Normale de Musique there, in 1951. Later she moved back to the U.S. to live with her sister, and died there in 1959. Susan Metcalfe Casals made no fully commercial recordings, but she did record eight sides of 78rpm records (yellow label His Master's Voice) for private distribution, with Gerald Moore accompanying, in 1937.”
- Ned Ludd

V1110. MACK HARRELL, w.George Reeves (Pf.): DICHTERLIEBE (Schumann), 6s. 3-12” RCA 12-1188/90, in Orig.Album DB 1387, only form of issue, 1950 – a late 78rpm rarity virtually unknown to exist – this material was published otherwise only as 45rpm & LP. M-A, as unplayed! Beautiful beveled edge pressing. Most Elusive! MB 20

"[Baritone Mack Harrell was a student of Anna E. Schoen-René at the Juilliard School in Manhattan in the early 1930s. He straddled the opera and concert worlds, appearing with the Metropolitan Opera for many seasons while simultaneously maintaining an active concert and recital career. Harrell made his professional opera debut at the Met on December 16, 1939 as Biterolf in Richard Wagner's TANNHÄUSER. He sang with the company through 1958, a total of 156 performances.] Mack Harrell maintained a high level of accomplishment at his recital given yesterday afternoon in Town Hall. His singing boasted expert musicianship and was projected with uncommon grasp of style and interpretive insight."
- Noel Straus, THE NEW YORK TIMES, 30 Oct., 1944

V1111. RISË STEVENS, w.Milton Katims Cond.: Songs my mother taught me (Dvorák) / All thro’ the night. 10” RCA 10-3297, only form of issue, 1950; virtually unknown in this 78rpm issue! MINT MB 15

V1112. RISË STEVENS, w.Frank Black Cond.: BABES IN TOYLAND – I can’t do the sum / Toyland (Victor Herbert). 10” RCA 10-1543 [from Set DM 1396], only form of issue, 1950; virtually unknown in this 78rpm issue! MINT MB 15

V1113. RISË STEVENS, w.Frank Black Cond.: Religious Songs by Franck, Bizet, Mason, Monk, Adams & Steffe, 6s. 3-12” RCA 12-1255/57, in Orig.Album DB 1406, only form of issue, 1950 – a late 78rpm rarity virtually unknown to exist – this material was published otherwise only as 45rpm & LP. M-A, as unplayed! Beautiful beveled edge pressing. Most Elusive! MB 25

V1114. RISË STEVENS, w.Fritz Reiner Cond.: CARMEN –Habanera / JAN PEERCE, w.Fritz Reiner Cond.: La fleur que tu m’avais jetée. 10” RCA 10-3729, only form of issue, 1951; virtually unknown in this 78rpm issue! MINT MB 15

"Ms. Stevens spent two and a half years at Juilliard, where she continued her studies with Mlle. Schoen-René. Though Ms. Stevens had been considered a contralto, Mlle. Schoen-René discerned her true vocal register and helped lighten her voice for mezzo roles. In 1935, financed by Mlle. Schoen-René, Ms. Stevens spent the summer at the Mozarteum in Salzburg, Austria, where her teachers included the distinguished soprano Marie Gutheil-Schoder. On the Met’s roster from 1938 to 1961, Ms. Stevens was a superstar in an era when operatic superstardom was conferred mostly on sopranos and tenors. Risë Stevens had a 23-year career with the Metropolitan Opera where she sang in 351 regular appearances."
- Margalit Fox, THE NEW YORK TIMES, 21 March, 2013

V1115. LUCY MONROE, w.O’Connell Cond.: THE SONGS YOU LOVE: Long, long ago; Love’s old sweet song; Sweet and low; Old folks at home; Home, sweet home; My old Kentucky home; In the gloaming; I love you truly, 8s. 4-12” black V 36418/21, in Orig. Album G-31. M-A, as Unplayed! MB 35, the Set.

“Lucy Monroe, the official soloist for the American Legion and the Veterans of Foreign Wars, spent much of her career singing the national anthem. She once estimated that she had sung it more than 5,000 times. In 1940 she starred in ‘The American Jubilee’ at the New York World's Fair, closing each of 650 performances with the anthem. She sang for Presidents Roosevelt, Johnson and Kennedy, at President Truman's inauguration and at hundreds of other civic and patriotic gatherings. She also appeared as a soloist with the New York Philharmonic and Philadelphia orchestras and with the Chicago, St. Louis and Metropolitan Opera companies.”
- Lisa Belkin, THE NEW YORK TIMES, 16 Oct., 1987

V1116. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): ELIJAH – If with all your hearts / Then shall the righteous shine forth (Mendelssohn). 10" black Bruns. 3847, only form of issue, 23 Feb., 1928. M-A, an extraordinary copy! [A profounfly inspiring and beautiful experience to hear Beddoe in the Mendelssohn titles!] Exceedingly Rare! MB 75

" A NEW YORK TIMES review of a 1931 performance of Beddoe’s singing in MESSIAH and ELIJAH for the Oratorio Society of New York noted that ‘For Dan Beddoe it was the fortieth year of public appearance. He has become almost indispensable to the Society's performances of MESSIAH. The 64-year-old tenor sang as always in keeping with the spirit of the work and with fine musicianship. Age does not stale the many resources of his art’.”
- Gustav-Mahler.eu

V1117. DAN BEDDOE, w.Thomie Prewitt Williams (Pf.): Hosanna! (Granier) / Open the gate of the temple (Knapp). 12" black Bruns. 20060, only form of issue, 24 Feb., 1928. A to M-A, lovely copy has faintest rubs, inaud. Rare! MB 75

V1118. ROBERT BLASS: Der Schlesische zecher und der Teufel (von Reissinger). 10” GP V 64032, POM-16 Oct., 1903, Never Doubled. A to M-A MB 45

V1119. ROBERT BLASS: ZAUBERFLÖTE - In diesen heil'gen Hallen. 10” white Vla 64033, POM-19 Oct., 1903, Never Doubled – very brief catalogue life. M-A, an extraordinarily bright copy of a preferred late pressing. MB 45

“American bass Robert Blass studied under Gustav Ewald and then in Frankfurt with Julius Stockhausen. In 1895 Blass debuted at Weimar as Heinrich in LOHENGRIN, leading to engagements in Germany. He debuted at the Metropolitan Opera 13 Nov., 1900 and remained there through 1922, having sung 481 performances there.”
- Gustav-Mahler.eu

V1120. JOHN McCORMACK: Killarney (Balfe). 10” black London G & T G.C.3-2216 (5930b), POM-24 Sept. 1904, never issued USA. A to M-A , superb copy has uncommonly bright label. MB 35

V1121. JOHN McCORMACK: Hymn to Christ the King / verso features Photo of McCormack (as Rodolfo) & Archbishop of Liverpool. 12” S/S HMV Special shellac Issue G.S.S. 1, only form of issue, recorded Kingsway Hall, London, 27 May, 1932. M-A, a beautiful copy of this lovely memento. MB 30

V1122. JOHN McCORMACK: Le Portrait (Parkyns). 10” V 64374, Orig. ‘A’ Plate Issue, POM-2 May, 1913, Never Doubled USA. A to M-A, superb copy has very faintest rubs, inaud. MB 15

“Le Portrait is not only an all-too-rare example of [McCormack’s] exploration of French song; it also marks his first recording with Edwin Schneider, who would be his faithful accompanist for the next 25 years.”
- John Scarry, Program Notes, Romophone McCormack Issue

V1123. JOHN McCORMACK: Sospiri miei, andate ove vi mando (Bimboni). 10” V 64333, POM-28 March, 1913. M-A MB 15

V1124. JOHN McCORMACK: ARMINIO - Pur dicesti, o bocca bella (Lotti) / RIVERS TO THE SEA - Swans (Kramer). 10" Vla 1081, POM-26 Sept., 1923. Exceedingly elusive … and beautiful, [Sd.2 featuring McCormack’s remarkable diminuendo and breath control!] very brief catalogue life. M-A MB 20

V1125. JOHN McCORMACK: In Waldeinsamkeit / Die Mainacht (both Brahms). 10” PW HMV DA 628, POM-4 Sept., 1924, never issued USA. M-A MB 15

V1126. JOHN McCORMACK: Komm bald / Feldeinsamkeit (both Brahms). 10” PW HMV DA 635, POM-19 Sept., 1924, Sd,1 never issued USA. Very elusive! M-A MB 15

V1127. JOHN McCORMACK: Morgen (in German) (Strauss) / Before my window (in English) (Rachmaninoff) – both w.FRITZ KREISLER (Violin). 10” PW HMV DA 644, both only form of issue, 24 Sept., 1924. B, acceptable copy has faint rubs & occasional ltr.scrs, ltly audible. Very elusive! MB 15

V1128. JOHN McCORMACK: Schlafendes Jesuskind (Wolf) (1925 Version) / All’ mein Gedanken (Minnelied). 10” Scroll V 1272, POM-24 April, 1925 / 17 Dec., 1926, ‘z’ shellac pressing. M-A MB 12

V1129. JOHN McCORMACK: Schlafendes Jesuskind (1930 Version) / Anacreons Grab (both Wolf). 10” PW HMV DA 1170, POM-3 Dec., 1930, Sd.1 never issued USA. M-A MB 12

V1130. JOHN McCORMACK: SPANISCHES LIEDERBUCH – Herr, was trägt der boden Hier / ITALIENISCHES LIEDERBUCH – Auch kleine Dinge (both Wolf). 10” Scroll V 1739, POM-28 June, 1935, on ‘Z’-type shellac. M-A, a gleaming copy! MB 12

V1131. JOHN McCORMACK: Nur wer die Sehnsucht kennt (Tschaikowsky) / An Sylvia (Schubert) (both in English). 10" Scroll V 1306, POM-12 Oct. / 2 Sept., 1927, ‘z’ shellac pressing. M-A, superb copy has, Sd. 2 only, very faintest rub, inaud. MB 12

V1132. JOHN McCORMACK: How fair this spot / To the children (both in English) (both Rachmaninoff), Sd.2 w.FRITZ KREISLER (Violin). 10” PW HMV DA 680, only form of issue, 19 / 24 Sept. 1924. Very elusive! M-A MB 15

V1133. JOHN McCORMACK: She rested by the broken brook (1926 Version) / SONGS OF THE HEDGEROW - Under the spell of the rose (1927 Version) (Martin). 10” RCA vinyl pressing of BVE 35891 / 38386, POM-1 Oct., 1926 / 4 May, 1927, both Unpublished. M-A MB 20

V1134. JOHN McCORMACK: Tick, tick, tock (Hamblen) / Love me and I’ll live forever (Snyder). 10” white RCA Special vinyl Pressing (w.printed label) of BVE-38732/34159, RRs-6 May, 1927 / POM-17 Dec., 1925. M-A MB 35

V1135. JOHN McCORMACK: MEFISTOFELE – Dai campi, dai prati. 10” Pat.’12 V 64303, POM-11 Dec., 1912. M-A, a gleaming copy! MB 20

V1136. JOHN McCORMACK: MEFISTOFELE – Giunto sul passo estremo / LES PÊCHEURS DE PERLES - Je crois entendre (in Italian). 10" Vla 923, POM-11 Dec., 1912. Never listed in a North American Victor catalogue. M-A, very special to find this beauty in such an excellent copy! MB 25

V1137. JOHN McCORMACK: THE WIND AMONG THE REEDS – The cloths of heaven (Dunhill, set to Yeats) / SONGS OF THE WESTERN ISLES – Song to the seals (preceded by spoken introduction by McCormack) (Bantock). 10” HMV DA 1851, POM-23 July / 27 June, 1935. M-A MB 12

V1138. JOHN McCORMACK: DON GIOVANNI - Il mio tesoro. 12” V 74484, Orig. ‘A’ Plate Issue, POM-9 May, 1916. M-A, beautiful copy has faintest rub, inaud. [The ‘benchmark’ rendition by which all others are judged – miraculous!] MB 20

"By 1912, McCormack was beginning to become involved increasingly with concert performances, where his voice quality and charisma ensured that he became the most celebrated lyric tenor of his time. Famous for his extraordinary breath control, he could sing 64 notes on one breath in Mozart’s Il mio tesoro from Don Giovanni, and his Handelian singing was just as impressive in this regard."
- Michael Mayer, 17 March, 2012

V1139 .JOHN McCORMACK: SEMELE - O, Sleep! Why dost thou leave me? 10" Vla 66096, Orig. ‘A’ Plate Issue, POM-1 April, 1920, issued USA only. M-A, superlative copy. [Among McCormack’s highly cherished renditions.] MB 25

"Then there is that almost legendary record (when was it last seen on a dealer's list?) of 'O sleep, why dost thou leave me' with its delicious short trill, and the long, long run on the word 'wandering' which is said later in life to have provoked from the tenor the admiring cry 'By God, it can't be done'. To sigh for what might have been is all very unavailing, we know, but how surprising it is that a British company should not have recorded such an outstanding Handelian in some solos from the oratorios....”
- J.B. Steane, THE GRAND TRADITION, pp.58-59

V1140. JOHN McCORMACK: LAKMÉ - Ah! Viens, dans la forêt profonde (in Italian) / JOHN McCORMACK & LUCREZIA BORI: LA BOHEME – O soave fanciulla. 10" Vla 3029, POM-25 March, 1910 / 8 April, 1914. M-A, gorgeous copy has 2 infinitessimal pressing bumps, ever-so-faintly audible. MB 15

V1141. JOHN McCORMACK & LUCREZIA BORI: Night hymn at sea (Goring-Thomas). 10” S/S Special red vinyl Pressing of Unpublished Victor Mx BVE-34166-5, POM-24 Dec., 1925. MINT MB 25

V1142. JOHN McCORMACK & LUCREZIA BORI: VIER DUETTE - Unter'm Fenster (Schumann) (in English). 10” S/S Special red vinyl Pressing of Unpublished Victor Mx BVE-34167-2, POM-24 Dec., 1925. MINT MB 25

V1143. JOHN McCORMACK & MARIO SAMMARCO: LES SOIRÉES MUSICALES - Li Marinari (Rossini). 10" Pat. ’08 Vla 87078, POM-4 April, 1911, Never Doubled. M-A, a spectacular copy! MB 35

V1144. DER RING DER NIBELUNGEN – Excerpts (in English), w.Coates & Goossens Cond. Tudor Davies, Florence Austral, Robert Radford, Edyth Furmedge, Edward Halland, Sydney Russell, Bessie Jones, etc., 26s. 13-12” blue V 55203/15, POM-1922-23. M-A, choice copy of this elusive set which rarely appears as complete; Exceedingly Elusive late AC-era issue. MB 175, the Set.

"Florence Austral, a native Australian, was Covent Garden's leading Wagner soprano from 1922 until 1940. Austral's operatic career was not an international one, but her Wagner recordings show Covent Garden's 'house' standard to be a high one, indeed. Austral [is] exactly what Wagner singing desperately needs today - sizable but human vocal equipment strengthened by the bel canto training of decades past.... "
- Gary A. Galo, ARSC JOURNAL, Spring, 1995