Violin - Viola 78rpm records

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Since 1972

Auction Number 150 ­-
AUCTION Closing Date: Friday, 17 May, 2019

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Section III - Violin - Viola 78rpm records Nos. M0238 – M0411

M0238. LOU RADERMAN, w.Louis Katzman Cond.: Die Meistersinger – Preislied (Wagner) / JUDSON HOUSE (T), w.Griselle Cond.: Absent (Metcalf); Sing me to sleep (Greene). [Judson House is fondly remembered primarily from his lovely 1915-30 Victor and Columbia records. His longevity is quite remarkable!] 33 1/3 rpm Associated Music Publishers red vinyl 418. M-A, albeit very occasional wee mk. MB 15

M0239. LOU RADERMAN, KOLIA LEVIENNE & THEODORE SAIDENBERG: Trio in f-sharp (Franck), 6s. 3-12” Co-Art 5049/51. M-A, excellent copy has faint rubs, inaud. MB 25, the Set

“Theodore Saidenberg was a much sought-after accompanist and partner in chamber music who appeared in concert with Louis Kaufman, Erica Morini, Jascha Heifetz, Emmanuel Feuermann, Mischa Mischakoff, Raya Garbousova, Isaac Stern, etc. A graduate of the Curtis Institute in Philadelphia, Saidenberg had also a successful career in radio, motion picture recording and on the concert stage. Nicholas ‘Kolia’ Levienne met ballerina Lila Zali in Los Angeles and married her in 1945. Kolia was a cellist, who had toured with Anna Pavlova, accompanying Zali as she performed ‘The Dying Swan’. Kolia and Lila joined with Michel Panaieff in a company called ‘Ballet Musicale’ which later became the Los Angeles City Ballet. Kolia started the Laguna Beach Chamber Music Society, and Lila opend her dance studio. Its first concerts were held in the Laguna Beach ballet studio of Lila Zali, Levienne's wife and former principal with the Original Ballet Russe and the Mordkin Ballet. Levienne was assisted by his brother Mischa, a violinist, in producing the initial concerts and also performing in them.”

M0240. MILTON THOMAS (Viola) & SARA COMPINSKY (Pf.): Sonata for Viola d’amour (Hindemith), 4s. 2-12” Alco AC 204, only form of issue, 1948, in Orig. Alco Album. M-A, albeit very occasional faint scuff, inaud. MB 20

“In 1949, Milton aspired to study with Pablo Casals, intrigued by the art and the legend of this great cellist. Milton joined Casals in Prades, and later in Puerto Rico Prades Festival from 1952 to 1972, inspired by the genius of Casals and surrounded by brilliant artists, Milton grew in stature as principal violist at the Festival Casals by playing chamber music and giving many concerts, and by making recordings.”

M0241. MANUEL COMPINSKY & MANUEL SCHOENBERG (Oboe), w.van den Burg Cond. Pacifica Sinfonietta: Concerto in d (Bach), 4s. 2-12” Alco AC 202, only form of issue, 1948 , in Orig. Alco Album. M-A MB 20

“Manuel Compinsky was regarded as one of the better violinists of the twentieth century (especially in the field of chamber music), as well as a good conductor and a superb teacher. His students included conductor Michael Tilson Thomas and Glenn Dicterow, the concertmaster of the New York Philharmonic, and his own teachers included the renowned Eugene-Auguste Ysaÿe. With his brother Alec Compinsky (cello) and sister Sara Compinsky (piano), Manuel was one third of the Compinsky Trio which, from the 1920s through the 1940s, was one of the most respected chamber music ensembles in the United States, beloved for weekly broadcasts on the CBS radio network (from 1928-1936), live performances, and a recorded legacy. Soon after the end of WW II, he organized the Pacifica Sinfonietta, and the violinist also led the Manuel Compinsky Quartet, which recorded for the Columbia Masterworks label during the 1950s. Compinsky's Hollywood career was interrupted in 1956 when he was called to testify before the House Committee on Un-American Activities, and stood on his Fifth Amendment rights to refuse to answer questions. From the 1960s on, his musical activities were confined to the classical field, principally as a teacher.”
- Bruce Eder,

M0242. ALEXANDER SCHMIDT: Fifth Nocturne (Leybach) /Cavatina (Raff). 10” black Orth V 22328, only form of issue, 26 Nov., 1929. M-A, as unplayed. MB 6

M0243. ALEXANDER SCHMIDT, w.Myrtle C. Eaver (Pf.): Ländler (Mozart) / Old French Gavotte. 10” black Orth V 24528, only form of issue, 21 Sept., 1933. M-A, as unplayed. MB 6

M0244. ALEXANDER SCHMIDT, w.Myrtle C. Eaver (Pf.): Xerxes - Ombra mai fu (Handel-Kreisler) / String Quartet #1 in D – Andante cantabile (Tschaikowsky). 10” black Orth V 24529, only form of issue, 24 Nov., 1933. M-A, as unplayed. MB 6

M0245. RUGGIERO RICCI, w.Louis Persinger (Pf.): Tartini-Kreisler, Veraccini, Beethoven-Auer, Chopin-Ricci, von Vecsey, Hubay & Wieniawski, 6s. 3-10” plum US-Vox 16046/48. M-A, as unplayed. MB 25, the Set.

M0246. RUGGIERO RICCI: Partita #2 in d for Violin Unaccompanied (Bach), 6s. 3-12” black US-Vox 721/23, in Orig. Vox Album 638. M-A MB 35, the Set.

M0247. SOL BABITZ, w.Ingolf Dahl (Pf.): Concerto in d (Bach), 4s. 2-12” Alco AC 202, only form of issue, 1948, in Orig. Alco Album. M-A MB 20

M0248. SOL BABITZ, w.Ingolf Dahl (Pf.): ‘Evenings on the Roof’ – Violin Sonata #2 – In the barn / The Revival (Ives), 2s. 12” Alco AR 101, only form of issue, 1948. M-A MB 10

“Sol Babitz’s education began in New York where at the age of sixteen he received the Carnegie Hall Gold Medal for violin. His later violin education included studies with Alexander Roman and Carl Flesch at the Berlin University of the Arts and with Marcel Chailley in Paris. Babitz was a violinist with the Los Angeles Philharmonic from 1933–37 under Otto Klemperer, and then played with the 20th Century Fox studio orchestra. In the early 1950s he collaborated with the poet Peter Yates and the architect Rudolf Shindler to create a concert space on top of Yates' home where the concert series ‘Evenings on the Roof’ introduced works by Béla Bartók, Charles Ives, Arnold Schönberg and Igor Stravinsky. He worked with Stravinsky as concertmaster of the Ojai Festivals in the 1950s, and collaborated with him on an arrangement of Stravinsky‘s ‘Circus Polka’.”
- Wikipedia

“In the second movement, titled ‘The Barn’, the violin becomes fiddle, sawing through a variety of stock hoe-down figures, and even making a snide hint at ‘Turkey in the Straw’, before suddenly and comically switching character to sound out the ‘Battle Cry of Freedom’. The final movement, ‘Revival’, originally appeared as a fourth movement to the fourth sonata for violin and piano. It begins slowly and thoughtfully, perhaps reflecting a more introspective spirituality. As it gains momentum and intensity, that inner devotion becomes outward praise, with strains of ‘Come Thou Font of Every Blessing’ ringing out above the din of an excited and evangelized crowd. As the din of the faithful dies out, faint strains of the hymn remain, turning thoughts inward once again.”
- Jeremy Grimshaw,

M0249. WILLIAM KROLL, w.Frank Sheridan (Pf.): Triptych (Engel), 6s. 3-12” Schirmer 2540/42, only form of issue, 1941, in Orig. Album 15. M-A MB 45, the Set.

“William Kroll, an American violinist, teacher, and composer, is famous for a single composition, ‘Banjo and Fiddle’, which most concert violinists learn and play at one time or another. At age 9 or 10, he went to Berlin to continue his studies with Henri Marteau, Joseph Joachim’s successor at the Berlin Advanced School for Music. He returned to the U.S. after World War I broke out in 1914. In New York, he studied at Juilliard with Franz Kneisel from 1916 to 1921. He made his public debut in New York at age 14. Although Kroll concertized as a soloist in Europe and the Americas, he dedicated a great deal of time to chamber music as a member of various chamber music ensembles, well-known in their time: the Elshuco Trio (William Kroll, Willeke, and Giorni, 1922-1929), the South Mountain Quartet (1923-), the Coolidge Quartet (Kroll, Berezowsky, Moldavan, and Gottlieb, 1936-1944), and the Kroll Quartet (Kroll, Graeler, Gordon, and Twerdowsky, 1944-1969). Kroll made very few commercial recordings.”
- Prone to Violins, 28 Aug., 2012

M0250. MAX MICHAILOW, w.Burmeister (Pf.): Waltz (John Field – Burmeister) / Rosine - Gavotte (Gossec). 10" burgundy OKeh 4449, only form of issue, 1921. A-, lovely copy has faint rubs, inaud. MB 25

M0251. THADDEUS RICH, w.Justin Ring (Pf.): Suite #3 in D - Air on the G String (Bach) / Suite #3 in G – Perpetuum mobile (Ries). 10" burgundy OKeh 4016, only form of issue, 1919. A-, lovely copy has faint rubs, inaud. MB 25

M0252. SAMUEL GARDNER: Minuet #2 in G (Beethoven) / Taylor Trio: Love’s dream after the ball (Czibulka). 10" dark-blue Paramount 20006, POM-1919. A-, lovely copy has faint rubs, inaud.; faint label nr. MB 25

“Samuel Gardner, born in Southern Russia in 1891, is really an American since his family, fleeing the pogroms, brought him to this country when a child. In the United States he became, to quote Richard Aldrich, ‘the serious and accomplished artist’, whose work on the concert stage has given pleasure to lovers of violin music at its best.”
– The Violin Site

M0253. ARCADIE BIRKENHOLZ, w. William Friedman (Pf.): Largo (Veracini-Corti) / Scènes de la Csárda (Hubay). 10” paper label Edison H & D 80875 (11274-C/11275-B), POM-17 Nov., 1926. M-A, exceptional copy. MB 25

M0254. ARCADIE BIRKENHOLZ, w. Herman Neuman (Pf.): Le Coq d’Or – Hymn to the Sun / Sadko – Song of India (both Rimsky-Korsakov). 10” paper label Edison H & D 52502 (18993-A/18996-A), POM-1929. A to M-A, lovely copy has label tears, Sd.1 only. MB 15

M0255. WALTER BIEDERMANN (Violin) & L. SMITH (Harp): Mazurka de concert (Ovide Musin). 10” black & silver Col.3176, Orig.1905 Issue. A to M-A, exceptional copy for this vintage. MB 15

M0256. EDDY BROWN: Le Coq d’Or - Hymn to the sun / Sadko - Song of India (both Rimsky-Korsakov). 10” silver Flags Label Col. A3545 (79174/75) only form of issue, 12 May, 1920. M-A, beautiful copy of preferred silver Flags Label pressing has faintest rubs, inaud. MB 15

M0257. CRISTETA GOÑI: Aires bohemios (Sarasate), 2s. 10” pale-green Col. E2678 (21693/94), only form of issue, 1912. [A remarkable performance from this 12-year-old prodigy!] M-A, a superlative copy! MB 15

M0258. FRED L. LANDAU: Kinderszenen - Träumerei (Schumann) / FERDINAND HIMMELREICH (Pf.): Swanee River – transcription (Foster-Himmelreich). 10" burgundy OKeh 4038, only form of issue, 1919. A-, lovely copy has faint rubs, ever-so-faintly audible, Sd.2 only. MB 25

M0259. TOSCHA SEIDEL, w.Frank Loesser (Pf.): Pastorale (Scarlatti) / Valse triste (Sibelius). 10” gold Flags Label Col. 33049 (81561 / 81830), POM-14 Feb. / 17 June, 1924. M-A, pristine copy of choice gold Flags Label pressing. MB 20

M0260. TOSCHA SEIDEL, w. Max Rabinowitsch (Pf.): Albumblatt (Wagner-Wilhelmj) / Melody For Three, (1941 film) - Brahmsiana (based on themes from Brahms' Hungarian Dances Nos. 4 & 5) (Balaleinikoff). 12” PW V 18014, only form of issue, 27 Feb., 1941. M-A, choice copy of this truly spectacular record! MB 20

M0261. TOSCHA SEIDEL, w. Francesco Longo (Pf.): Indian snake dance (Burleigh) / w. Maurice Eisner (Pf.): Shéhérazade - Chanson Arabe (Rimsky-Korsakov). 10” gold Flags Label Col. 33002 (80821/25), POM-31 Jan. / 2 Feb., 1923. M-A, pristine copy of choice gold Flags Label pressing. MB 20

M0262. TOSCHA SEIDEL, w.Frank Loesser (Pf.): Rondino (On a theme by Beethoven) / Souvenir poétique (Fibich). 10” gold Flags Label Col. 33028 (81696 / 81576), POM-19 Feb. / 17 April, 1924. A-, decent copy of choice gold Flags Label pressing has faint rubs, inaud.; Sd.2 only has tiny superficial scr. MB 12

M0263. TOSCHA SEIDEL, w.Eugene Kusmiak (Pf.): Divertimento #17 in D, K.334 – Minuet / Idomeneo – Gavotte (both Mozart). 10” PW V 4536, POM-11 Dec., 1938. M-A MB 12

“Seidel had studied with Max Fiedelmann before joining Leopold Auer’s violin class at the St Petersburg Conservatory. A year younger than Heifetz, Seidl joined Auer’s class in 1912, the year of Heifetz’s Berlin performances, and he left the Auer fold in 1915. When Toscha and Jasha Heifetz were kids studying with Prof. Auer, they shared many concerts together and they were sometimes billed as the ‘angel’ and the ‘devil’ (Toscha being the devil). Jascha Heifetz, already in Auer’s class, had been dubbed the ‘Angel of the violin’ but Toscha Seidel was soon to be called ‘Devil of the Violin’ due to his intensely vibrant sound and impassioned style.

Toscha Seidel was born in Odessa in 1899. He settled in California in the 1930s and made his career in Hollywood. He led the MGM studio orchestra for many years and featured in the soundtrack for the Ingrid Bergman and Leslie Howard film, INTERMEZZO. Toscha Seidel was one of the truly great violinists of the early part of 20th century.”
- Gennady Filimonov,

M0264. TOSCHA SEIDEL, w.Eugene Kusmiak (Pf.): Hungarian Dance #1 in g (Brahms) / Intermezzo (Provost). 10” PW V 4458, POM-11 Dec., 1938. M-A MB 12

M0265. RUTH POSSELT, w.Gladys Posselt (Pf.): Poem (Fibich-Kubelik) / ‘Sielanka’ Mazurka #1 in D (Wieniawski). [A rarity from the wife of Richard Burgin, Concertmaster, Boston Symphony Orchestra, 1920-‘62] 10” Orth Vla 4184, POM-15 April 1930. M-A, lovely copy has faintest rubs, inaud. MB 15

“Ruth Posselt’s recital débuts at Carnegie Hall in 1923 and Symphony Hall (Boston) were followed by a début in New York in 1928 under Walter Damrosch (with the New York Philharmonic). She studied with Jacques Thibaud in Paris later on and she toured Europe, then the U.S. in 1935, playing with the major orchestras.
- Prone to Violins, 6 Jan., 2012

M0266. ALBERT SPALDING, w.André Benoist (Pf.): ETCHINGS [13 short descriptive pieces] (Played by the Composer), 6s. 3-10” Scroll V 1707/09, on ‘Z’-type shellac, only form of issue, 2 Feb., 1934, in Orig. Album M-264, w.Notes & Photo inside front cover. [One of the rarest of Victor sets] M-A, appears unplayed! MB 95, the Set.

M0267. ALBERT SPALDING: Dragon Fly (A Study in Arpeggios, for Violin Unaccompanied) (Played by the Composer) / w. André Benoist (Pf.): Danse du Diable Vert (Gaspar Cassadó). 10" PW V 1914, only form of issue, 26 May, 1937. M A, lovely copy has faintest rubs, inaud.; very minor label smudges. Elusive! MB 55

M0268. ALBERT SPALDING, w. André Benoist (Pf.): Sonata in A (Franck), 8s. 4-12" Scroll V 8278/81, only form of issue, 1 Feb., 1934, partially on ‘Z’ shellac, in Orig. Album AM-208, w.Brochure. M-A, a pristine copy! MB 45, the Set.

“Spalding was an early recording pioneer, playing for over 100 recordings, mostly for the Edison Company. Spalding premiered Barber’s violin concerto (February, 1941) when the violinist who commissioned it (Iso Briselli) refused to play it. Spalding began his violin studies at age 7, his first lessons were in Florence, Italy. He also studied in New York, Paris, and Bologna. At the age of 14, he received his degree and title of Professor of Music from the Bologna Conservatory. He made his public debut in Paris at age 16, then appearing in London and Vienna. On November 8, 1908, he made his American debut in New York (with the New York Symphony.) Spalding retired in May of 1950, just after having played with the New York Philharmonic for an audience of 20,000 in New York. He taught at Boston College and Florida State University. Spalding also wrote his Autobiography [B1426, Norbeck, Peters & Ford] (1946) and a novel (1953)
- Prone to Violins, 15 Aug., 2009

M0269. JOSEF PIASTRO-BORISOFF: The old refrain (Kreisler) / Minuet (Paderewski). 10” red & dark-blue Cameo S-237 (193/194), POM-1 June, 1922. A-, lovely copy has faintest rubs, inaud. MB 8

M0270. LOUIS KAUFMAN, GRISHA MONASEVITCH & RAY MENHENNICK: Serenade for Two Violins & Viola in G (Toch), 4s. 2-10” black US-Vox 16081/82, POM-1948. M-A, as unplayed. MB 15, the Pair.

M0271. SASCHA JACOBSEN, w.Samuel Chotzinoff (Pf.): Souvenir in D (Drdla) / Les Millions d’Arlequin – Sérénade (Drigo). 10” silver Flags Label Col. A2779, only form of issue, 19 Nov. / 21 Sept., 1918. A-, lovely copy has lt. rubs, inaud. MB 12

M0272. MILAN LUSK, w. Ludmila Vojáckova-Wetché (Pf.): Serenade #1 in A (Drdla) / Medley of Slavic Airs. 8¾ ” dark-blue & red Emerson 02001(3517/18), only form of issue, 1919. A-B, lovely copy has lt. rubs & mks, occasionally very ltly audible. MB 12

M0273. MILAN LUSK, w. Ludmila Vojáckova-Wetché (Pf.): Kinderscenen – Träumerei (Schumann) / Souvenir in D (Drdla). 10” dark-blue & red Emerson 02005-X (4151-3/52-1), only form of issue, 1 Dec., 1920. A-, lovely copy has lt. rubs, inaud. MB 12

M0274. MILAN LUSK, w. Ludmila Vojáckova-Wetché (Pf.): Kinderscenen – Träumerei (Schumann) / Cavatina (Raff). 10” black Emerson 10331 (4917-2/16-1), only form of issue, 1920-21. A-, lovely copy has lt. rubs & very few mks, ltly audible. MB 12

M0275. MILAN LUSK, w. Ludmila Vojáckova-Wetché (Pf.): Romanza andaluza (Sarasate) / Valse bluette (Drigo). 10” black Emerson 02007-X (4155-2/56-2), only form of issue, 1 Dec., 1920. A-, lovely copy has lt. rubs & occasional mks, ltly audible. MB 12

M0276. MILAN LUSK, w. Ludmila Vojáckova-Wetché (Pf.): Humoresque #7 in G-flat (Dvorák) / Thaïs - Méditation (Massenet). 10” black Emerson 02006-X (4153-2/54-2), only form of issue, 1 Dec., 1920. A-, lovely copy has lt. rubs, occasional mks, inaud. MB 12

M0277. MILAN LUSK, w. Ludmila Vojáckova-Wetché (Pf.): Souvenir in D (Drdla) / Jocelyn – Berceuse (Godard). 10” black Bell S-48 (3048-A/B), only form of issue, 1920-21. A-, beautiful copy has, Sd.2 only, tiny scr minimally audible just a very few turns; remarkably quiet surfaces. MB 15

“In 1913 Milan Lusk began his studies with Otakar Sevcik at the Vienna Akademie where he won the Royal Akademie Scholarship in 1914. He made his debut as soloist with the Tonkünstler Orchestra in Vienna under the baton of Oskar Nedbal and was immediately engaged for numerous appearances as soloist with the Prague Philharmonic Orchestra and others. Hundreds of American concerts soon followed, and in 1924 he returned to Europe for an extensive tour. Roumania’s Queen Marie made him her protege and practically sponsored his third European tour in 1926. Czechoslovakia’s president Masaryk honored him for the sixty benefit concerts he gave in Europe and America during the war. [He would die in Prague in his mid-30s, on 8 Sept.,1932, after an operation].
- Poughkeepsie Star, Oct., 1927

M0278. EMILY GRESSER: Hungarian Dance #2 in d (Brahms) / Le Coq d’Or – Hymn to the Sun / Sadko – Song of India (Rimsky-Korsakov). 11¼” dark-green H & D paper label US-Pathé 52031, recorded 1919. M-A 8

M0279. EMILY GRESSER: Serenade #1 in A / Souvenir in D (both Drdla). 10” dark-green Davega 5026 (from Pathé H & D), recorded 15 April, 1921. A-, lovely copy has faintest rubs, inaud. MB 8

M0280. ROMAN TOTENBERG, w.Ernst Wolff (Pf.): Flight of the bumblebee (Rimsky-Korsakov) / Londonderry Air. 10” burgundy Sonora 4032, only form of issue, 1939. A to M-A, lovely copy has faint rubs, inaud. MB 15

M0281. ROMAN TOTENBERG & EDDY BROWN, w.Jascha Zayde (Pf.): Serenade #1 in G for Two Violins (Sinding), 4s. 2-10” black Royale 1809/10, only form of issue, c.1942. M-A MB 25, the Pair.

M0282. ROMAN TOTENBERG & EDDY BROWN, w.Carleton Cooley, Frank Miller, John Wummer & Edward Vito: Three Pieces for Flute, Harp & String Quartet (Mason), 4s. 2-10” black Royale 1867/68, only form of issue, c.1942. M-A MB 35, the Pair.

M0283. ROMAN TOTENBERG & EDDY BROWN, BENNO RABINOFF & BORIS SCHWARZ; Ernst Victor Wolff (Harpsichord): Concerto for Four Violins in D (Leonardo Leo), 4s. 2-10” black Royale 1826/27, only issue, c.1942. M-A MB 45, the Pair.

“Roman Totenberg, a Polish-born violin prodigy who came of age in the era of expressive players like Fritz Kreisler and Jascha Heifetz, shared their virtuosity and influenced generations of musicians as a teacher, performed as a soloist with major orchestras in the United States and Europe. As a teenager he studied in Berlin with Carl Flesch, a celebrated teacher. Later, anticipating the rise of the Nazis, he moved to Paris, and by the late 1920s he was studying and playing with leading European conductors and composers. He was, at different times, a colleague of Igor Stravinsky, Aaron Copland, Leopold Stokowski, Arthur Rubinstein and Yehudi Menuhin. At Menuhin’s home in Alma, Calif., in the 1940s, he formed the Alma Trio with the pianist Adolph Baller and the cellist Gabor Rejto. As a soloist, Mr. Totenberg gave premiere performances of violin concertos by Darius Milhaud, Karol Szymanowski and William Schuman and sonatas by Paul Hindemith and Arthur Honegger. His performances of Samuel Barber’s Violin Concerto helped lift it into the canon. He was the last great representative of a tradition in which music was an essential form of life. He personalized the making of music and turned it into an intensely expressive medium with all the nuance of the human voice. If modern violin playing is an undifferentiated carpet of sound, for this guy it was a voice of intimacy, a voice of drama. The violin wasn’t a machine; it was a living vehicle of human expression’.

He created his most formidable legacy at Boston University, where he spent more than half a century, holding a 100th-birthday concert in his honor at Boston‘s Symphony Hall in November 2010.
- Bruce Weber, THE NEW YORK TIMES, 8 May, 2012

M0284. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Rondino on a Theme by Beethoven (Kreisler) / Orfeo ed Euridice – Mélodie (Gluck). 10” Col.17408-D, only form of issue, 30 April / 21 May, 1942. M-A MB 15

M0285. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Sonata #17 (in Set presented as #24) in C, K.296 (Mozart), 4s. 2-12” PW Col. 69683/84-D, POM-3 May, 1939, in Orig. Album X-143. M-A MB 20, the Set.

M0286. NATHAN MILSTEIN, w.Leopold Mittman (Pf.): Sonata in D (Vivaldi-Respighi), 2s. 12" MasterWorks Col. 68478-D, POM-21 Feb., 1936 A-/M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. MB 15

M0287. NATHAN MILSTEIN: Partita #2 in d for Violin Unaccompanied (Bach), 5s. 3-12” MasterWorks Col. 68814/16-D, POM-1935, in Orig. Album 276. M-A MB 45, the Set.

M0288. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Violin Concerto in B-flat – Adagio / Rondo (Stamitz). 12” PW Col. 70747-D, POM-14 Oct., 1940. M-A MB 20

"There can be no argument about Nathan Milstein's exalted place in the hierarchy of 20th-century violinists. To many, Mr. Milstein - the last surviving pupil of Leopold Auer, considered the 20th century's pre-eminent teacher of violin - was the greatest of all exponents of the 19th-century violin repertory, though he played music from Bach to Prokofiev and had achieved a special affinity for the Bach unaccompanied sonatas. As with all Romantics, it was with the expressive side of music that Mr. Milstein was primarily concerned. But he never paraded any spurious emotions onstage. His interpretations were marked by a sweet, pure tone produced by an infallible bow arm, by vaulting melodic phrases and a keen sense of the music's structure. In an age when the new generation of critics tended to despise the performances of pre-Beethoven music by such towering figures as Heifetz and Horowitz, Mr. Milstein's Bach remained immune to criticism. And in his Romantic repertory he was acknowledged as a supreme master and the last great active exponent of the Auer school.”
- Harold C. Schonberg, THE NEW YORK TIMES, 22 Dec., 1992

M0289. ERICA MORINI, w.Artur Balsam (Pf.): Hungarian Dances (Brahms), 6s. 3-10” RCA 10-1213/15, only form of issue, 25 & 28 Sept., 1945, in Orig. Album M-1053. M-A, as unplayed! MB 15, the Set.

M0290. ERICA MORINI, w.Emanuel Balaban (Pf.): Mazurka (Zarzycki) / w.Alfred Lennartz (Cello): Carmen – Fantasie (Bizet-Sarasate). 12” Vla 6445,POM-4 Nov., 1921 / 7 Jan., 1924, only form of issue, Sd.2 (although assigned S/S issue number). M-A, albeit wee pressing bump, Sd.1. MB 10

M0291. ERICA MORINI, w.Alice Morini-Wolski (Pf.): Capriccio valse (Wieniawski). 12” Vla 74686,POM-6 April, 1921. A-, lovely copy has faint rubs, inaud. MB 8

M0292. ERICA MORINI, w.Raucheisen (Pf.): Variations on a Theme of Corelli (Tartini) / Larghetto (Handel). 12” PW burgundy Brunswick-Polydor 95046 (228/231½ bg), POM-1926. M-A, lovely copy has, Sd. 2 only, few lt.mks. faintly audible. Choice Brunswick pressing. MB 10

M0293. ERICA MORINI, w.Emanuel Balaban (Pf.): Violin Concerto #2 in d - Romanza (Wieniawski). 12” Vla 74717,POM-4 Nov., 1921. M-A, albeit wee pressing bump. MB 10

M0294. ERICA MORINI, w.Alice Morini-Wolski (Pf.): Romanza andaluza (Sarasate). 12” Vla 74692,POM-6 April, 1921. M-A MB 10

M0295. ERICA MORINI, w.Kurt Hetzel (Pf.): Flower Song (Lange) / w.Nathaniel Shilkret (Pf.): Hearts and flowers (Brine-Tobani). 12” Vla 6454,POM-4 Nov., 7 Jan. / 27 March, 1924, only form of issue, USA (although assigned S/S issue numbers). M-A MB 12

“Morini made her Viennese debut in 1916, and it resulted in a personal invitation from the conductor Arthur Nikisch to perform with the Leipzig Gewandhaus Orchestra and the Berlin Philharmonic Orchestra. In 1920 she toured the United States, where she made her concerto debut under Artur Bodansky and presented four highly praised recitals at Carnegie Hall. It was as a musician pure and simple that she earned consistently glowing reviews. After a 10-year absence from the New York concert stage, she returned in 1976 to give a recital at Hunter College. Donal Henahan wrote in THE TIMES that the concert was ‘one of the most musically satisfying of this season’. She retired from the stage soon afterward. Harold C. Schonberg, the former chief music critic of THE TIMES, once described Miss Morini as ‘probably the greatest woman violinist who ever lived’, though the notion was not one that pleased her. ‘A violinist is a violinist’, she said, ‘and I am to be judged as one - not as a female musician’."
- THE NEW YORK TIMES, 3 Nov., 1995

M0296. MAUD POWELL: Four American Folk Songs (Dvorák). 12” Vla 74547, POM-6 June, 1917. M-A MB 10

M0297. MAUD POWELL: Have pity, sweet eyes (Tenaglia). 12” Pat.’12 V 74325, POM-27 Sept., 1912. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0298. MAUD POWELL: Hejre kati (Czardas) (Hubay). 12” Pat.’12 V 74324, Orig. ‘A’ Plate issue, POM-27 Sept., 1912. M-A MB 10

M0299. MAUD POWELL: Danzas Españolas - Danza Españolas #8 in C (Sarasate). 12” Pat.’12 V 74259, POM-28 Oct., 1911. M-A, a pristine copy! MB 10

M0300. MAUD POWELL: Cavatina (Raff). 12” Pat.’12 V 74283, POM-27 Dec., 1911. M-A, a pristine copy! MB 10

M0301. MAUD POWELL: Kol Nidrei (Bruch). 12” Vla 74355, POM-8 Sept., 1913. M-A MB 10

M0302. MAUD POWELL: Humoresque #7 in G-flat (Dvorák). 12” V 74494, POM-5 June, 1916. M-A, a pristine copy! MB 10

M0303. MAUD POWELL: Valse triste (Sibelius). 12” V 74402, POM-24 June, 1914. M-A MB 10

M0304. MAUD POWELL: Quintet in E - Minuet (Boccherini). 12” V 74354, POM-9 Sept., 1913. M-A MB 10

M0305. MAUD POWELL: Xerxes – Ombra mai fu (Handel). 12” V 74412, POM-25 June, 1914. M-A MB 10

M0306. MAUD POWELL: Violin Concerto #3 in G – Andante tranquillo (de Beriot). 12” V 74492, POM-5 June, 1916. M-A, a pristine copy! MB 10

M0307. MAUD POWELL: Violin Concerto #3 in G – Allegro moderato (de Beriot). 12” Vla 74493, POM-5 June, 1916. M-A, a pristine copy! MB 10

M0308. MAUD POWELL: Violin Concerto #7 in G – Allegro maestoso (de Beriot). 12” V 74446, POM-18 June, 1915. M-A MB 10

“Maud Powell was the first American violinist to achieve international acclaim for her skill and virtuosity. She studied under Henry Schradieck at the Leipzig Conservatoire, Charles Dancla at the Paris Conservatoire (after placing first in the entrance exam), and Joseph Joachim at the Berlin Hochschule, among others. In 1885 she played Bruch's g minor concerto in her debut with the Berlin Philharmonic under Joachim's baton, and again with the New York Philharmonic under Theodore Thomas. She premiered violin concerti by Tchaikovsky and Sibelius in America and premiered the Dvorák violin concerto in New York under the supervision of Dvorák himself.”

M0309. ALFREDO CAMPOLI, w.Gerald Moore (Pf.): Liebeslied / Liebesfreud (both Kreisler). 10” plum HMV B.9011, only form of issue, 1940. M-A MB 12

M0310. ALFREDO CAMPOLI and his Salon Orch.: A prayer at eventide (King) / Daddy long-legs (Wright). 10” plum HMV BD 812, POM-1940. M-A MB 10

M0311. ALFREDO CAMPOLI and his Salon Orch.: The grasshoppers’ dance (Bucalossi) / Chinese street serenade (Slede). 10” plum HMV BD 794, POM-1940. M-A MB 10

M0312. ALFREDO CAMPOLI and his Salon Orch.: The jolly brothers waltz (Vollstedt) / Phil the fluter’s ball (French). 10” plum HMV BD 708, POM-1939. M-A MB 10

M0313. IDA HAENDEL, w.Ivor Newton (Pf.): Hungarian folktunes (Bartók), 2s. 12” red Eng. Decca K.2029, POM- 15 Sept., 1947. M-A MB 35

M0314. IDA HAENDEL, w.Adela Kotowska (Pf.): Le petit ane blanc (Ibert) / El sombrero de tres picos – The Miller’s dance (de Falla). 10” red Eng. Decca M.603, POM-1947. A to M-A, lovely copy has faintest rubs, inaud. MB 15

M0315. IDA HAENDEL, w.Adela Kotowska (Pf.): Notturno / Tarantella (both Wieniawski). 12” red Eng. Decca K.1651, POM-1942. M-A MB 25

M0316. IDA HAENDEL, w.Basil Cameron Cond.National S.O.: Introduction and Rondo capriccioso (Saint-Saëns), 2s. 12” red Eng. Decca K.1171, POM-28 April, 1945. M-A MB 15

M0317. IDA HAENDEL, w.Basil Cameron Cond.National S.O.: Violin Concerto in D (Tschaikowsky), 8s. 4-12” red Eng. Decca AK.1444/47, POM-1945 & 1946. M-A MB 25, the Set.

M0318. IDA HAENDEL, w.Karl Rankl Cond.National S.O.: Violin Concerto in a (Dvorák), 8s. 4-12” red Eng. Decca AK.1744/47, POM-30 July, 1947. M-A MB 25, the Set.

M0319. IDA HAENDEL, w.Rafael Kubelik Cond.Philharmonia Orch.: Violin Concerto #1 in g (Bruch), 8s. 3-12” plum HMV C.3802/04, POM-4 Oct., 1948. M-A MB 25, the Set.

“Ida Haendel attracted attention as winner of the Polish prize in the first Wieniawski Competition (1935), a contest in which Ginette Neveu won first prize and David Oistrakh second in the international category. As a child Haendel studied in Paris and London with Carl Flesch and Georges Enescu. Moving with her parents to London prior to the outbreak of World War II, she soon became active in the British musical scene and during the war gave many recitals for the troops. Specializing in the concerto repertoire, she performed with Beecham, Boult, Goossens, Harty, Sargent, and Wood and such continental conductors as Munch, Klemperer, Dobrowen, Solti, Markevitch, and Kletzki.

Her London debut in the Beethoven concerto under Sir Henry Wood took place in 1937 (when she was not yet ten). Her recording career began in 1940 with Decca. Haendel moved to Canada in 1952, settling in Montréal.
- The Canadian Encyclopedia

M0320. ALBERT SANDLER,w.Sidney Torch (Christie Unit Organ): Xerxes - Ombra mai fu (Handel) / Londonderry Air. 10” violet Eng. Col. FB.1594, POM-1936, recorded in the Regal Cinema, Marble Arch, London. A to M-A MB 10

“Clearly Torch must have been a talented pianist, because his first professional engagement was as accompanist to the celebrated violinist Albert Sandler.”
- David Ades, The Robert Farnon Society

M0321. DE GROOT TRIO (David DeGroot, David Bor, H. M. Calve): Le Carnaval des Animaux – Le Cygne (Saint-Saëns) / Londonderry Air. 10” plum PW HMV B2943, only form of issue, 1929. M-A MB 8

”de Groot’s playing never sank into routine….Sir John Barbirolli, something of a youthful prodigy on the cello in those days, once said to me, ‘I played in every theatre pit in London, and I cannot think why I never played for de Groot. I should have enjoyed the experience’….I was never able to underestimate de Groot’s qualities of taste, discipline, showmanship and mastery of his particular style of playing.”
- Ivor Newton, AT THE PIANO, pp.29-33

M0322. NORBERT WETHMAR: Le Carnaval des Animaux – Le Cygne (Saint-Saëns) / La Boheme – Quando m’en vo (Puccini). 10” green Eng.Zonophone 5654, only form of issue, 7 March, 1930. M-A MB 15

M0323. DAVID WISE, w.Sargent Cond. Liverpool Phil.: The Lark ascending (Vaughan Williams), 4s. 2-12” dark-blue Eng. Col. DX 1386/87, only form of issue, 18 April, 1947. M-A, a pristine copy! MB 25, the Pair.

M0324. ISOLDE MENGES, w.Eileen Beattie (Pf.): Partita #3 in E – Gavotte (Bach) / Hungarian Dance #7 in A (Brahms). 10” plum PW HMV B3465, POM-30 Jan., 1910. A-, lovely copy has very lt.rubs, inaud. MB 8

M0325. ISOLDE MENGES, w.Arthur de Greef (Pf.): ‘Kreutzer’ Sonata in A (Beethoven) (1925 Version), 8s. 4-12” Orth Vla 9001/04, POM-1925. M-A MB 20, the Set.

M0326. ISOLDE MENGES, w.Harold Samuel (Pf.): ‘Kreutzer’ Sonata in A (Beethoven) (1929 Version), 6s. 3-10” plum PW HMV B3098/3199, POM-1925. M-A MB 15, the Trio.

M0327. ISOLDE MENGES, w.Harold Samuel (Pf.): Sonata #3 in d (Brahms), 6s. 3-12” plum PW HMV C 1923/25, POM-1929. M-A, albeit Sd.5 only has faintest rubs, inaud. MB 15, the Trio.

M0328. ISOLDE MENGES & WILLIAM PRIMROSE, AMBROSE GAUNTLETT & TICEHURST: ‘Golden’ Sonata in F for Two Violins with Figured Bass (Purcell), 4s. 2-12” buff MasterWorks Col. 11098/99-D, POM-1 Oct., 1935. M-A, pristine copy of choice MasterWorks pressing. MB 15, the Pair.

M0329. HENRI TEMIANKA, w.Johanna Graudan (Pf.): / Polonaise brillante #2 in A (Wieniawski), 2s. 12” red Decca-Odeon G-25770, POM-1935. M-A MB 15

M0330. HENRI TEMIANKA, w.Johanna Graudan (Pf.): / Danzas Españolas – Malagueña (Sarasate) / Scherzo-Tarantelle (Wieniawski). 12” red Decca-Odeon G-25771, POM-1936. M-A MB 15

“Henri Temianka’s solo recordings from the 1930s have long been prized by collectors of violin disks. With the Paganini Quartet, which he founded in 1946, he played the world premieres of works by Darius Milhaud, Mario Castelnuovo-Tedesco and Benjamin Lees, among others. The California Chamber Symphony, which Mr. Temianka started in 1961, gave the first performances of music by Gian Carlo Menotti, Carlos Chavez, Malcolm Arnold, Alberto Ginastera and Aaron Copland.

Mr. Temianka was born in Greenock, Scotland, on Nov. 19, 1906. He studied with Willi Hess and Jules Boucherit in Berlin and Paris, and later with Carl Flesch at the Curtis Institute in Philadelphia, where he also studied conducting with Artur Rodzinski. He made his New York debut in 1928 at Town Hall. In 1935, he entered the Wieniawski Competition in Warsaw and won third prize, after Ginette Niveu and David Oistrakh. He was the concertmaster of the Scottish Orchestra from 1937 to 1938 and of the Pittsburgh Symphony from 1940 to 1941, but he devoted most of his efforts to an expanding career as a soloist. In 1945, he became an American citizen. He wrote more than 100 articles for a variety of publications, and in 1973 he published an anecdotal autobiography, FACING THE MUSIC [B0214, Norbeck, Peters & Ford]."
- THE NEW YORK TIMES, 10 Nov., 1992

M0331. MARJORIE HAYWARD: Valse triste (Cyril Scott) / Serenade #1 in A (Drdla). 10” plum HMV B 2140, only form of issue, 1925. M-A MB 12

M0332. KATHLEEN WASHBOURNE & JESSIE HINCHCLIFFE: Theme and Variations for Two Violins (Rawsthstone), 4s. 2-12” dark-blue Eng. Decca K.884/885, only form of issue, 1938. M-A MB 15, the Pair.

“’Theme and Variations for two violins’ is a significant landmark in Alan Rawsthorne’s output, in terms of compositional development as well as the audience reception that brought the composer to international acclaim for the first time. Here Rawsthorne establishes his own voice with a sound world that has its roots in baroque form but at the same time expands to a new range of expression.

Rawsthorne completed the work in 1937, dedicating it to his wife, the violinist Jessie Hinchliffe and her duo partner, Kathleen Washbourne. A series of performances by the dedicatees followed in 1938, with the première at the Wigmore Hall and then a performance at the Festival of the International Society of Contemporary Music. Soon after, Decca released a recording of their performance, the first commercial recording of Rawsthorne’s music.”
- Midori Komachi

M0333. ADOLF BUSCH & RUDOLF SERKIN: Spring Sonata #5 in F, Op.24 (Beethoven), 6s. 3-EL 12” PW V 8351/53, POM 17 May, 1933, in Orig. Album M-228. M-A, beautiful copy has very faintest rubs, inaud. MB 35, then Set.

M0334. ADOLF BUSCH & RUDOLF SERKIN: Sonata #3 in E-flat, Op.12 (Beethoven), 4s. 2-12” Scroll V 7560/61, POM-5 May, 1931, on ‘Z’ shellac. M-A, exceptional copy has, Sds. 1 & 2 only, very faintest rubs, inaud. MB 35, the Pair

M0335. ADOLF BUSCH & RUDOLF SERKIN: Sonata #3 in E-flat, Op.12 (Beethoven), 4s. 2-12” LVDP DB 1519/20, POM-5 May, 1931. M-A MB 25, the Pair

M0336. ADOLF BUSCH & RUDOLF SERKIN: Sonata #1 in a (Schumann), 4s. 2-12” PW V 15393/94, POM-9 Oct., 1937, in Orig. Album M-551, w.Brochure. M-A MB 35, the Set.

M0337. ADOLF BUSCH: Partita in d for Violin Unaccompanied (Bach), 6s. 3-12” Orth Vla 7557/59, POM-8 Nov., 1929, in Orig. brown Victor Album Orig. Album AM-13, w.Brochure. M-A, exceptional copy has detached album spine. MB 150, the Set.

M0338. ADOLF BUSCH, w.Busch Chamber Players: Concerto #2 in E (Bach), 5s. / Sd.6 = Sonata #5 in g – Adagio (Corelli). 3–12” PW Col. 11914/16-D, only form of issue, 27 May, 1942, in Orig. Album MM 530. M-A MB 45, the Set.

M0339. ADOLF BUSCH & RUDOLF SERKIN: Sonata #2 in A (Brahms), 4s. 2-12” Scroll V 8359/60, POM 20 Sept., 1932, partially on ‘Z’ shellac, in handmade album. M-A, lovely copy has faintest rubs, inaud. MB 25, the Set.

M0340. ADOLF BUSCH & RUDOLF SERKIN: Sonata #1 in G (Brahms), 6s. 3-12” Scroll, PW V & Orth Vla 7487/89, POM 4 May, 1931, partially on ‘Z’ shellac, in Orig. Album M-121. M-A MB 35, the Set.

M0341. BUSCH CHAMBER PLAYERS: Spirituals (transcribed for chamber orchestra), 6s. 3-10” Col. 17551/53-D, POM 1945, in Orig. Album MM-764. M-A, exceptional copy has, Sd.1 only, tiny pressing bump. Quite Elusive! MB 45, the Set.

“'His bowing arm was enormous. He had a wonderful legato which would go on and on; you wouldn't have known he had changed bows’ said his pupil Moryc Cybula….Suffice it to say that as with any great singer or violinist, Busch's sound is instantly recognisable, one of the most haunting on record. 'Every note said something’, Blanche Honegger testified, 'He didn't have a tone that was just ready-made and which he used for everything; his tone was a continuous creation, meant to express everything that he felt in music, and it did’….Busch…retained the ‘expressive portamento’ to the end….As the violinist Maria Lidka said: ‘Busch's's an art we’ve lost today. He did it so musically and so tastefully’. Busch also believed in playing an entire phrase on one string where possible.
– Tully Potter

M0342. ANNA HEGNER, w.Otto Urack (Pf.): Hungarian Dances Nos.5 & 7 (Brahms). 10" green, white & black German Vox 6031 (462/463½), only form of issue, 1921. M-A, beautiful copy has, Sd.1 only, faintest ipc. MB 75

“Anna Hegner was recognised for her concerts in Basel, Berlin, Leipzig and London. For some time she lived and worked in Frankfurt and was Paul Hindemith's violin teacher.”
- Wikipedia

M0343. FRANZ DRDLA, w.Emrich Kriz (Pf.): Valse viennese / Graziella (both Played by the Composer). 10” dark-green Schall.Gram. 20198 (3403/04ar), POM-1920. A to M-A, lovely copy has faintest rubs, inaud. MB 45

M0344. RUDOLF DEMAN, w.Dechert (Cello) & Urack (Pf.): Der Engel Lied - Serenade (Braga) / Mélodie (Rubinstein). 12" green, white & black German Vox 6046 (570/573), sole issue, 1921. M-A, beautiful copy has, Sd.2, wee pressing bump. MB 15

M0345. GEORG KULENKAMPFF, w.Georg Solti (Pf.): Sonata #1 in G (Brahms), 6s. 3-12” red Eng. Decca AK 1705/07, POM-1947. M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.

M0346. JAN DAHMEN: Violin Sonata #1 in g – Praeludium (Bach), 2s. 12” dark-blue Telefunken E1671, only form of issue, 27 Nov., 1933. A-, lovely copy has faint rubs, inaud.; Sd.1 only has insignificant small ‘heat’ mk, just barely audible a few turns. MB 10

M0347. JAN DAHMEN, w.Böhm Cond.: Concerto #5 in A, K.219 (Mozart), 8s. 4-12” PW HMV DB 4578/81, only form of issue, 1938. M-A MB 25, the Set.

“Dahmen was appointed as concertmaster of the Berliner Philharmonic (1919-1921). In 1922 he was given that position at the Gewandhausorchester in Leipzig and in 1924 at the Staatskapelle Dresden, where he stayed 21 years. He toured in 1930 through the Dutch East Indies and in 1932 through Spain. By the end of the Second World War he lost all his possessions during the bombing of Dresden. He then went as concertmaster to the Göteborg Symphony Orchestra. He returned to the Netherlands in 1948 to become concertmaster of the Concertgebouw Orchestra at the request of his friend, chief conductor Eduard van Beinum, a position he held until his death.”

M0348. JAN RUDENYI: Serenade (Played by the Composer – a.k.a. Raimund Pechotsch): / Thaïs - Méditation (Massenet). 11¼” black H & D paper label US-Pathé 30026, recorded c.1912, Paris. MB 8

M0349. ZOLTAN SZÉKELY, w.Geza Frid (Pf.): Violin Sonata #2 in G (Porpora), 2s. 12” dark-blue Eng. Decca K.863, POM- 28 April, 1937. M-A, beautiful copy has faintest rubs, inaud. MB 45

“Székely's acquaintance with Béla Bartók, arranged by Kodály in March 1921, was of immense importance. Kodály, a good friend of Bartók, advised Székely to bring his own work to the meeting. Székely showed Bartók his solo sonata written a year earlier. Bartók was very much impressed by Székely and the following month, in April 1921, they gave two concerts together. It was the beginning of a fruitful collaboration lasting almost twenty years, with many performances. Their friendship is illustrated by the fact that Bartók dedicated two major compositions to Székely: his Second Rhapsody (1928) and that which would become the Second Violin Concerto (1937-1938). Székely obviously premiered both works. The premiere performance of the Violin Concerto on March 23, 1939 with the Concertgebouw Orchestra Amsterdam conducted by Willem Mengelberg was an historic feat. As of 1926, Székely was the soloist in various violin concertos with Mengelberg’s Concertgebouw Orchestra. Obviously most often in Bartók's Violin Concerto, which was especially written for Székely: he performed this concerto ten times with the orchestra.”
- Forbidden Music Regained

M0350. SIEGFRIED BORRIES, w.Heinz Breiden (Fl.) & Max Saal (Harp): Serenade (Svendsen) / Madrigal in D (Simonetti). 10” plum PW HMV EG 6248, only form of issue, 10 Jan., 1938. [At age 21, Borries was named Concertmaster of the Berlin Philharmonic by Furtwängler in 1933] M-A MB 15

M0351. TOSSY SPIVAKOVSKY: Sonata #XI / Sonata #XII (Paganini). 12” red Decca 25049, POM-15 Jan., 1927 M-A MB 12

M0352. TOSSY SPIVAKOVSKY: Danzas españolas - Zapateado, Op.23, #2 (Sarasate) / Slavonic Dance #2 in e (Dvorák). 12” red Decca 25379, POM-12 June, 1931 / 11 June, 1930. M-A MB 12

M0353. TOSSY SPIVAKOVSKY: Introduction and Tarantelle (Sarasate) / Hungarian Dance #1 in g (Brahms). 12” red Decca 25272, POM-11 Oct., 1929 / 11 June, 1930. A-, lovely copy has faintest scuffs & few lt.mks, occasionally ltly audible. MB 8

“Tossy Spivakovsky, a violinist and teacher who developed a special bowing technique for the performance of the solo Bach suites, and who gave the first American performances of Bartók's Second Violin Concerto, was part of the wave of Russian and Ukrainian violinists who dominated the concert stage for much of the 20th century. But Mr. Spivakovsky's training, musical interests and early career decisions put him in a different orbit from his colleagues. Where most of the famous Russian players of the time studied with Leopold Auer at the St. Petersburg Conservatory, Mr. Spivakovsky studied in Berlin with Arrigo Serato and Willy Hess. Mr. Spivakovsky was born in Odessa in 1906 and grew up in Berlin, where he established himself as a prodigy with a debut recital at age 10. He undertook his first tour of Europe when he was 13, and although he took a position as concertmaster of the Berlin Philharmonic when he was 18, he returned to touring after two years with the orchestra. He toured Australia in 1933 and accepted a teaching position at the University Conservatorium of Melbourne. In 1940, he moved to New York. He made his debut at Town Hall that year. He gave the American premiere of the Bartók Second Concerto with Artur Rodzinski and the Cleveland Orchestra in 1943, and then gave the work its first performances in New York and San Francisco. Mr. Spivakovsky taught violin and chamber music at the Juilliard School from 1974 to 1989.”
- Allan Kozinn, THE NEW YORK TIMES, 27 July, 1998

M0354. LASZLO SZENTGYÖRGI, w.Schmaltstich Cond. Berlin Staatsoper Orch.: Violin Concerto #1 in D (Paganini), 4s. 2-12” Electrola EH 418 & HMV EH 419, POM-21 Oct., 1929. A to M-A, lovely copy has lt. rubs, inaud. MB 15, the Pair.

M0355. LAJOS SZIKRA, w.Raucheisen (Pf.): Libellules (Zsolt) / Bagatelles – L’abeille (François Schubert) [Inspirations from Dragonflies to Bees!]. 10” red Decca-Odeon G-20451. [A student of József Bloch, Gyula Mambriny and Zoltán Kodály in Budapest, Szikra was active in Europe 1920-‘40]. A-, lovely copy has lt.rubs, inaud. MB 12

M0356. KUMARA GURU: Nadopasana-Begada / Entharani-Harikamboji. 10” Indian HMV N.18973. M-A MB 10

M0357. PAUL KOCHANSKI, w.Fred Tresselt (Pf.): Hungarian Dance #1 in g (Brahms) / La Gitana (Kreisler). 10” brown shellac Vocalion 60010 (NN 10958/45), POM-1921, Polydor. M-A, a glorious copy! MB 125

M0358. PAUL KOCHANSKI & ARTHUR RUBINSTEIN (Pf.): Sonata #3 in d, Op.108 (Brahms), 6s. 3-12” PW V 8483/85, POM-15 June, 1932, in Orig. Album M-241, w.Brochure. M-A, appears unplayed! MB 65, the Set.

“Paul Kochanski made pitifully few recordings. We must be grateful for his Brahms Op.108 collaboration with his old friend Arthur Rubinstein, but the handful of acoustic Vocalions barely begins to compensate for the performances that were not recorded, prominent among them Szymanowski whose music he did so much to propagate. It was left to a later generation of Polish violinists to set down their markers on the repertoire - players such as Uminska and Wilkomirska.”
- Jonathan Woolf, musicweb-international

M0359. EUGENIA UMINSKA, w.Fitelberg Cond. Philharmonia Orch.: Violin Concerto #1 in a (Szymanowski), 4s. 3-12” Parlophone SW 8101/03, POM-22 Sept., 1948. M-A, a pristine copy! MB 25, the Trio.

“From 1915 to 1918, Eugenia Umińska was a member of the Warsaw Music Society, where she was a student of Mieczysław Michałowicz. She completed her development with Otakar Ševčík (1927–28) and George Enescu (1932–34). In the years 1932–1934 she was the concertmaster of the Orchestra of the Polish Radio in Warsaw, and following this in 1937 became the second concertmaster of the Warsaw Philharmonic. At the same time, she was first violin in the string quartet of the Warsaw Music Society and member of the Polish String Quartet. Playing in a duo with Karol Szymanowski she influenced similar compositions. During the 1940s she performed as soloist with orchestras in many countries, but during the German occupation a regular concert career was not possible, thus she instead formed a piano trio with Kazimierz Wiłkomirski (cellist) and pianist Maria Wiłkomirska, which appeared regularly at a cafe-house in Zachęta-Gebäude. She took part in close to a hundred concerts before the start of World War II. In occupied Poland she refused an offer to play for the Nazi Germans, went into hiding and joined the Polish resistance as a medic. She took part in the Warsaw Uprising, was captured by the Germans but managed to escape during transit. After the war she became a professor at the Academy of Music in Kraków, and Academy's Rector between 1964 and 1966. She was active in various music-related groups and a judge in many musical competitions in Poland and abroad.”

M0360. JOSEPH SZIGETI,w. Andor Foldes (Pf.): ‘Children's Day at Camp Meeting’ Violin Sonata #4 ‘ (Charles Ives). 12” pale-blue New Music Recordings 1612, only form of issue, 14 Feb., 1942, sponsored by the League of Composers. M-A, lovely copy has faintest rubs, inaud.; Sd. 2 label only has wee tear. MB 15

“This premiere recording of the Fourth Violin sonata, originally issued on Henry Cowell's New Music label (which Ives was helping to finance) in 1942….at times Szigeti’s playing sounds more like a gypsy than a Connecticut Yankee.”
– David Hall

M0361. ALEXIS ZOUMBAS, w.George Hatzeles (Cimbalom): Rast taxim / hedzaz taksim. 12" black Orth. Victor V-76001, only form of issue, 14 Feb., 1928. A-, lovely copy has faint rubs, inaud.; minor label damage. MB 45

“Zoumbas was born in 1883 in Ioannina and, already an accomplished musician, immigrated to the United States in 1910. He performed in New York restaurants and ethnic clubs that featured music of Turkish, Greek rembetika, and Armenian and other music of Asia Minor. Zoumbas had that special ‘xenitia’, the feeling of loss, sadness, and nostalgia. Zoumbas stopped recording in the 1930s but continued to perform, moving to Chicago in 1941 and later to Detroit, where he died in 1946.”
- Dr. Debra Jan Bibel

"Alexis Zoumbas was a technically proficient musician, even virtuosic, but his real gift was in effectively articulating disintegration. There is a palpable hysteria to his playing; each note trembles, as if he has recently suffered an emotional collapse of unknowable magnitude. He enjoyed moderate success as a professional musician (either as a solo performer or as an instrumentalist for a few popular Greek singers), enough that he was able to return to Epirus in 1928, for a daughter’s wedding.”
- Amanda Petrusich, THE NEW YORK TIMES, 24 Sept., 2014

M0362. OSSY RENARDY, w.Walter Robert (Pf.): Sonata in c – Allegro (Sonatensatz) (Brahms) / Adagio in E, K.261 (Mozart). 12” PW V 18032, POM-25 Oct. / 3 April, 1940, issued USA & Australia only. M-A, a pristine copy! MB 25

M0363. OSSY RENARDY, w.Walter Robert (Pf.): Danzas Españolas – Romanza Andaluza / Jota Navarra; Zapateado / Adios montanas mias (Sarasate). 2-12" Col. 72113/14-D, POM-20 Oct., 1938, wartime issue, in Orig. Album MX 134, issued USA only. M-A MB 20, the Set.

M0364. OSSY RENARDY, w.Walter Robert (Pf.): Concerto #1 in A - 1st Movement (as Konzertstücke) (Saint-Saëns) (Complete, as recorded) , 2s. 12" PW V 17479, POM-15 July, 1940, issued USA & Australia only. M-A MB 25

M0365. OSSY RENARDY, w.Walter Robert (Pf.): Ballade in d (Dvorák) / Mazurka in G (Zarzycki). 12” V 18294, POM-10 May, 1940 / 24 Feb., 1941. M-A MB 15

M0366. OSSY RENARDY, w.Walter Robert (Pf.): Airs hongrois variés in A (Ernst), 2s. 12” V 11-8113, only form of issue, 25 Feb., 1941. M-A, lovely copy has faintest rubs, inaud. MB 25

M0367. OSSY RENARDY, w.Walter Robert (Pf.): Sonatina in g, 3s / Sd. 4 = Slavonic dance #8 in g, Op. 46 (both Dvorák). 2-12” PW Col. 69543/44-D, in Orig. Album X 129. M-A, a pristine copy! MB 25, the Set.

M0368. OSSY RENARDY, w.Walter Robert (Pf.): Caprices Nos. 13 - 24, 5s / Sd.6 = Sonata in A (all Paganini). 3-12” PW V 17636/38, only form of issue, 1940, in Orig. Album M 738. M-A MB 45, the Set.

M0369. OSSY RENARDY, w.Walter Robert (Pf.): Danzas Españolas – Zapateado / Adios montanas mias (Sarasate). 12" PW Col. 69622-D, POM-29 March, 1939, issued USA only. M-A, a pristine copy! MB 15

“The meteoric career of Ossy Renardy and its tragic denouement could stand as a paradigm of gilded youth, silenced. Born Oskar Reiss in Vienna in 1920 a peripatetic, essentially untutored, boyhood career saw him starring in variety shows alongside showmen and strongmen until, like the Czech virtuoso Príhoda, he was discovered in Italy and a career was launched. He made a New York début at the age of eighteen and in anticipation of the centenary of Paganini’s death he played the 24 Caprices at Carnegie Hall. The impact must have been substantial because the following year he was asked to record them, the first integral set ever committed to disc....From then his career was American based and after war service he resumed touring in 1947. He died in a car crash in 1953 having shortly before re-recorded the Caprices. His pianist in the earlier recording and steadfast accompanist Walter Robert survived the crash. Brief as his career was and circumscribed though it necessarily had to be, Renardy’s is a name that, like Hassid’s or Weisbord’s or Hochstein’s, will always be tinged with a sense of loss and of promise unfulfilled.”
- Jonathan Woolf

M0370. VIRGILIO RANZATO: Célèbre menuet (Mozart) / Scherzo in d (Played by the Composer). 11¼” black H & D paper label US-Pathé 30138, recorded 1918, Paris. A to M-A, lovely copy has faint rubs, inaud. MB 8

M0371. VIRGILIO RANZATO: Célèbre menuet (Mozart) / Humoresque #7 in G-flat (Dvorák). 10” black H & D paper label US-Pathé 20504, recorded 1918, Paris. M-A MB 12

M0372. VIRGILIO RANZATO: Suite #3 in D - Air on the G String (Bach) / Aubade (Played by the Composer).10” black H & D paper label US-Pathé 20528 recorded 1918, Paris; only form of issue, Sd.2. M-A MB 12

“Virgilio Ranzato, Italian Violinist and Composer of Operettas, was concertmaster for the La Scala Orchestra tour under Toscanini, 1920-21.”
- NEW YORK TIMES, 20 April, 1937

M0373. SCIPIONE GUIDI: Humoresque #7 in G-flat (Dvorák) / Ave Maria (Schubert). 10” black Supertone 9123, POM-1927. A-, very decent copy has lt.rubs, inaud. MB 10

M0374. SCIPIONE GUIDI, w.Leslie Abbott (Pf.): Serenade (Schubert) / Ave Maria (Gounod). 10” dark-blue Gennett 4738 (7507/7508) , POM-15 Aug.,1921. A-, very decent copy has lt.rubs & few minuscule mks, very occasionally ltly audible. MB 10

M0375. SCIPIONE GUIDI, w.Thomas Griselle (Pf.): To a wild rose (MacDowell) / Tambourin chinois (Kreisler) 10” dark-green Gennett 10066 (8037/8038), POM-1925. A to M-A MB 12

M0376. SCIPIONE GUIDI, w.Thomas Griselle (Pf.): Spring Song (Mendelssohn) / Moment musical (Schubert). 10” dark-green Gennett 10068 (8043/8044), POM-1925. A-, very decent copy has lt.rubs & few minuscule mks, very occasionally ltly audible. MB 10

M0377. SCIPIONE GUIDI, w.Alice Shaw (Pf.): Kinderszenen - Träumerei (Schumann) / Souvenir (Drdla). 10” dark-blue Gennett 4729 (7502/7505), POM-15 Aug.,1921. A-, very decent copy has lt.rubs & few minuscule mks, very occasionally ltly audible. MB 10

“Scipione Guidi was an Italian violinist known among cognoscenti especially because of his extraordinary 1928 recording of Richard Strauss’ EIN HELDENLEBEN, under Willem Mengelberg. In 1919 he was hired as concertmaster for the National Symphony of New York (ultimately NYPO). Guidi went on to appear at least 12 times as soloist with the orchestra. Guidi continued at this post for a decade 1921-1931 under Mengelberg and Toscanini, among others. In 1931, Guidi moved as concertmaster of the St Louis Symphony, under Vladimir Golschmann. On December 7, 1934, Guidi played the Sibelius concerto with the orchestra, with Golschmann conducting. Among Guidi’s violins was a 1772 Guadagnini, purchased in 1930.”
- Prone to Violins

M0378. SCIPIONE GUIDI, w.Mengelberg Cond. NYPO: Ein Heldenleben – Sds. 3 & 4 only -violin solo disk (Strauss). 12” Scroll V 6983, Z’ shellac pressing, from Victor Set M-44. POM-12 Dec., 1928. A to M-A, beautiful copy has minor ‘heat’ warp, ltly audible. MB 12

“First violin Scipione Guidi’s silky playing of the ‘beloved’ Pauline motifs…warrant our admiration….”
- Gary Lemco, Audiophile Audition, 25 June, 2008

M0379. MARTA de la TORRE, w. Anibal Valencia (Guitar): La Paloma (Yradier) / Waikiki Hawaiian Orch.: Hawaiian Rainbow (Gravello). 10” paper label Edison H & D 51103 (8640-C/8660-C), POM-1923, M-A, exceptional copy. MB 15

“De la Torre studied at the Royal Conservatory of Brussels with François-Auguste Gevaert, César Thomson and Adolphe-François Wouters, winning the First Prize for violin in 1909. She returned to Cuba and performed there. From 1924 to 1926 she performed throughout France & Spain with Ernesto Lecuona.”
- Cristóbal Díaz Ayala, ICONOGRAPHY CUBAN X

M0380. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Miramar-Zortzico, Op.42 (Played by the Composer). 10” S/S vinyl Special Pressing of Mx.4261, POM-1904. MINT MB 35

M0381. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Zigeunerweisen, Op.20 (Played by the Composer), 2s. 2-10” S/S vinyl Special Pressings of Mx.4263/64, POM 1904. MINT MB 65, the Pair.

M0382. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Miramar (Zortzico), Op.42 / Tarantelle, Op.43 (both Played by the Composer). 10” black Paris Gram. G.C. 47964/65 (4261/60o), POM-1904. M-A, an extraordinary copy with uncommony bright labels. MB 95

M0383. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Tarantelle, Op.43 (Played by the Composer). 10” S/S vinyl Special Pressing of Mx.4260, POM-1904. MINT MB 35

M0384. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Danzas Españolas – Habañera, Op.21, #2 (Played by the Composer). 10” S/S vinyl Special Pressing of Mx.4265o, POM 1904. MINT MB 35

M0385. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Danzas Españolas – Habañera, Op.21, #2 / Caprice basque, Op.24 (both Played by the Composer). 10” black Paris Gram. G.C. 37936/29 (4265/62o), POM-1904. A-, lovely copy with uncommony bright labels has very occasional faintest scr, momentarily audible. MB 75

M0386. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Zigeunerweisen, Op.20 (Played by the Composer), 2s. 2-10” S/S vinyl Special Pressings of Mx.4263/64, POM 1904. MINT MB 65, the Pair.

M0387. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Zigeunerweisen, Op.20 (Played by the Composer), 2s. 10” black PW Historic Catalogue #2 HMV E 329 (4263/64o), POM-1904. M-A MB 35

“Pablo Sarasate entered the Paris Conservatoire at the age of twelve where he became a pupil of Jean-Delphin Alard and also embarked on the study of composition. By the age of fifteen, however, Sarasate had launched himself on a concert career, at first winning a reputation in Spain and France, before more extended tours to North and South America and throughout the rest of Europe. Composers who wrote for him included Saint-Saëns, Bruch, Lalo, Wieniawski and Dvorák, and he remained distinguished for the purity and beauty of his tone, perfection of technique and musical command.”
- David Milsom, Naxos' A–Z of String Players

M0388. JACQUES THIBAUD: Pièces de clavecin, Book III – 20th order – Les Chérubins (Couperin) / Morceaux – Scherzando (Marsick). 11½” H & D paper label US-Pathé 60051, recorded 1918, Brooklyn / 1916 Paris, resp. A-, lovely copy has faint rubs, inaud. MB 15

M0389. JACQUES THIBAUD: Piccolino - Mélodrame (Guiraud) / Thaïs – Méditation (Massenet). 10¾“ Milano Fonotipia 39209/39054 (XPh 526/524), POM-1905. Sd. 2 is ‘Take’ 1 (of 3 issued ‘takes’). C, fine copy has numerous lt. scrs, ltly. audible. MB 15

M0390. JACQUES THIBAUD: Piccolino - Mélodrame (Guiraud) / Melody in F (Rubinstein). 11½” H & D paper label US-Pathé 60046, recorded 1916 Paris / Brooklyn, resp. A to M-A, superb copy has, Sd.1 only, few isolated dust scrs, positively inaud. MB 25

M0391. JACQUES THIBAUD: Serenade (Schubert) / Thaïs - Méditation (Massenet). 11½” H & D paper label US-Pathé 60071, both recorded 1917 Brooklyn. A to M-A, superb copy has, Sd.1 only, sev.minuscule nr, positively inaud. MB 25

M0392. JACQUES THIBAUD, w.Georges de Lausnay (Pf.): Le Déluge – Prélude (1929 Version) (Saint-Saëns) / La Vida Breve – Danza española (de Falla). 12" PW Disque Gram. DB 1338, POM-29 May, 1929. M-A, lovely copy has faintest rubs, inaud. MB 35

M0393. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): España – Tango in D (Albéniz) / Marionettes – Poupée valsante (Poldini). 10" PW Disque Gram. DA 1339, POM-1 July, 1933. M-A MB 25

M0394. JACQUES THIBAUD, w. Harold Craxton (Pf.): Sérènité (Vieuxtemps). 10” Vla 66064, POM-6 Feb., 1922. M-A MB 12

M0395. JACQUES THIBAUD, w.Harold Craxton (Pf.): Moment musical in f (Schubert); Minuet Caprice (Rode). 10” Vla 66065, POM-6 Feb., 1922. M-A MB 12

M0396. JACQUES THIBAUD, w.Harold Craxton (Pf.): Les Fêtes d’Hébé – Tambourin (Rameau); Étude-Caprice #4 (Wieniawski). 10” Vla 66066, POM-6 Feb., 1922. M-A MB 12

M0397. JACQUES THIBAUD, w.Harold Craxton (Pf.): Les Fêtes d’Hébé – Tambourin (Rameau); Étude-Caprice #4 in a (Wieniawski) / Moment musical #3 in f (Schubert); Minute caprice in f (Rode). 10” PW Disque Gram. DA 441, POM-6 Feb., 1922. M-A MB 25

M0398. JACQUES THIBAUD, w.Harold Craxton (Pf.): Slavonic Dance #1 in g (Dvorák) / w.Tasso Janopoulo (Pf.): Sérènité (Vieuxtemps). 10” PW HMV DA 440, POM-6 Feb., 1922. A- / M-A, lovely copy has, Sd.1 only, wee scrs, ever-so-faintly audible once or thrice. MB 12

M0399. JACQUES THIBAUD, w.Paul Paray Cond. Lamoureux Orch: Violin Concerto #3 in G, K.216 (Mozart), 6s. 3-black US-Vox 738/740, recorded 1947, in Orig. Vox Album 642. A-, very decent copy has lt.rubs, inaud. MB 35, the Set.

M0400. JACQUES THIBAUD & n ALFRED CORTOT: Sonata in A (Franck), (1923 Version), 8s. 4-12” AC PW HMV DB 785/88, POM-22 Oct., 1923. Exceedingly Rare! M-A MB 150, the Set.

M0401. JACQUES THIBAUD & ALFRED CORTOT: Sonata in A (Franck) (1929 Version), 8s. 4-12”Orth Vla 8175/78, POM-28 May, 1929, in Orig. brown Victor Album M- 81, w.Brochure. M-A MB 35

M0402. JACQUES THIBAUD, w.Harold Craxton (Pf.): Romance #2 in F (Beethoven), 2s. 12” PW Japanese Scroll V JD-1658 (Cc7400-2/7401-1), POM-25 Nov., 1925. M-A MB 15

M0403. JACQUES THIBAUD, w.Harold Craxton (Pf.): Préludes, Book I – La fille aux cheveux de lin (Debussy) / Waltz #15 in A-flat (Brahms). 10” PW Disque Gram. DA 866, POM-1927/’25. M-A MB 25

M0404. JACQUES THIBAUD, w.Harold Craxton (Pf.): Danza española #5 in e (Andaluza) / Danza española #6 in D (Rondalla aragonesa) (both Granados). 12” PW Disque Gram. DB 1113, POM-21 Oct., 1927. M-A, lovely copy has faintest rubs, inaud. MB 25

“Recognized by critics and the public alike as one of the supreme violinists of his time, Jacques Thibaud was celebrated as both a solo artist and an ensemble player of the first rank. Thibaud appeared in public for the first time at age eight. The year after, he played for the famous violinist Eugène Ysaÿe who, impressed, told others present, ‘he will be the master of us all’. Entering the Paris Conservatoire at the tender age of 13, Thibaud became the pupil of Belgian violinist Martin Pierre Joseph Marsick and succeeded in achieving first prize upon his graduation in 1896. Édouard Colonne who, struck by the young artist's technical mastery and sense of style, took him on as both student and as performer with his celebrated Concerts Colonne. After his debut with the orchestra at its annual festival in Anger, Thibaud frequently performed, appearing a total of 54 times during the 1898-1899 season. With a reputation securely established, Thibaud undertook extensive touring in Europe. In 1903, he visited America, making his debut performing Mozart and Saint-Saëns with the Wetzler Orchestra in New York. His success with critics and audiences was sufficient to keep him in the United States for nearly a year's time. Despite the acclaim accorded him, Thibaud did not revisit America for another ten years. Instead, he consolidated his position in Europe where his reputation stood high among both critics and the public. When he returned to the United States, it was in the company of pianist Harold Bauer. Listeners took particular note of the violinist's shimmering tone and lofty standards of musicianship. Thibaud was a member of the trio, the finest of all, the Thibaud/Casals/Cortot Trio. In 1947, following a 15-year absence, Thibaud appeared once more in the United States, performing with Leopold Stokowski and the New York Philharmonic.”
- Erik Eriksson,

M0405. GINETTE NEVEU, w.Jean Neveu (Pf.): Pièce en forme de habanera (Ravel) / Bagatelle (Scarlatescu). 10" LVSM DA 1871, only form of issue, 12 Aug., 1946. M-A MB 15

M0406. GINETTE NEVEU, w.Jean Neveu (Pf.): Pièce en forme de habanera (Ravel) / Bagatelle (Scarlatescu). 10" HMV DA 1871, only form of issue, 12 Aug., 1946. M-A MB 10

M0407. GINETTE NEVEU, w.Jean Neveu (Pf.): Four Pieces, Op.17 (Suk). 2-12" RCA 11-9840 & 12-0154, POM 14 Aug.,1946. M-A, appears unplayed! MB 35, the Pair.

M0408. GINETTE NEVEU, w.Jean Neveu (Pf.): La Vida Breve - Danza española (de Falla) / Hora stacato (Dinicu). 10" HMV DA 1865, only form of issue, Aug., 1946. M-A MB 25

M0409. GINETTE NEVEU, w.Dobrowen Cond. Philharmonia Orch.: Violin Concerto in D (Brahms), 9s. 5-12" HMV DB 6415/190-S, only form of issue, 17 Aug., 1946. M-A MB 135, the Set.

M0410. GINETTE NEVEU, w.Susskind Cond. Philharmonia Orch.: Violin Concerto in d (Sibelius), 8s. 4-12" HMV DB 6244/47, only form of issue, 21 Nov., 1945, in Orig. HMV Album H390. M-A, appears unplayed! MB 135, the Set.

“It was Ginette Neveu’s winning of the 1935 prize in the Wieniawski Competition at age 16, against a field of 180 competitors that included a 27-year-old David Oistrakh, that assured her international career, doubly so in the wake of the American and Russian debuts that followed. Neveu seemed poised for greatness, particularly after her triumphant appearance at Britain's Edinburgh Festival in 1949. On October 29, 1949, Neveu and her brother boarded a plane for a trip to America and a new tour. The plane crashed in the Azores, with no survivors.”
- Bruce Eder,

M0411. EDOUARD DERU: Sérénade in A (Pierné) / Rondino on a theme of Beethoven (Kreisler). 11½” dark-green H & D paper label US-Pathé 52040, recorded c.1918, Deru’s only known record! A to M-A, lovely copy has faint rubs, inaud. MB 20

“In 1893, Deru won the first prize of violin with distinction at the Royal Conservatory of Brussels and, two years later, was engaged as 1st solo violin at the Théâtre de la monnaie. From his first tour in the United States, Edouard Deru won the most flattering successes. In New York he made his mark on the musical world after his recitals at Aeolian Hall and he expanded his field of artistic activities in all major cities of the United States. On his return to Belgium, Edouard Deru was appointed professor at the Royal Conservatory of Liège and stayed there for four years. Then he went back to America and settled in San Francisco.

‘The death of Edouard Deru’, wrote Eugene Ysaye, ‘is a great loss for the Belgian School. With all his soul, with all the strength of his talent, he had devoted himself to his art. He was always very sincere, fair and loyal and I lost in him a devoted and good friend.’

Vincent d'Indy expressed ‘the deep pain he felt when he heard of the death of Edouard Deru, the dear comrade of his youth, the high musician who was always the propagator and the excellent interpreter of French music.’ ‘I cannot forget’, wrote Alfred Cortot, ‘the great artistic joys I owe Edouard Deru. All his comrades will piously keep his memory as that of a great artist and a perfect friend.’

From Arthur De Greef: ‘As a man and as an artist, Edouard Deru had attracted all sympathies and aroused all admiration. I will keep deep in my memory and my heart the emotional memory of this musician so noble, so delicate; of this great artist with a good, generous heart; of this friend to whom I united the bonds of the most sincere affection’."
- David Milsom, Naxos' A-Z of String Players