Historical Reissue Classical CDs, LPs, 78s,
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Since 1972

Auction Number 144 ­- AUCTION Closing Date: Monday, 13 June, 2010

Regarding AUCTION #144 (Closing Date: Monday, 13 June , 2011), 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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Nos. K299 – K314 are Viola 78rpm records

K299. LIONEL TERTIS: Partita #2 in d – Chaconne (Bach), 4s. 2-12” AC early PW Col. 67071/72-D, POM-25 Nov., 1924. A-B, decent copy has considerable rubbing & few lt. scrs, minimally audible. Rare 1924 late AC-era issue which enjoyed a brief Catalogue life. MB 35, the Pair.

K300. LIONEL TERTIS: Lieder ohne Worte – #1 in E / #20 in E-flat (Mendelssohn). 10” EL Eng. Col. DB 1468, POM-26 Oct., 1933. A-, lovely copy has faintest pap. rubs & pap. scrs, inaud. MB 10

K301. LIONEL TERTIS: Chant sans parôles (Tschaikowsky) / Sous la feuillée (Thomé). 10" AC brown shellac Vocalion 21004, POM-1920. M-A, appears unplayed! MB 25

K302. LIONEL TERTIS: Three Sketches – The Blackbirds (Played by the Composer) /None but the lonely heart (as ‘A Pleading’) (Tchaikovsky). 10" EL black Viva-Tonal Col. 174-M, POM-17 / 19 June, 1927. M-A, gleaming copy appears unplayed. MB 15

K303. LIONEL TERTIS: Minnelied (Brahms) / Londonderry Air (arr.Tertis). 10" EL black Viva-Tonal Col. 2192-D, POM-19 June, 1928. M-A, lovely copy has, Sd. 2 only, few lt. rubs, inaud.; Sd. 1 only has numerous insignificant lateral lams. MB 10

K304. LIONEL TERTIS, w.Ethel Hobday (Pf.): Sunset (Played by the Composer) / Les rêves (Rebikoff-Tertis). 10" AC pale blue Eng. Vocalion X-9696, only form of issue, 1921 / 27 Nov., 1922. B, decent copy has rubs & numerous lt. scrs, minimally audible; wee ec is neatly mended. MB 10

K305. LIONEL TERTIS, w.Ethel Hobday (Pf.): The Answer / Allegretto (both Wolstenholme). 10” EL Eng. Col. DB 1022, only form of issue, 8 Dec., 1930. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 15

K306. LIONEL TERTIS, w.William Murdoch (Pf.): Aria (Porpora) / Komm, süsser Tod (Bach). 10" AC PW Eng. Col. D 1502, only form of issue, 1925. A to M-A, lovely copy has lt. rubs, inaud. MB 12

K307. LIONEL TERTIS, w.George Reeves (Pf.): Violin Sonata #2 (Delius-Tertis), 3s / Sd. 4 = Hassan – Serenade (Delius). 2-12" EL Viva-Tonal Col. 67761/62, POM-7 Oct., 1929, in Orig. Album X-37. M-A, appears unplayed! MB 25, the Set.

K308. LIONEL TERTIS, w.George Reeves (Pf.): Violin Sonata #2 (Delius-Tertis), 3s / Sd. 4 = Hassan – Serenade (Delius). 2-12" EL Eng. Col. L 2342/43, POM-7 Oct., 1929. M-A, Exemplary! MB 20, the Pair.

K309. LIONEL TERTIS, w.Harriet Cohen (Pf.): Sonata #1 in f (Brahms), 6s. 3-12” EL Col. 68114/16-D, on blue shellac, POM-17 Feb., 1933, in Orig. Album 183. M-A, lovely copy has, Sds. 1 & 2 only, faintest pap. rubs, inaud. MB 35, the Set.

K310. LIONEL TERTIS, w.Harriet Cohen (Pf.): Sonata #1 in f (Brahms), 6s. 3-12” EL Eng. Col. LX 225/27, POM-17 Feb., 1933. M-A, Exemplary! MB 25, the Set.

“Lionel Tertis is acknowledged the world over as the founder of modern Viola playing. His virtuosity and personal vision of a warm vibrant viola tone, derived from his close study of his idol Kreisler’s playing, amazed his contemporaries and stimulated others to carry on his work….he was a supreme interpreter of romantic music, and his records document a great and enduring musical personality.”

K311. RAYMOND JEREMY (Viola), w. Maria Korchinska (Harp): Phantasy Sonata for Viola and Harp (Bax), 6s. 3-12” National Gramophonic Society 118/120, only form of issue, 1928. A to M-A, lovely copy has occasional faintest pap. rub & very lt. scr, inaud. Raymond Jeremy, a Bax exponent, had premiered Elgar’s late chamber works in 1919 in a group led by Albert Sammons. MB 30, the Set.

K311a. EMANUEL VARDI, w.Vivian Rivkin (Pf.): Sonata #1 in G; Sonata #2 in D (both Bach), 6s. 3-12” EL dark-red Royale 598/600, only form of issue, 1942. M-A, appears unplayed, albeit discs 1 & 2 have very faintest ‘heat’ indents causing no more than very light swish. Exceedingly elusive! MB 35, the Set.

K312. FREDERICK RIDDLE, w.Walton Cond. London S.O.: Viola Concerto (Cond. by the Composer), 6s. 3-12” EL orange Eng. Decca X.199/201, only form of issue, 6 December 1937, in Orig. Album 8. M-A MB 35, the Set.

“Frederick Riddle made the first recording of William Walton's Viola Concerto, on 6 December 1937 – still considered a benchmark performance – with the composer conducting. He was recommended for this recording by Lionel Tertis. He made some revisions to the concerto, with Walton's approval. Although Walton conducted the work many times with leading soloists such as Tertis and William Primrose, the interpretation he liked above all others was that of Frederick Riddle.”

K313. QUINCY PORTER (Viola), Lois Wann (Oboe), Bernard Tinterow (Violin) & Aaron Bodenhorn (Cello): Serenade for Oboe, Violin, Viola & Violincello (Richard Donovan) / SAMUEL SIEGEL, w.Gregory Tucker (Pf.): Idless for Violin and Piano (William H. Bailey). 12” EL New Music Recordings 1514/1414, only form of issue, c.1941. A memento from the Yaddo Music Group, developed after Quincy Porter’s inspiration. MINT MB 8

K314. SAMUEL LIFSCHEY, w.Egon Petri (Pf.): Viola Sonata #1 in f (Brahms), 5s / Sd.6 = Samuel Lifschey: Suite #6 in D – Gavottes Nos. 1 & 2 for Viola Unaccompanied (Bach). 3-12” EL PW Col. 71317/19-D, POM-21 June, 1941, in Orig. Album MM-487. M-A, appears unplayed! MB 25, the Set.

“Samuel Lifschey was good enough to hold the first chair in the Philadelphia Orchestra for 30 years, satisfying the notoriously difficult Leopold Stokowski and then the demanding violinist-turned-conductor Eugene Ormandy….In 1925 he began his 30-year stint with the Philadelphia Orchestra, and it was a measure of his stature that the management’s retirement rule was relaxed so that he could stay on an extra year after his 65th birthday.”