P0100. E. ROBERT SCHMITZ: Pavane pour une Infante défunte / Réverie
(both Debussy). 12” RCA 12-0066, POM-1948. M-A Most elusive! MB 15
P0101. E. ROBERT SCHMITZ: PRÉLUDES – Book I (Debussy), 14s.
7-10” V 10-1192/98, POM-1935, Orig.Album DM-1031. M-A, as New. MB 25, the Set.
P0102. E. ROBERT SCHMITZ: PRÉLUDES – Book II (Debussy), 12s.
6-10” RCA 10-1317/22, POM-1935, Orig.Album DM-1138.
M-A, as New. MB 25, the Set.
P0103. E. ROBERT SCHMITZ: SUITE BERGAMASQUE - Clair de lune /
PRÉLUDES – La Cathédrale engloutie (both Debussy).
12” V 11-8240, POM-1935. M-A MB 10
P0104. E. ROBERT SCHMITZ: Valse #14 in e, Op.Posth. (Chopin) /
ISIDORE MOSKOWITZ: A flower of Italy – Mazurka brilliante #2 (d’Agostino).
10” H & D paper label Edison 50958 [1505 C-1-2 / 4107 A-2-7], recorded 1922.
M-A, pristine copy. MB 15
P0105. E. ROBERT SCHMITZ, w.Roth Quartet: Quintet in f for Piano and Strings (Franck), 10s. 5-12” MasterWorks Col. 69251/55-D, in Orig. Album 334, w.Brochure. M-A, as New; album spine partially is missing. MB 35, the Set.
P0106. E. ROBERT SCHMITZ, w.Roth Quartet Members:
Piano Quartet in E-Flat, Op. 16 (Beethoven), 7s / Sd. 8 = Roth Quartet:
Quartet in D - Minuet (Haydn). 4-12” PW Col. 69387/90-D, POM-20 May, 1938,
in Orig. Album 348, w.Brochure. M-A, as New. MB 35, the Set.
“For a number of interconnected and complex reasons, Schmitz's importance, not only for Ives, but also for the history of music in America between the two world wars, has been overlooked. In part, this is because his musical and cultural ideals were at odds with the dominant trend of the time toward commercialization of ‘classical’ music and reliance on ‘superstar’ virtuosi. But, in addition, Schmitz's internationalist outlook in music means that he does not fit easily into the nationalistic perspective of historians studying the emergence of post-World War I ‘American Music’. From his early association with American composers such as Emerson Whithorne and Leo Sowerby through Ives to Virgil Thomson, Schmitz was a friend of American music more committed than many American-born musicians.”
Two Musical Idealists, American Music Vol. 10, No. 1 (Spring, 1992), pp.1-19
P0107. MARCEL MAAS: Toccata & Fugue in c, 3s; Sd.2 =
Toccata & Fugue in e - Fugue (Bach). 2-12” Eng. Col. LFX 197/98, POM-1933.
[During the 1930s Marcel Maas joined the Quator Pro Arte which became
one of three outstanding sonata partnerships which flourished in the 1930s.]
M-A, as New. MB 12, the Pair.
P0108. MAGDA TAGLIAFERRO,
w.Reynaldo Hahn Cond. Pasdeloup Orch.:
Coronation Concerto #26 in D, K.537 (Mozart), 8s.
4-12” purple PW Eng. Decca TF.141/44, POM-1930. M-A MB 45, the Set.
P0109. MARCELLE MEYER: Ragtime (Stravinsky) / Navarra (Albéniz).
12” PW black HMV D 1063 [Cc7433-I/7434-III], POM-1925. M-A MB 25
“Another very alive record is that of Marcelle Meyer's playing of Stavinsky's 'Ragtime' and Albeniz's 'Navarra'….Miss Meyer is about the best exponent of Stravinsky.”
P0110. MARCELLE MEYER: Toccata & Fugue in d (Bach), 4s.
2–12” Discophiles français 60/61, POM-7 June,1946. M-A MB 12, the Pair.
P0111. MARCELLE MEYER: Toccata in c; Toccata in D (Bach), 6s.
3–12” Discophiles français 76/78, POM-12 Nov.,1946. M-A MB 25, the Set.
P0112. MARCELLE MEYER: Fantasia in a (Bach), 2s.
12” Discophiles français 79, POM-12 Nov.,1946. M-A MB 12
P0113. MARCELLE MEYER: Partita #1 in B-flat (Bach), 4s.
2–12” Discophiles français 80/81, POM-13 Nov.,1946. M-A MB 25, the Pair.
P0114. MARCELLE MEYER: Partita #2 in c; Chromatic Fantasia & Fugue in d
(both Bach), 8s. 4–12” Discophiles français 96/99, POM-19 May,1947.
M-A MB 25, the Set.
P0115. MARCELLE MEYER: Partita #3 in a (Bach), 4s.
2–12” Discophiles français 82/83, POM-13 Nov.,1946. M-A MB 25, the Pair.
P0116. MARCELLE MEYER: The 30 Inventions (Bach), 12s.
6–12” Discophiles français 116/121, POM-24-25 Jan., 1948. M-A MB 35, the Set.
P0117. MARCELLE MEYER: Italian Concerto in F(Bach), 4s.
2–12” Discophiles français 62/63, POM-7 June,1946. M-A MB 12, the Pair.
P0118. MARCELLE MEYER: Rameau Program, 8s.
4–12” Discophiles français 64/67, POM-7 June,1946. M-A MB 25, the Set.
P0119. MARCELLE MEYER: Scarlatti Program, 8s.
4–12” Discophiles français 68/71, POM-12 Nov.,1946. M-A MB 25, the Set.
P0120. MARCELLE MEYER: Couperin Program, 8s.
4–12” Discophiles français 72/75, POM-12 Nov.,1946. M-A MB 25, the Set.
P0121. MARCELLE MEYER: 14 Scarlatti Sonatas, 8s.
4–12” Discophiles français 130/133, POM-20 Dec.,1948. M-A MB 25, the Set.
P0122. MARCELLE MEYER: Deutsche Tänze, Op.33; Ländler, Op.171 (Schubert), 6s. 3–12” Discophiles français 134/136, POM-12 Nov., 1948. M-A MB 35, the Set.
P0123. MARCELLE MEYER: Valses nobles et sentimentales (Ravel), 4s.
2–12” Discophiles français 108/109, POM-24-25 Jan., 1948. M-A MB 35, the Set.
“Marcelle Meyer first studied with Marguerite Long at the Paris Conservatoire, then continued her studies with Alfred Cortot, winning a premier prix from his class at the age of sixteen. Meyer later took private lessons from Ricardo Viñes who revealed the secrets of Ravel’s music to her, and although he was a specialist in the performance of Spanish music, Meyer herself apparently learnt this repertoire from José Iturbi. She also met Debussy and studied his préludes with him. Meyer gave many first performances, particularly of compositions by ‘Les Six’, with whom she was closely involved. Meyer’s first discs were made in 1925 whilst she was in London. Between 1946 and 1956 Meyer recorded a huge amount of repertoire for the French label Les Discophiles Françaises including the complete Préludes and Images by Debussy. In addition to twentieth-century music she recorded excellent versions on the piano of most of Rameau’s keyboard works, some Couperin, and more than thirty sonatas by Scarlatti. Most of these recordings are very fine, particularly the Scarlatti sonatas. Meyer’s precise articulation and strongly defined rhythm, so apt for much of the twentieth-century repertoire, is ideal for this early music.”
P0124. ALFRED CORTOT: Valse Brillante #4 in F, Op.34. #3 /
Valse #7 in c-sharp, Op.64, #2 (both Chopin). 10” Disque Gram. DA 4962
[OLA4078-1/4081-2], POM-24 May, 1943. A to M-A, lovely copy;
Sd.2 only has 2 infinitessimal pap,scrs, positively inaud. MB 10
P0125. ALFRED CORTOT: Valse #8 in A-flat, Op.64. #3 / Valse #9 in A-flat, Op.69, #1 (both
Chopin).
10” Disque Gram. DA 4963 [OLA4082-1/4083-1], POM-24 May, 1943.
A to M-A, lovely copy. MB 10
P0126. ALFRED CORTOT: Valse #11 in G-flat, Op.69. #1 / Valse #14 in e, Op.Posth. (both Chopin). 10”
Disque Gram. DA 4964 [OLA4085-1/4086-1], POM-24 May, 1943.
A to M-A, lovely copy has,Sd.2 only, occasional faintest rub, inaud. MB 10
P0127. ALFRED CORTOT: Hungarian Rhapsody #2 (Liszt), 2s.
12” Scroll V 6626 [BVE 36569/70], POM-27/28 Dec., 1926, on z-type shellac.
M-A, pristine copy. MB 15
P0128. ALFRED CORTOT: KREISLERIANA (Schumann), 8s. 4-12” PW V 16246/49, POM-5
July,< 1935, in Orig. Album DM-493, w.Brochure. M-A, as New. MB 25, the Set.
P0129. ALFRED CORTOT,w.Münch Cond. Paris Conservatoire Orch.:
Concerto for the left hand (Ravel), 4s. 2-12” V 15749/50, POM-12 May, 1939,
in Orig. Album M 629, w.Brochure. M-A, a pristine copy. MB 25, the Set.
P0130. JOSÉ VIANNA DA MOTTA: Sonata, Op. 78 (D. 894) – Menuetto /
DIE SCHÖNE MÜLLERIN – Wohin? (Schubert-Liszt).
12” orange Art Label Pathé X.5454 [N 8736-1/N 8737-1], recorded 1928.
M-A, lovely copy has faintest pap. rubs, inaud. MB 175
P0131. FRANCIS POULENC: Deux Novelettes / Bal Masqué – Caprice
(both Played by the Composer). 12” PW Col.68919-D [WLX1613/1614],
POM 11 June, 1932. M-A, exemplary copy. MB 15
P0132. FRANCIS POULENC & GEORGES AURIC:
PARADE, 3s. / Sd.4 = Deux morceaux en forme de poire (Satie).
2-12” PW Boite à Musique 16/17 [PART1014/17], only form of issue, 15 July, 1937.
M-A, exemplary copy; Sd.4 only has wee dust mk. MB 35, the Pair.
P0133. FRANCIS POULENC, ROGER LAMORLETTE & GUSTAVE DHERLIN:
Trio for Piano, Oboe & Bassoon (Played by the Composer).
12” PW French Col.D 14213/14 [WLX273/276], POM-7 March, 1928.
M-A, exemplary copy. MB 25, the Pair.
“Francis Poulenc, the leading composer of Les Six…is regarded as one of the most important twentieth century composers of religious music, and in the realm of the French art song he is also a major voice. Poulenc studied with a niece of César Franck, and then with the eminent Spanish virtuoso Ricardo Viñes, for whom he would write.”
P0134. VINCENT D’INDY: Poème des Montagnes /
Tableaux de Voyage – Départ matinal (both Played by the Composer).
12” Symposium 1012 Special vinyl Pressing of Disque Gram. Mx.Cc 3069/70,
POM 7 July, 1923. MINT MB 15
P0135. GUIOMAR NOVAES: L’Hymne National Brésilien (1920/’23 Version) (Gottschalk), 2s. 12” Vla 6372, POM-3 April, 1920 / 12 June, 1923,
only form of issue, Sd.2. M-A, an extraordinary copy. MB 25
P0136. JOSÉ ECHANIZ: Polonaise #2 in E-flat, Op.26, #2 (Chopin), 2s.
10” black Viva-Tonal Col. 151-M [95105/06], POM-c.1929. M-A, a beauty. MB 10
P0137. JOSÉ ECHANIZ: Viva, Navarra! (Larregia) /
Staccato caprice (Vogrich). 10” black Viva-Tonal Col. 1913-M [95107/08],
POM-c.1929. M-A, beautiful copy has, Sd.1 only,
sev.infinitessimal internal lams, absolutely inaud. MB 10
P0138. LÉO KARTUN: Impromptu in A flat, op. 29, #1 (Chopin) /
Le tombeau de Couperin – Toccata (Ravel).
12” French Odéon 171.069 [xxP6702/03]. M-A MB 12
P0139. JESÚS MARÍA SANROMA: MIROIRS – Alborada del gracioso (Ravel), 2s.
10” PW V 4425, POM-1939. M-A MB 10
P0140. JESÚS MARÍA SANROMA: Puerto Rican Danzas (Campos), 8s.
4-10” V 4560/63, POM-1939, inOrig.Album M-849, w.Brochure. M-A MB 20, the Set.
P0141. JESÚS MARÍA SANROMA: Piano Music of the 20th Century, incl.
Debussy, Prokofiev, Copland, Respighi, Krenek & Schönberg, 8s.
2-10” PW V 2044/45; 2-12” PW V 15861/62, POM-1939,
in Orig. Album M-646, w.Brochure. M-A MB 25, the Set.
P0142. JESÚS MARÍA SANROMA: DIE WALKÜRE – Magic fire music
(Wagner-Sanromá) / Rustle of spring (Sinding); The butterfly (Grieg).
12” V 18153. M-A MB 8
P0143. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
Concerto in a(Paderewski), 8s. 4-12” PW V 15717/20, POM-1939,
in Orig. Album AM-614, w.Brochure. M-A MB 25, the Set.
P0144. JESÚS MARÍA SANROMA, w.Koussevitzky Cond. Boston S.O.:
CAPRICCIO (Stravinsky), 4s. 2-12” PW V 16833/34, POM-1940,
In handsome hand-made album. M-A MB 35, the Set.
P0145. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
Concerto #2 in d (MacDowell), 6s / Sds 7–10 = Fiedler Cond.:
Divertissement (Ibert). 5-12” Scroll V 11948/52, POM-1936,
on ‘Z’-type shellac, in Orig. Album M-324, w.Brochure. M-A MB 25, the Set.
P0146. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
RHAPSODY IN BLUE, 3s / Sd.4 = Fiedler Cond.:
Strike up the band (both Gershwin). 2-12” Scroll / PW V 11822/23, POM-1935,
Sd.1 on ‘Z’ shellac, in Orig. Album M-358, w.Brochure. M-A MB 15, the Set.
P0147. JESÚS MARÍA SANROMA, w.Fiedler Cond. Boston Pops Orch.:
Concerto in F (Gershwin), 7s. 4-12” PW V 17208/11-S, POM-1937,
in Orig. Album M-690, w.Brochure. M-A MB 15, the Set.
P0148. JESÚS MARÍA SANROMA & PAUL HINDEMITH:
Sonata for Piano Four Hands (Played by the Composer), 4s.
1-10” PW V 2040 & 1-12” PW V 15822, POM-24 April, 1939,
in Orig. Album M-637, w. Brochure. M-A MB 25, the Set.
P0149. JESÚS MARÍA SANROMA & PAUL HINDEMITH:
Viola Sonata #3 (1939) (Played by the Composer), 7s.
4-10” PW V 2065-S/68, POM-24 April, 1939,
in Orig.Album DM 572, w.Brochure. M-A MB 25, the Set.
P0150. JESÚS MARÍA SANROMA & JASCHA HEIFETZ, w.Musical Art Quartet
(Sascha Jacobsen, Paul Bernard, Louis Kaufman & Marie Roemert Rosanoff):
Concerto in D (Chausson), 8s 4-12” V 18487/90, only form of issue, 1941
(although allocated HMV issue numbers DB 6152/55, never used),
in Orig. Album M-877, w.Brochure. M-A MB 25, the Set.
P0151. JESÚS MARÍA SANROMA, w.The Primrose Quartet
(Oscar Shumsky, Josef Gingold, William Primrose & Harvey Shapiro):
Piano Quintet in E-flat (Schumann), 7s. 4-12” PW V 17620//23-S, only form of issue,
14 March, 1940, in Orig. Album DM-736, w.Brochure. M-A MB 25, the Set.
P0152. JESÚS MARÍA SANROMA & MERCEDES PASARELL SANROMA:
Sonata #3 in F for Piano Four Hands, K.497 (Mozart), 6s.
3-12” V 13704/06, in Orig. Album M-809, w. Brochure.
M-A, as New. MB 25, the Set.
P0153. RICARDO VINES: CHANTS D’ESPAGNE –
Orientale / Seguidillas (Albéniz). 10” PW French Col. LF 42, POM-1930.
A-/M-A, lovely copy has, Sd. 1 only, a few superficial scrs, inaud. MB 15
P0154. RICARDO VINES: Serenata Española – Tango in a /
Cádiz (Serenade Espagnole) (both Albéniz). 10” PW V 4331 [OLA 1208/09],
POM- 22 July 1936. A-, lovely copy has faintest pap. rubs, inaud. MB 15
P0155. RICARDO VINES: Serenata Española – Tango in a (Albéniz) /
VLADIMIR HOROWITZ: Étude in F, Op.10, #8 (Chopin).
10” PW Victor Record Library HL-58 [OLA 1209 / OB 4507],
POM- 22 July 1936 / 15 Nov., 1932. A to M-A, lovely copy has
faintest pap. rubs, inaud. MB 15
P0156. RICCARDO CASTAGNONE, w.Lualdi Cond.San Pietro Chamber Orch.:
Piano Concerto in C (Pergolesi), 4s. 2-12” LVDP11312/13 [2EA 5325/27; 5530],
only form of issue, 1942. [Castagnone is best-remembered for his association with Arthur Grumiaux.] M-A MB 20, the Pair.
P0157. ALFREDO CASELLA & Pro Arte Quartet:
Quintet for Piano & Strings (Bloch), 8s. 4-12" PW HMV DB1882/85,
in Orig. HMV Album184. M-A, as New. MB 35, the Set.
P0158. MARIO CASTELNUOVO-TEDESCO: Deus études d’ondes (Sea Murmurs) /
Le vieux Vienne (Fox-trot tragique) (both Played by the Composer).
12” green French Polydor 516.781, only form of issue, 1939. M-A MB 15
P0159. MARIO CASTELNUOVO-TEDESCO: Cipressi
(Rembereing Cypresses of Usigliano di Sari) (Played by the Composer), 2s.
12” PW V 16449, only form of issue, 1939. M-A MB 15
P0160. ARTURO BENEDETTI MICHELANGELI: Violin Partita no. 2 in d minor
Bach, arr. Busoni), 4s. 2-12” HMV DB 21005/06 [2EA 13371/74],
POM-27 October 1948. M-A, as New. MB 15, the Pair.
P0161. ARTURO BENEDETTI MICHELANGELI:
Scherzo #2 in b-flat minor (Chopin), 2s. 12” LVDP 5355 [2EA 3618/19], POM-1940.
A to M-A, choice Italian pressing has occasional rub, inaud. MB 15
P0162. ARTURO BENEDETTI MICHELANGELI:
Scherzo #2 in b-flat minor (Chopin), 2s. 12” HMV 6859 [2EA 13375/76],
POM-27 October 1948. A to M-A, choice copy has occasional rub, inaud. MB 10
P0163. ARTURO BENEDETTI MICHELANGELI:
Sonata in c / Sonata in d – Pastorale (Scarlatti).
10” HMV DA 5380 [OBA 4872/73], POM-1941-42. M-A, beautiful copy;
Sd.1 only has sev.infinitessimal internal lams, absolutely silent & safe. MB 8
P0164. ARTURO BENEDETTI MICHELANGELI:
Variations on a Theme by Paganini (Brahms), 4s.
2-12” HMV DB 6909/10 [2EA 13367/70], POM-26 Oct., 1948.
M-A, as New. MB 15, the Pair.
P0165. ARTURO BENEDETTI MICHELANGELI:
DANZAS ESPAÑOLAS - Andaluza (Granados) / Fantasque (Marescotti).
12” RCA 12-0736 [2BA 3534/33], POM-1939. M-A, as New. MB 12
P0166. ARTURO BENEDETTI MICHELANGELI:
Canción y danza #1 (Mompou) / Malagueña (Albéniz).
10” HMV DA 5432 [OBA 4870/71], POM-1941-42. M-A, as New. MB 8
P0167. ARTURO BENEDETTI MICHELANGELI,
w.Galliera Cond.La Scala Orch.: Piano Concerto in a, 7s /
Sd.8 = Erotik (both Grieg). 4-12” plum Swiss ‘La Scala Art Label’
Telefunken SKB 3280/83 [026618/25], POM-2 / 6 Sept., 1942.
M-A, as New. MB 25, the Set.
P0168. LUDVIK KUNDERA: Salon Polka #1 in F-sharp / Salon Polka #1 in f (Smetana). 10” black Czech Ultraphon 14029 [44012/13]. M-A, pristine. MB 15
P0169. BENNO MOISEIVITCH: Kinderszenen, Op.15 (Schumann), 4s.
2-12” Scroll/Orth V 7705/06, on ‘Z’ shellac, POM-14 April, 1930. M-A MB 20, the Pair.
P0170. BENNO MOISEIVITCH: Variations & Fugue on a theme by Handel (Brahms), 6s. 3-12” red PW Australian HMV D.1928/30, POM-4 March, 1930.
M-A, choice copy of preferred Australian pressing. MB 25, the Trio.
P0171. ERNST von DOHNANYI & EDWARD KILENYI: Suite en valse, Op.39a
(Played by the Composer), 6s. 3-12” Col. 72876/78-D [XCO 41023/28],
POM-1948, in Orig.Album MM-868. M-A, appears unplayed. MB 25, the Set.
P0172. ERNST von DOHNANYI, w.Collingwood Cond. London S.O.:
Variations on a Nursery Tune (Played by the Composer), 5s / Sd.6 =
von Dohnányi Cond. London S.O.: Ruralia Hungarica – 2nd movement
(Cond. by the Composer). 3-12” PW V 11436/38 [2B 469/474],
POM-1931, in Orig. Album M-162, w.Brochure. M-A MB 20, the Set.
P0173. ERNST von DOHNANYI Playing & Cond. Budapest Phil.:
Concerto #17 in G, K.453 (Mozart), 8s. 4-12” Viva-Tonal Col. 67559/62-D [WAX3790/97], POM-1928, in Orig.Album 111.
M-A, appears unplayed. MB 15, the Set.
P0174. CHARLOTTE von RECSEY: Hungarian Rhapsody #12 in c-sharp (Liszt),2s.
12” blue Lindström Odeon Kulab 500/501, POM-1936
[basically unknown issue, in all likelihood von RECSEY’s only recording].
A to M-A, beautiful copy has faintest pap.rubs, inaud. MB 25
P0175. BELA BARTOK: MIKROKOSMOS – Staccato; Ostinato (Played by Composer) / IGOR STRAVINSKY Cond. Kate Winter, Linda Seymour, Parri Jones, Roy Henderson: LES NOCES – Excerpt (Cond.by the Composer). 10” early PW Col.DB 1306
[CA 16218-1/16855-1], POM-5 Feb., 1937 / 12 Feb., 1938.
A to M-A, lovely copy has occasional rub, inaud. MB 15
P0177.
(all Played by the Composer), 2s. 12” plum PW Disque Gram.L-800 [CV725/726],
POM-5 Nov., 1929. A to M-A, lovely copy has occasional faintest rub, inaud.;
Sd.2 only has sev.very lt.rubs, also inaud. MB 65
P0178. BELA BARTOK: Memorial Album, incl.Bear Dance, Evening in Transylvania & FOR CHILDREN – 15 Pieces (all Played by the Composer), 4s.
2-12” dark-blue Vox 650/51, recorded 1941, in Album 625. M-A MB 25, the Set.
P0179. BELA BARTOK, JOSEPH SZIGETI & BENNY GOODMAN (Clarinet): CONTRASTS (Played by the Composer), 4s. 2-12” PW Col. 70362/63-D,
POM-May, 1940, in Orig. Album X-178, w.Brochure. M-A, as New. MB 25, the Set.
P0180. BELA BARTOK: A Song, Rattle Dance, BagpipeSounds / Rondo
(all Played by the Composer), 2s. 10” lilac Continental C-1193, recorded 1941.
A-, very decent copy has lt.rubs & scuffs, inaud. MB 15
P0181. BELA BARTOK supervises Hungarian Folk Songs, 8s.
4-10” vinyl Folkways 01500/03, in Orig. Album 1000, w.Elaborate 12pp Brochure,
Texts & Photos, issued 1950. M-A, as New. MB 25, the Set.
P0182. LUBKA KOLESSA: Mazurka in D, op. 33, #2 / Mazurka in F, Op.68, #3
(Chopin). 10” dark-blue Ultraphon A 273 [10341/10340], POM-1929.
A, lovely copy has faintest rubs, inaud.; tiny hlc appears mainly Sd.2, inaud. MB 10
P0183. LUBKA KOLESSA: Capriccio in B / Capriccio in D (both Scarlatti).
10” PW HMV DA 4454, POM-1938. M-A, as New. MB 8
P0184. LUBKA KOLESSA: Unser dummer Pöbel meint (Mozart, after Gluck), 2s.
12” PW HMV DB 4621, POM-1938. M-A, as New. MB 8
P0185. SERGEI RACHMANINOFF: Minuet in G (Paderewski) /
Nocturne in E-flat, Op.9, #2 (Chopin). 12” Scroll V 6731,
POM-5 May, 1927, on ‘Z’-type shellac, M-A, as New. MB 12
P0186. SERGEI RACHMANINOFF: Carnaval (Schumann), 6s.
3-12” EL Scroll V /Orth Vla 7187/89, POM 1929, partially on ‘Z’ shellac,
in Orig Album M-70, w.Brochure. M-A, a gleaming copy. MB 95, the Set.
P0187. SERGEI RACHMANINOFF & FRITZ KREISLER:
Violin Sonata in G, Op.30, #3 (Beethoven), 4s.
2-12” PW HMV DB 1463/64, POM-1928. M-A MB 12, the Pair.
P0188. SIMON BARERE: Reminiscences de Don Juan (Mozart-Liszt), 4s.
2 12” PW V 15485/86, Sd.3 = Mx.2EA 3075 I, changed to Mx.2B 5592-1 on 30 May, 1936, four months after recording, at Barère 's request, [2EA 3073-1/, 3074-1, 3075-1, 3076-1], POM 31 Jan., 1936, in Orig. Album M-577, w.Brochure. M-A MB 20, the Set.
P0189. SIMON BARERE: Waltz #5 in A-flat, Op.42 (Chopin) /
Polka de W. R. (Rachmaninoff). 10” red Decca-Odeon 20132 [STO4171/70],
POM-1929. A to M-A. MB 12
P0190. SIMON BARERE: Etude in d-sharp, Op.8, #12 /
Etude in c-sharp, Op.2, #1 (both Scriabin). 10” EL Scroll V 1721 [OEA549-2/50-1],
on ‘Z’-type shellac, POM-15 Oct., 1935 / 27 Nov., 1934.
A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15
P0191. SIMON BARERE: La Leggierezza Étude #2 (Liszt) /
Grande Valse #5 in A-flat, Op.42 (Chopin). 12” HMV DB 2166 [2B 5578-2/81-2],
POM-30/31 Jan., 1934. M-A, as New. MB 10
P0192. SIMON BARERE: Scherzo #3 in c-sharp, Op.39 (Chopin), 2s.
12” PW V 14926 [2EA 2428-2/29-4],, POM-10 Oct., 1935. MINT MB 12
P0193. SIMON BARERE: Étude for the left hand alone (Blumenfeld).
12" S/S Special vinyl Pressing of Mx.2EA 2431-1, POM 7 Oct., 1935. MINT MB 15
P0194. SIMON BARERE: Étude for the left hand alone (Blumenthal) /
Étude in C (Glazounov). 12" HMV DB 2645 [2EA 2431-1/30-4],
POM 7 / 15 Oct., 1935. M-A MB 12
P0195. SIMON BARERE: Étude in C (Glazounov).
12" S/S Special vinyl Pressing of Mx.2EA 2430-4, POM 15 Oct., 1935. MINT MB 12
P0196. SIMON BARERE: Rapsodie espagnole, 3s /
Sd.4 = Valse oubliée #1 (both Liszt). 4 12" S/S Special vinyl Pressings
of Mx.2EA 563-1, 564-3, 565-4 & 566-3, POM 29 Nov., 7 & 10 Dec., 1934.
MINT MB 25, the Set.
P0197. SIMON BARERE: ISLAMEY (Balakirev), 2s. 12” PW V 14028
[2EA 2432-5/33-7,] 'Takes' 5 & 7, (which replaced 'Takes'4 & 6, at Barère 's request), POM 31 Jan., 1936. M-A , as New. MB 15
P0198. SIMON BARERE: ISLAMEY (Balakirev), 2s. 12” Scroll V 14028
[2EA 2432-5/33-7,] 'Takes' 5 & 7, (which replaced 'Takes'4 & 6, at Barère 's request),
‘Z’-type shellac, POM 31 Jan., 1936. M-A , as New. Outrageously stunning! MB 20
P0199. SIMON BARERE: Années de Pélerinage Petrarch Sonta #104 (Liszt), 2s.
12” PW HMV DB 2167 [2B 5579-1/80-1], POM 30 Jan., 1934. M-A MB 15
P0200. SIMON BARERE: Années de Pélerinage – Petrarch Sonta #104 (Liszt), 2s.
12” PW Japanese V SD-3089 [2B 5579-1/80-1], POM 30 Jan., 1934.
M-A, appears unplayed. MB 20
P0201. SIMON BARERE: Toccata in C, Op.7 (Schumann) /
Mazurka in f-sharp, Op.59, #3 (Chopin). 12” PW V 14263 [2EA2442-4/43-3],
on ‘Z’-type shellac, POM 31 Jan., 1936. M-A, a gleaming copy. MB 15
Perhaps the most important of Barère’s recordings are those he made for HMV between 1934 and 1936. These astonishing discs show just why the critics were grasping for superlatives. Of Barère’s performance of Blumenfeld’s Étude for the Left Hand the Times stated: ‘If the eye had not seen the right hand resting on the trouser-leg, the ear would have declared that it was not possible to range over the whole compass of the keyboard with such consummate ease and unspoiled musical effect with the left hand alone. This was the measure of Barère’s technical accomplishment, which was at the service of a mature musical judgement.’ Barère excelled in the virtuoso repertoire, particularly Liszt’s Rapsodie espagnole and his Reminiscences de Don Juan, Schumann’s Toccata, Op.7, and Balakirev’s ISLAMEY. The technique displayed in these recordings is breathtaking in all respects. In fact, Barère’s style was akin to that of his fellow-pupil Horowitz in its clarity, rapidly articulated finger-work and explosive dynamics….Horowitz himself said: ‘Barère had a tremendous technique. He played Professor Blumenfeld’s Étude for the Left Hand like a miracle’.”
P0202. VLADIMIR HOROWITZ: 32 Variations in c (Beethoven), 3s. /
Sd.4 = Nun freut, euch lieben Christen (Bach). 2-10” Scroll V 1689/90,
on ‘Z’-type shellac, POM-6 May, 1934. M-A MB 12, the Pair.
P0203. VLADIMIR HOROWITZ: Mazurka #32 in c-sharp, Op.50, #3 /
Étude in c-sharp, Op.10, #4; Étude in G-flat, Op.10, #5 (all Chopin).
12” Scroll V 14140, POM-2 June, 1935, on ‘Z’-type shellac. M-A MB 8
P0204. VLADIMIR HOROWITZ: Toccata in C (Prokofiev) /
CHILDRENS’ CORNER – Serenade for the Doll (Debussy); Presto in B-flat (Poulenc). 12” RCA 12-0428, POM-21 Nov. / 16 May, 1947. M-A, as New. MB 8
P0205. VLADIMIR HOROWITZ: PICTURES AT AN EXHIBITION, 7s /
Sd. 8 = By the water (both Mussorgsky). 4-12” red vinyl RCA 18-0233/36,
POM-1947, in Orig.Album DV 30. MINT, choice copy of
preferred vinyl pressing appears unplayed! MB 45, the Set.
P0206. VLADIMIR HOROWITZ: Mendelssohn's Wedding March & Variations
(arr. Liszt), 2s. 12” RCA 11-9693, POM-22 Nov., 1946. M-A, as New. MB 8
P0207. VLADIMIR HOROWITZ: CARMEN – Variations (Bizet-Horowitz) (1947 Version) / Mazurka in f, Op.7, #3 (Chopin). 12” RCA 12-0427, POM-22 Dec., 1947.
M-A, as New. MB 10
P0208. GALINA WERSCHENSKAYA: Humoresque – Bagateller, Op.XI (Nielsen), 2s. 10” HMV DA 5203 [OCS 402-2/403], POM-1936. M-A MB 10
P0209. GALINA WERSCHENSKAYA: Rondeau in G (Marpurg) /
Suggestion diabolique, Op.4, #4 (Prokofiev). 10” EL PW HMV DA 5200
[OCS 341-2/340-2], POM-1936. M-A, MB 12
P0210. GALINA WERSCHENSKAYA: 5 Piano Pieces, Op.3 (Nielsen), 2s.
12” Danish Tono A 123 [2645/46], POM-1946.
M-A, lovely copy has, Sd.1 only, faintest rub, inaud. MB 12
P0211. HÉLÈNE PIGNARI-SALLES, GERMAINE LEROUX, NICOLE ROLET &
PIERO COPPOLA (Pfs.), w.Gustave Bret Cond.:
Concerto for Four Pianos (Vivaldi), 3s. / Sd.4 = Bret Cond.:
ACRUS TRAGICUS – Prelude (Bach). 2-12” green LVDP S10447/48 [2P6614/17], POM-1937. M-A MB 20, the Pair.
P0212. HERMAN D. KOPPEL: Chaconne, Op.32 (Nielsen), 2s.
12” red Scandinavian HMV DB 5254, POM-1940.
A to M-A, beautiful copy has, Sd.1 only, faintest pap.scr, inaud. MB 8
P0213. INGEBORG GRESVIK: Ballade in the Form of Variations on a
Norwegian Folk Song in g minor (Grieg), 4s. 2-12” HMV DB 11904/05, POM-1949-50.
M-A, pristine copy. MB 10, the Pair.
P0214. ERIK THEN-BERGH: Chaconne in d (Bach-Busoni), 4s.
2-12” plum HMV EH 1207/08, POM-24 Aug., 1938.
M-A, lovely copy has, Sd. 1 only, sev.scrs, ltly audible. MB 10, the Pair.
P0215. ERIK THEN-BERGH: Bagatelle #4 in A-flat /
Bagatelle #1 in E-flat, Op.33 (Beethoven).
10” dark-blue German Telefunken A 10510, POM-27 June, 1942. M-A MB 8
P0216. ERIK THEN-BERGH: Sonata #28 in A, Op.101 (Beethoven), 6s.
3-12” plum HMV EH 1257/59, POM-1 Feb., 1939. M-A, as New. MB 15, the Set.
P0217. ERIK THEN-BERGH: Silhouetten, Op.53, Nos. 2 & 6 (Reger), 2s.
12” plum HMV EH 1252. M-A MB 8
P0218. VICTOR SCHIOLER: Polonaise in A-flat, Op.53 (Chopin), 2s.
12 Danish Tono A 104 [1552/53] , POM- 16 March,1942. M-A MB 12
P0219. VICTOR SCHIOLER: Fantaisie-Impromptu #4 in c-sharp, Op.66 (Chopin) / Libesträume #3 in A-flat (Liszt). 12” Danish Tono A 130 [3060/63] , POM-Aug., 1947.
M-A, as New. MB 12
P0220. VICTOR SCHIOLER: Waltz #14 in e / Étude #2 in f;
Étude #6 in g-sharp, Op.25) (Chopin). 10” Danish Tono K 8008 [2012/13],
POM-1943. M-A. MB 12
P0221. VICTOR SCHIOLER: Waltz in c-sharp, Op.64, #2 / Étude in c, Op.10, #12 (both Chopin). 10” Scandinavian HMV DA 5281 [OCS 33291/28-1],
POM-7 May, 1953. M-A MB 12
P0222. VICTOR SCHIOLER: Prélude #7 in A, Op.28, #7; Prélude #3 in G, Op.28, #3; Prélude #22 in g, Op.28, #22 / Waltz #7 in c-sharp, Op.64, #2 (all Chopin).
10” Danish Tono K 8011 [2014/15] , POM-1943. M-A, exemplary copy. MB 12
P0223. VICTOR SCHIOLER: Prélude #1 in C; Prélude #23 in F;
Prélude #16 in b-flat (all Op.28) / Mazurka #33 in B; Waltz #6 in D-flat, Op.64, #1
(all Chopin). 10” Danish Tono K 8013 [2018/19] , POM-1943. M-A MB 12
P0224. VICTOR SCHIOLER: Waltz #9 in A-flat, Op.69, #1 /
Mazurka #47 in a, Op.68, #2. (all Chopin).
10” Danish Tono K 8014 [2020/21], POM-1943. M-A MB 12
P0225. VICTOR SCHIOLER: Ballade #1 in g, Op.23 (Chopin), 2s.
12” Danish Tono A 103 [1550/51], POM-16 March, 1942 / 18 Dec., 1948.
M-A, exemplary copy has, Sd 2 only, wee pressing bump. MB 15
P0226. VICTOR SCHIOLER: Wiener Tänze, Nos.1 & 2
(Ignace Friedman-Eduard Gärtner),2s. 12” Danish Tono A 133 [3066/67],
POM-Aug., 1947. A-, lovely copy has very light rubs, inaud. MB 12
P0227. VICTOR SCHIOLER: Étude #9 in G-flat, Op.25 (Chopin);
Paraphrase on Chopin’s Étude #9 in G-flat, Op.25 (Godowsky) /
Prelude #5 in g, Op.23 (Rachmaninoff). 10” black Viva-Tonal Col.2262-D
[WA9435/36], POM-1929. A, lovely copy has faint rubs, inud. MB 10
P0228. VICTOR SCHIOLER: Étude #4 in c-sharp; Étude #5 in G-flat /
Étude #3 in E, Op.10 (Chopin). 12” Danish HMV DB 10516 [2CS3362-1A/63-1A],
POM-25 Sept., 1953. M-A, beautiful copy has few faintest rubs, inaud. MB 12
P0229. VICTOR SCHIOLER: Scherzo in c-sharp, Op. 39 (Chopin), 2s.
12” Danish HMV DB 5295 [2CS2848-7/49-4], POM-4 July, 1950. M-A, as New. MB 10
P0230. VICTOR SCHIOLER: Sonata #14 in c-sharp, Op.27, #2 (Beethoven), 3s /
Sd.4 = A MIDSUMMER NIGHT’S DREAM – Scherzo (Mendelssohn-Schiøler).
2-12” Danish Tono A 105/106 [1602/05] , POM-11 May, 1942. M-A MB 20, the Pair.
P0231. VICTOR SCHIOLER: 32 Variations in c (Beethoven), 3s /
Sd.4 = Pastorale and Capriccio (Scarlatti-Tausing).
2-12” HMV DB 20163/64 [2EA15908-2, 15909-3, 15910-1, 15911-2],
POM-1951. M-A, choice copy. MB 15, the Pair.
P0232. VICTOR SCHIOLER: Nocturne in F-sharp, Op.15, #2 /
Nocturne in e, Op. 72, #1 (Chopin). 12” HMV DB 5294 [2CS2846-3/47-3],
POM-26 June,1950. M-A, choice copy. MB 10
P0233. VICTOR SCHIOLER: Romance in D-flat, Op.24, #9 (Sibelius) /
Prelude in g, Op.23, #5 (Rachmaninoff). 12” HMV DB 10508 [2EA15913-4/12-2],
POM-1951. M-A, exemplary copy. MB 12
P0234. VICTOR SCHIOLER, w.Jensen Cond. Tivoli S.O.:
HUNGARIAN FANTASIA (Liszt), 4s. 2-12” Danish Tono X 25000/01 [1616/19],
POM-21 May, 1942. M-A, exemplary copy. MB 20, the Pair.
P0235. VICTOR SCHIOLER, w.Tuxen Cond. Danish Radio S.O.:
Concerto #1 in b-flat (Tchaikowsky), 8s. 4-12” Danish Tono X 25051/54 [2730/37], POM-Dec., 1945. M-A, exemplary copy has very occasional superficial mk, inaud.
MB 20, the Set.
P0236. JOSEF PEMBAUR:, w.Weissmann Cond.:
Concerto #2 in A (Liszt), 6s. 3-12” dark-blue US Odeon 5147/49 [2-20479/84],
POM-28 Nov., 1927 (pressed by Columbia in their Viva-Tonal period).
M-A, superlative copy has, Sd.3 only, minuscule pap. scr., inaud. MB 15, the Set.
P0237. JOSEF PEMBAUR: Waldesrauschen (Franz Liszt) /
‘Raindrop’ Prélude in D-flat (Chopin). 12” dark-blue German Odeon O-6944
[2-20477/78], POM-28 Nov., 1927. A, lovely copy has light rubs, inaud. MB 8
P0238. WINFRIED WOLF: Trauermarsch (Chopin) /
FRANZ SCHUCHT: Pathétique Sonata #8 in c – Adagio (Beethoven).
10” lilac German Artiphon 03801/65, POM-1929. M-A, exemplary copy. MB 15
P0239. MIECZSLAW MUNZ: Pièce en forme de Habañera (Ravel) / Étude in c-sharp (Scriabin). 10” EL red US Decca G-20301, POM-1928 Homocord. M-A MB 15
P0240. JOHN IRELAND: April / JOHN IRELAND & ANTONI SALA:
Cello Sonata (Part VII only) (both Played by the Composer).
12” PW Eng. Col. L2317 [WAX 4677-3/4196-2], POM- 18 Feb., 1929.
M-A, superlative; Sd.1 only has faintest pap.scr, inaud. MB 15
P0241. HELMUT ROLOFF: Thema und Variationen über den Namen ‘ABEGG’ (Schumann), 2s. 10” Variable Micrograde DGG 36115, sole issue, 5 Dec., 1953.
MINT Highly uncommon late-78 Era Issue. MB 15
P0242. ELLY NEY: Hungarian Dance #2 (Brahms) /
Nocturne in F-sharp, Op.15, #2 (Chopin). 10” gold Brunswick 15021.
POM-1922, Sd.1 label faintly Autographed by Elly Ney. M-A, may be unplayed. MB 15
P0243. ELLY NEY, w.van Hoogstraten Cond. Berlin Staatsoper Orch.:
BURLESKE (Strauss), 4s. 2-12” Scroll V 11744/45, POM-1932, on ‘Z’ shellac.
A to M-A, lovely copy has, Sd.4 only, various minuscule dust scrs. MB 15, the Pair.
P0244. ELLY NEY: Sonata #8 in c – Adagio cantabile (Beethoven) /
ELLY NEY (Speaking): Beethoven’s Heiligenstädter Testament.
12” PW HMV DB 4460 [2RA 1561-5/1268-2], POM-1936. M-A MB 95
P0245.EILEEN JOYCE: La Leggierezza Étude de Concert in f(Liszt) /
Gnomenreigen Étude de Concert in A-flat (de Schlozer).
12” red Decca-Odeon 25205, POM-6 Sept., 1934. A to M-A, lovely copy has
faintest rubs, inaud.; Sd.2 only has mere hint of nr, positively inaud. MB 8
P0246. EILEEN JOYCE: Ballade in g, Op.24 (Grieg), 4s.
2-12” Eng.Col.DX 1116/17, POM-3 May, 1943. M-A, as New. MB 12, the Pair.
P0247. EILEEN JOYCE: Eine kleine Gigue in G, K.574; Minuet in C, K.355
(both Mozart) / Sds.2 - 4 = EILEEN JOYCE, HENRY HOLST & ANTHONY PINI:
Trio #1 in G (Haydn). 2-12” Eng. Col. DX 1054/55, POM-7 Nov., 1941.
M-A, as New, albeit Sd.2 only has faintest rub, inaud. MB 12, the Pair.
P0248. EILEEN JOYCE: Lotus Land; Danse nègre (Cyril Scott) /
Tarantella in a (Harry Farjeon). 12” Parl.E 11333, POM-14 April, 1937.
M-A, as New. MB 10
P0249. EILEEN JOYCE: Romance, Op.24, #9 (Sibelius) /
DER FLIEGENDE HÖLLANDER – Spinning song (Wagner).
12” Parl.E 11424, POM-12 July / 24 April, 1939. M-A, as New. MB 10
P0250. EILEEN JOYCE: Romanze in F, Op.118, #5 (Brahms) /
Années de pèlerinage Première Année – Suisse - Au bord d’une source (Liszt).
12” Parl.E 11340, POM-2 Sept.,1937. M-A, as New. MB 10
P0251. EILEEN JOYCE: Rhapsodie in C, Op.11, #3 (Dohnányi) /
Prelude in E-flat; Prelude in d (both Rachmaninoff).
12” Parl.E 11351, POM-11 Jan. / 5 Sept., 1938. M-A, as New. MB 10
P0252. EILEEN JOYCE: Valse in E (Mozskowski) / Pour le Piano -Toccata in c-sharp (Debussy). 12” Parl.E 11239, POM-7 Nov. / 28 Oct., 1933. M-A, as New. MB 10
P0253. EILEEN JOYCE: Frühlingsnacht; Bunte Blätter – Stücklein (both Schumann) / Polka Caprice; Celestial Song (both Stefan Bergman). 12” Parl.E 11363,
POM-31 May, 1938. M-A, as New. MB 10
P0254. EILEEN JOYCE: Scherzo, Op.16, #2 (d’Albert) / Trois danses fantastiques (Shostakovitch). 12” Parl.E 11391, POM-5 / 2 Sept., 1938. M-A, as New. MB 10
P0255. EILEEN JOYCE: Rustle of Spring (Sinding); Scherzo impromptu / To Spring; Summer’s Eve (all Grieg). 12” Parl.E 11427, POM- 12 July, 1939. M-A, as New. MB 10
P0256. EILEEN JOYCE: Impromptu in A-flat, Op.90, #4 (Schubert), 2s. 12” Parl.E 11440, POM-12 July, 1939. M-A, as New. MB 10
P0257. EILEEN JOYCE: Deux Luneires – Danse d’Olaf (Pick-Mangiagalli) /
Si l’oiseau j’étais (Henselt); En route (Palmgren). 12” red Decca-Odeon 25426,
POM-26 April, 1934. M-A MB 10
P0258. EILEEN JOYCE: Introduction & rondo capriccioso (Mendelssohn), 2s.
10” Eng.Col.DB 2179, POM-29 April, 1945. M-A, as New. MB 10
P0259. EILEEN JOYCE: Tango, Op.165, #2 (Albéniz) / Première valse oubliée (Liszt).
10” Eng.Col.DB 2738, POM-18 Dec., 1939. M-A, as New. MB 10
P0260. EILEEN JOYCE: Waldesrauschen (Liszt) / Rondo favori in E-flat (Hummel).
12” red Decca-Odeon 25228, POM-16 March, 1933. M-A MB 10
P0261. EILEEN JOYCE: Sonata #15 in C, K.545, 3s. / Sd.4 = Klaviersuite –
Allemande & Courante, K.399 (both Mozart). 2-12” Parl.E 11442/43,
POM-6 March, 1940 / 26 May, 1939. M-A, as New. MB 12, the Pair.
P0262. EILEEN JOYCE, w.Clarence Raybould Cond.: Rapsodia Sinfonica (Turina), 2s. 12” Parl.E.11299, POM-5 Feb., 1936. M-A, as New. MB 12
P0263. EILEEN JOYCE, w.Charles Münch Cond.Paris Conservatoire Orch.:
Variations Symphoniques (Franck), 4s. 2-12” red Eng. Decca AK.1587/88,
POM-11 Oct., 1946, in Orig.Album ERA 35. M-A, as New. MB 15, the Set.
P0264. EILEEN JOYCE, w.Leslie Heward Cond.Hallé Orch.: Piano Concerto in c, Op.35 (Shostakovitch; w. Arthur Lockwood, [trumpet]), 5s / Sd.6 = EILEEN JOYCE:
Prelude #9 in D; Prelude #10- in c–sharp (both Scriabin). 3-12” PW Col.71424/26-D, POM-24 October / 11 Jan., 1941, in Orig.Album MM 527. M-A MB 15, the Set.
P0265. EILEEN JOYCE, w.Leslie Heward Cond.Hallé Orch.:
Concerto in E-flat (John Ireland), 6s. 3-12” Eng.Col.DX 8178/80, POM-14 Jan., 1942.
M-A, as New. MB 15, the Set.
P0266. HARRIET COHEN: DAS WOHLTEMPERIERTE KLAVIER, Book I –
Preludes and Fugues, Nos. 1 - 9 (Bach), 12s. 6-12” Viva-Tonal Col. 67626/31-D,
POM-1928, in Orig. Album 120. M-A, exemplary copy. MB 25, the Set.
P0267. HARRIET COHEN: DAS WOHLTEMPERIERTE KLAVIER, Book I –
Prelude and Fugue #4 in c-sharp (Bach), 2s. 12” Eng. Col. DX 1650, POM-1947.
M-A, as New. MB 10
P0268. HARRIET COHEN, w.Sargent Cond.: Morning Song (Bax), 2s.
12” Eng. Col. DX 1361, POM-7 Feb., 1947. M-A, as New. MB 10
P0269. HARRIET COHEN: A Hill Tune / A Mountain Mood
(both Bax, dedicated to Cohen). 12” Eng. Col. DX 1109, POM-20 Oct., 1942.
M-A, as New. MB 10
P0270. HARRIET COHEN: Hymn-Tune Prelude on Song 13 [Orlando Gibbons] (Vaughan Williams, written for Cohen) / Mister Sanders His Delight (Gibbons–Glyn).
12” Eng. Col. DX 1552, POM-4 Dec., 1947. M-A, as New. MB 10
P0271. HARRIET COHEN: Fantasia #4 in c (Bach-Petri) /
Cantata #155 - Wirf mein Herze (Bach-Cohen). 12 early PW Col. 68388-D.
M-A, choice copy has, Sd.1 only, wee pap.mk, inaud. MB 10
P0272. HARRIET COHEN: Intermezzo #3 in c-sharp, Op.117 (Brahms), 2s.
12” PW Eng. Col. Test Pressing for WAX 5676/77, POM-19 Aug.,1930
[presumably from the same session which produced Brahms’ Intermezzo in B-flat,
Op.76, #4, with the customary English Col. label, but with data written in longhand.]
A-, fine copy has lt.rubs, inaud. MB 65
P0273. HARRIET COHEN: Paen (Passacaglia) (Bax) /
Bullock Cond. Westminster Abbey Choir: Mass in G minor - Kyrie (Vaughan Williams). 10” early PW Col. DB 1302 [CA 17042-1/16302-2], POM-7 July, 1938 / 19 March, 1937. M-A, as New. MB 8
P0274. HARRIET COHEN, w.Stratton String Quartet (George Stratton,
Carl Taylor, Watson Forbes, John Moore): Piano Quintet in a (Elgar), 8s.
4-12” PW HMV DB 2094/97 [2B 5354-61], POM-1 October 1933, in Orig.
HMV Album 204 – [recorded electrically for HMV by Harriet Cohen and the
Stratton Quartet, immediately before the composer became seriously ill.
Test pressings were rushed to Elgar's bedside; the pleasure he gained from them inspiring Fred Gaisberg to record the Quintet as a Christmas present to the ailing composer]. M-A, exemplary copy. MB 35, the Set.
P0275. HARRIET COHEN, w.Hubert Bath Cond. London S.O.:
LOVE STORY – Cornish Rhapsody (Cond. by the Composer), 2s.
12” green Col. 7440-M, POM-4Nov., 1944. M-A, as New. MB 8
P0276. EVLYN HOWARD-JONES: DAS WOHLTEMPERIERTE KLAVIER, Book II –
Preludes and Fugues, Nos. 10 - 17 (Bach), 8s. 4-12” Viva-Tonal Col. 67823/26-D, POM-1929, in Orig. Album 147. M-A, exemplary copy. MB 25, the Set.
P0277. EVLYN HOWARD-JONES: Three Preludes (Delius), 2s.
10” Viva-Tonal Col. 2343-D, POM-4 April, 1929.
A-/A-B, very decent copy has sev.wee edge chips (not to grooves);
Sd.2 primarily has lt.rubs & scuffs; Sd.2 has ‘heat’ mk. MB 8
P0278. GERALD MOORE: For Children – Vol. II, Nos. 2, 14, 15 & 31
(Complete, as recorded) (Bartók), 4s. 2-10” plum HMV B.9882/83, POM-1949.
M-A, as New. MB 12, the Pair.
P0279. GERALD MOORE: Study in E, Op.45, #9 (Stephen Heller) /
An die musik (Schubert). 10” plum HMV B.9936, POM-1949.M-A, as New. MB 10
P0280. UNA BOURNE: Automne / Quatrième valse (both Chaminade).
12” plum PW HMV C.427 [HO 692/695ac], POM-16 March, 1915.
A, fine copy has faint rubs & occasional wee dust scr, inaud. MB 12
P0281. UNA BOURNE & MARJORIE HAYWARD: Sonata in c (Grieg), 6s.
3-12” plum PW HMV C.1388/90. M-A MB 20, the Trio.
P0282. CLÉMENT DOUCET (Pf.): Chopinata – fantaisie sur des motifs de Chopin /
Wagneria – d’après des thèmes de Wagner. 10” EL black Viva-Tonal Col. 1657-D, POM-14 Sept., 1927. A to M-A, choice copy; Sd. 1 only has faint rubs &
minor under label lam, of no consequence. MB 12
P0283. WIENER & DOUCET: Sonata in D for Piano Four-Hands, K.448
(Mozart), 4s. 2-12” early PW Col. P-69324/25-D [CPTX 327/330],
POM-7 July, 1937. M-A, reviewer’s copy; Sd.1 only has faintest lams, inaud.
MB 12, the Pair.
P0284. COLIN HORSLEY: Six Preludes for Piano (Berkeley), 2s.
12” plum HMV C.3940, POM-13 July, 1949. M-A, as New. MB 12
P0285. KATHLEEN LONG: Sonatine for Piano, 3s. / Sds. 4-10 =
KATHLEEN LONG, w. International String Quartet:
String Quartet in F Major, 7s. (Ravel; supervised by the Composer).
5–12” Columbia/National Gramophonic Society NGS-78/81; 87,
only form of issue, 1927. M-A MB 25, the Set.
P0286. ETHEL BARTLETT: Chorale - Blessed Jesus, here we stand (Arr. Rummel)
Sds. 2-4 = Concerto #5 in f minor for Piano & Strings.
2-12” Columbia/National Gramophonic Society NGS-151/152],
only form of issue, 18 Dec., 1929. M-A MB 15, the Pair.
P0287. ETHEL BARTLETT: Sonatine for piano /
INTERNATIONAL STRING QUARTET (André Mangeot, Albert Voorsanger,
Eric Bray & John Shinebourne): String Quartet in F (both Ravel,
supervised by the Composer), 10s. 5-12” Columbia /National Gramophonic Society
NGS- 87; 78-81, only form of issue, 1927. M-A MB 25, the Set.
P0288. ETHEL BARTLETT & RAE ROBERTSON: Moy Mell (‘The pleasant plain’) (Bax, supervised by the Composer), 2s. 12” Columbia / National Gramophonic Society NGS-102, only form of issue, 1927. M-A MB 15
P0289. ETHEL BARTLETT & RAE ROBERTSON: Scaramouche (Milhaud), 2s.
12” PW Col. 69835-D, POM-1941. A to M-A, lovely copy has
very occasional faint pap.rub & infinitessimal pap.scr, inaud. MB 8
P0290. ETHEL BARTLETT & RAE ROBERTSON: Andante and Variations, 3s. /
Sd.4 = Etude in the form of a canon (both Schumann). 2-12” PW Col. 71310/11-D,
POM- 29 January 1941, in Orig.Album X-213. M-A, as New. MB 15, the Set.
P0291. ETHEL BARTLETT & RAE ROBERTSON,
w.Barbirolli Cond.: Concerto in C (Bach), 4s. 2-12” plum HMV C.2648/49,
POM-20 Dec.,1933. M-A, as New. MB 12, the Pair.
P0292. MARION ROBERTS: Prélude, Chorale et Fugue (Franck), 4s.
2-12” Chicago Gramophone Society 50016/17- P [91729/32], POM-1927
(pressed by Columbia in their Viva-Tonal period). Rare private pressing limited to 200 copies). M-A, superb copy; two labels have wee adhesive stickers.
[Roberts was a prominent Chicago recitalist who was murdered by her lover in Paris, shortly after this private release.] MB 20, the Pair.
P0293. JEANNE BEHREND: American piano music by John Alden Carpenter, RandallThompson, Leo Sowerby, Marion Bauer, Arthur Farwell, Amy Beach,
George Gershwin, Abram Chasins, David Wendell Guion, Isadore Freed,
Robert Nathaniel Dett, Daniel Gregory Mason and Edward MacDowell.
4-12” PW V 17910/13, POM-1940, in Orig. Album M-764, w.Brochure.
M-A, as New. MB 35, the Set.
P0294. JEANNE BEHREND & ALEXANDER KELBERINE (Pfs.):
Deep River / Song of the Volga Boatmen (both arr. Kelberine).
10” PW V 1999, POM-1937. M-A, exemplary copy. MB 15
P0295. JEANNE BEHREND & ALEXANDER KELBERINE (Pfs.),
w.Stokowski Cond. Philadelphia Orch.: Concerto for Two Pianos and Orchestra
(Harl McDonald), 6s. 3-12” PW V 15410/12, POM-1937, in Orig. Album M-557.
M-A, exemplary copy. MB 35, the Set.
P0296. JEANNE BEHREND & SYLVAN LEVIN (Pfs.),
w.Stokowski Cond. Philadelphia Orch.: LE CARNAVAL DES ANIMAUX
(Saint-Saëns), 6s. 3-12” V 18047/49, POM-1939, in Orig. Album M-785.
M-A, exemplary copy. MB 25, the Set.
P0297. STEPHEN KOVACS: Polonaise #6 in A-flat, Op.53/
Revolutionary Étude in c, Op.10, #12; Valse du petit chien (Minute Waltz) in D-flat major, Op. 64, #1; Fantaisie-Impromptu #4 in c-sharp, Op.66 (all Chopin.
10 Continental 1161 [W 3336/37], in Orig.Continental sleeve.
A-/M-A, fine copy has, Sd.1 only, lt.grey on peaks. MB 12
P0298. STEPHEN KOVACS: A MIDSUMMER NIGHT’S DREAM – Scherzo (Mendelssohn) / DIE FLEDERMAUS – Waltz (Johann Strauss).
12 Continental 4002 [B 3083/84]. A to M-A, fine copy has, very beg. Sd.2 only, infinitessimal hlc, barely visible & certainly inaud. MB 12
P0299. STEPHEN KOVACS: Firestone Presents … Mendelssohn, Johann Strauss, Liszt, Mozart, Dvorák, Verdi, Schubert, Rimsky-Korsakov, Chopin & Rossini, 8s.
4-12” Philharmonic FR 106/09 [B 3081/88], in Orig.Firestone Album 7388.
M-A, pristine copy appears entirely unplayed. MB 55, the Set.
P0300. AARON COPLAND (Pf.) & LOUIS KAUFMAN (Violin): Violin Sonata, 5s /
Sd. 6 = AARON COPLAND (Solo): Nocturne (both Played by Composer).
3-12” red vinyl Concert Hall 1356/61, POM-1948, in Orig. Album C-10. M-A MB 35
P0301. AARON COPLAND, w.Karman (Vln) & Freed (Cello): VITEBSK, 3s. /
Sd.4 = AARON COPLAND & JACQUES GORDON (Vln): Ukulele serenade
(both Played by the Composer). 2-12” MasterWorks Col. 68741/42-D
[XCO 17117/19; 17325], POM-2 April, 1935, in Orig.Album X-68, w.Brochure.
M-A, as New. MB 20, the Set.
P0302. AARON COPLAND & LEO SMIT (Duo Pianists):
Danzón Cubano (Played by the Composer), 2s. 12” vinyl Concert Hall 1136/37,
POM-1947, in Orig. Printed Sleeve. [In 1942, Copland wrote this impression of a
Cuban dance style he had observed during his tour the preceding year.] M-A MB 10
P0303. AARON COPLAND: Four Piano Blues(Played by the Composer), 2s.
12” Eng. Decca K2372 [AR 13657/58], POM-2 May, 1949.
M-A, choice copy has faint pap.rub, Sd. 1 only. MB 15
P0304. AARON COPLAND: Piano Variations, 3s /
Sd.4 = AARON COPLAND & JACQUES GORDON: Nocturne
(both Played by the Composer), 4s. 2-12” early MasterWorks Col. 68320/31-D