Home > Previous Auctions > Auction #147 - 78rpm Records > Violin, Viola, Cello & Chamber 78rpm records Nos. P0305 - P0499
Violin, Viola, Cello & Chamber 78rpm records Nos. P0305 - P0499

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

Since 1972



Auction Number 147 ­- AUCTION Closing Date: Wednesday, 18 May, 2016



Regarding AUCTION #147 (Closing Date: Wednesday, 18 May, 2016), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire.

If you would like to print the section you are viewing, place you cursor over the share bar at the top of the page and select the print option.

TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

Section II: Violin, Viola, Cello & Chamber 78rpm records: Nos. P0305 - P0499

P0305. GRIGORAS DINICU & His Roumanian Gypsy Orch.:
Roumanian Songs and Melodies, 6s. 3-10”black PW V V-19024/26,
only form of issue, 1939, in Orig. Album S-20. M-A, pristine copy has
2 labels with minor ink stains. Important and very rare! MB 45, the Set.

“Deeply committed to his roots and his home city of Bucharest, Dinicu made a living for many years in hotels and restaurants, drawing great soloists from around the world to hear traditional Romany music. Between the wars Dinicu travelled to London and was warmly received at the Green Park Hotel, appearing on the recommendation of Mischa Elman. He subsequently met Georges Enescu and Fritz Kreisler in Monte Carlo, both of whom were enthusiastic exponents of the gypsy idiom. His finest hour in concert performance came in 1935 with Bruch’s Violin Concerto in g, which left a Romanian audience enraptured by an interpretation imbued with native tradition. Dinicu’s legacy is probably best represented by his generous output of small-scale compositions and arrangements, mostly for violin and piano. Best known is his 1906 showpiece ‘Hora staccato’, a short, fast work in a Romanian dance style that has become a favourite encore, requiring an exceptional command of both up-bow and down-bow staccato. Heifetz made his own popular virtuoso arrangement of this work in 1932 and famously performed it in Vienna. It is a matter of regret that, despite Heifetz’s accolade—dubbing Dinicu the greatest violinist he had ever heard—his important place in the heritage of twentieth-century performance is not well represented in the annals of string playing.”
- David Milsom, Naxos’ A–Z of String Players

P0306. RICHARD HEBER: Andantino (Martini- Kreisler) / Suite #5 in c – Air (Mattheson). 10” green German Polydor 21843, POM-1928.
A to M-A, superb copy has faintest rubs, barely visible, certainly inaud. MB 12

P0307. JOSEF HASSID, w.Gerald Moore (Pf.): Souvenir d’un lier cher - Mélodie (Tschaikowsky) / La Capricieuse (Elgar). 10” plum HMV B.9074,
only form of issue, 29 Nov., 1940. M-A, as New. Exceedingly Elusive! MB 45

“Born to Jewish parents in Suwałki, Poland, a Polish shtetl, as Józef Chasyd, Joseph Hassid [he studied with] Carl Flesch (at age 14), his mental breakdown, institutional confinement, and death in 1950 after a brain operation, all that survives of his playing are testimonials by top fiddlers of his time, a 1939 test pressing for EMI, and eight short encore pieces recorded in 1940 with Gerald Moore at the piano. Hassid rivals Heifetz [in the] the pyrotechnics of Elgar’s ‘La Capricieuse’.”

- Dan Davis, classicstoday.com

P0308. HELENE MIKULASCHEK (Violin), JOHANN HOORENMANN (Harpsichord), JEAN NADA (flute): Trio #2 in C major – Mvts. 2 & 3 (Complete, as recorded)
(J.C.F. Bach). 12” early PW Col. 68210-D, POM-29 April, 1929, on blue shellac.
M-A, as New. MB 12

P0309. YVONNE ASTRUC, w.Nadia Boulanger (Pf.):
Nocturne in F / Introduction et cortčge (both Lili Boulanger).
10” PW French Col. LF 15. M-A, as New. MB 25

P0310. EMIL SEILER, WALTER GERWIG & KARL EGON GLUCKSELIG:
Concerto in d for Viola d'Amore (Vivaldi), 2s. 12” silver DG Archiv Produktion
Variable Micrograde 4413, POM-19 Feb., 1952. M-A, as New. MB 15

“In 1929, Wolfsthal had Seiler play the Viola d'Amore Sonata by Paul Hindemith and also introduced him to the composer himself, who held classes for composition at the Berlin Musikhochschule at that time. During the following years an intensive collaboration between Seiler and Hindemith developed, especially in the field of early music.”

- Journal of the American Viola Society, Vol. 15, #3

P0311. GEOREG KNIESTADT, w.Karl Rockstrow Cond.:
Ständchen (Schubert) / Menuet (Beethoven). 12” dark-blue Clangor MD 9219.
[Issued by Schallplatten-Volksverband (record union for people) from 1929 to 1942, Clangor was produced by Clangor-Schallplatten GmbH of Berlin,
and sold to the public by mail-order only. – Georg Richter]
An unusual disk, missing from both editions of Creighton! M-A MB 20

“From 1924 onwards Kniestädt was Concertmaster of the Orchestra of the Berlin Court Opera. He had his own quartet (1932-1944) and was the leader of the Kammermusik-Vereinigung der Staatsoper.”

- Ned Ludd

P0312. SZYMON GOLDBERG & PAUL HINDEMITH:
Duet in B-flat for Violin & Viola, K.424 (Mozart), 4s. 2-12” early PW Col. 68285/86-D, POM-21 Jan., 1934, on blue shellac. M-A, a beautiful copy. MB 45, the Pair.

P0313. PAUL HINDEMITH, w.Bruno Reibold Cond.:
Trauermusik for the death of King George V (Played by the Composer), 2s.
12” PW V 15643, only form of issue, 21 April, 1939. M-A, as New. MB 35

P0314. HINDEMITH TRIO (Goldberg, Hindemith & Feuermann):
Trio for Strings #2 (1933) (Played by the Composer), 6s.
3-12” early PW Col. 68274/76-D, POM-21 Jan., 1934, on blue shellac,
in Orig. in Orig. Album 209. M-A, a gleaming copy. MB 95, the Set,

P0315. THE HINDEMITH TRIO (Goldberg, Hindemith & Feuermann):
Serenade in D, Op.8 (Beethoven), 6s. 3-12” early PW Col. 68307/09-D,
POM-22 Jan., 1934, on blue shellac, in Orig. Album 217, w.Brochure.
M-A, a gleaming copy. MB 65, the Set.

P0316. JAN DAHMEN, w.Michael Raucheisen (Pf.): Suite #3 in d - Air (Bach) /
Variations on a Theme of Corelli (Tartini-Kreisler). 10” blue German Telefunken A 1608, POM-27 Nov., 1933. [Jan Dahmen was Concertmaster of the Berlin Philharmonic
(1920 - 1922) and of the Amsterdam Concertgebouw (1948-1957)].
M-A, lovely copy has, Sd.2 only, infinitessimal rub, inaud. MB 10

P0317. SADAH SHUCHARI, w.Arthur Reginald (Pf.): Mélodie arabe
(Glazounov-Kochanski) / Sicilienne and Rigaudon (Francoeur-Kreisler).
10" Orth Vla 4114, only form of issue, 7 Dec., 1928 / 10 Jan., 1929,
Shuchari's sole recording. [“Sadah Schwartz-Shuchari was a pupil of Auer, and won the Schubert Memorial Prize in 1928.” - Harvard Musical Association] M-A, as New. MB 8

P0318. GEORGES ENESCU, w.Sanford Schlussel (Pf.):
Počme (Chausson), 2s. 2-12” dark-blue Col. DVX 6/7, POM-1929.
M-A, beautiful copy has very occasional faintest rub, positively inaud. MB 150, the Pair.

P0319. JAN KUBELIK: Serenade #1 in A (1902 Version) (Drdla).
10" black London G & T G.C.-7956 (2701b), Stamper III, only form of issue,
26 Oct., 1902. M-A, beautiful copy has 2 infinitessimal pap.scrs, inaud. MB 25

P0320. JAN KUBELIK: La ronde des lutins (Bazzini) (1904 Version).
12” black London G & T 07901 (408c), POM-20 Oct., 1904.
M-A, exemplary copy, especially for this vintage. MB 45

P0321. JAN KUBELIK: LE CARNAVAL DES ANIMAUX –
Le Cygne (Saint-Saëns). 10˝” pale & dark blue US-Fonotipia 72305 (XPh 4557).
A to M-A, spectacular copy of a choice late pressing. MB 15

P0322. OSSY RENARDY,Walter Robert (Pf.):
Concerto #1 in A - 1st Movement only, [as Konzertstücke] (Saint-Saëns), 2s.
(Complete, as recorded). 12" PW V 17479, POM-15 July, 1940,
issued USA & Australia only. M-A MB 25

P0323. 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, POM-1939, in Orig. Album X 129.
M-A, as New. MB 35, the Set.

P0324. OSSY RENARDY, w.Walter Robert (Pf.): Ballade in d (Dvorák ) /
Mazurka in G (Zarzycki). 12” V 18294, POM-10 May, 1940/’41, resp. M-A MB 25

P0325. OSSY RENARDY,Walter Robert (Pf.): Sonata in c – Allegro (Sonatensatz) (Brahms) / Adagio in E, K.261 (Mozart). 12” PW V 18032,
POM-1940, issued USA & Australia only. M-A MB 25

P0326. 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, choice copy has occasiuonal faintest rub, inaud. MB 25

P0327. OSSY RENARDY,Walter Robert (Pf.): Caprices Nos. 1 - 12 (Paganini), 6s.
3-12” PW V 16276/78, POM-1940, issued USA & Australia only,
in Orig. Album M 672, w.Brochure. M-A, as New. MB 35, the Set.

P0328. OSSY RENARDY,Walter Robert (Pf.): DANZAS ESPAŃOLAS - Zapateado / Adios montanas mias (Sarasate). 12" MasterWorks Col.69622-D,
POM-29 March, 1939, issued USA only. M A, as New. MB 20

P0329. OSSY RENARDY, w.Münch Cond. Concertgebouw Orch.:
Concerto in D (Brahms), 10s. 5-12” red Eng. Decca AK.2055/59, POM-13 Sept, 1948. M-A, choice copy has occasional faintest rub, inaud. MB 35, the Set.

P0330. OSSY RENARDY, w.Ernest Lush (Pf.): Sérénade espagnole (Chaminade) /
Perpetuum mobile (Novácek). 10" London R.10137, only form of issue, 1948.
M A, as New. MB 15

“Born Oskar Reiss, in Vienna, Renardy was an enormously talented artist whose vibrant tone and innate poise earned him early accolades. The conductor Victor de Sabata, for instance, engaged him at 14 to perform as a soloist with the Vienna Philharmonic.

Though he made comparatively few disks, Renardy was the first violinist to record all 24 Paganini caprices, for RCA Victor in 1940, albeit with interpolated piano accompaniment. And his 1948 account of the Brahms Violin Concerto for Decca, with Charles Münch conducting the Concertgebouw Orchestra, remains a benchmark performance sadly in need of reissue….Here is an elegant exponent of the Old School rendering Sarasate and Paganini with delicious dash.”

- David Mermelstein, THE NEW YORK TIMES, 22 Aug., 1999

P0331. BORIS SCHWARZ (Violin), w.Ernst Victor Wolff Cond.;
David Blair McClosky (Bar.): Church cantata No. 158 – Der Friede sei mit dir (Bach), 4s. 2-10” PW Col. 17265/66-D, POM-22 Oct., 1941,in Orig. Album X-191, w.Brochure. [David McClosky made more than 20 appearances as soloist with the Boston Symphony Orchestra during the 1930’s and 1940’s. He also sang in operatic productions in Europe and Africa and appeared with the New York Philharmonic Orchestra, Minneapolis Symphony Orchestra and Indianapolis Symphony Orchestra, etc.] M-A, a gleaming copy. MB 20, the Set.

“Boris Schwarz studied with several prominent teachers, including Carl Flesch, Jacques Thibaud and Lucien Capet. He was concertmaster of the Indianapolis Symphony Orchestra and later played first violin in the NBC Symphony Orchestra under Arturo Toscanini.”

- THE NEW YORK TIMES, 2 Jan., 1984

P0332. EMIL TELMANYI, w.Annette Telmányi (Pf.):
LE CARNAVAL DES ANIMAUX - Le Cygne (Saint-Saëns) /
ESPAGŃA - Tango in D (Albéniz). 10” Danish Tono 8010. M-A, as New. MB 12

P0333. EMIL TELMANYI, w.Egisto Tango Cond. Copenhagen Royal Opera Orch.:
Violin Concerto (Nielsen), 9s. / Sd.10 = Haffner Serenade #7 in D, K. 250 – Menuetto (Mozart). 5-12” Danish Tono 25081/85, only form of issue, 3 June, 1947.
M-A, as New. MB 25, the Set.

P0334. EMIL TELMANYI, w.Annette Telmányi (Pf.):
RURALIA HUNGARICA – Adagio (Dohnányi), 2s. 10” Danish Tono 8009.
M-A, choice copy has, Sd.1 only, infinitessimal pap. scr, inaud. MB 12

P0335. EMIL TELMANYI, w.Georg von Vásárhelyi (Pf.): Sonata #2 in A (Brahms), 4s. 2–12” PW HMV DB 4640/41, POM-1939. A to M-A, beautiful copy has,
Sd.3 only, few infinitessimal dust scrs. MB 25, the Pair.

P0336. EMIL TELMANYI, w.Thomas Jensen Cond. Copenhagen Royal Opera Orch.:
Introduction et rondo capriccioso (Saint-Saëns), 2s.
12” Danish Tono X 25086, only form of issue, 1951.
A to M-A, fine copy has 1 or 2 ‘stressed’ grooves, merely cosmetic. MB 10

P0337. EMIL TELMANYI, w.Sverre Forchhammer Cond. OTTE SVENDSEN (T):
Mindets sang / En lille banal melodi (both Jensen). 10” Danish Tono 28102.
M-A, choice copy has faintest pap.rub, Sd.1, inaud. MB 12

“Emil Telmányi was an exponent of the composer Carl Nielsen, having recorded some of his violin sonatas and his violin concerto. Telmányi settled in Copenhagen and was married to Nielsen's daughter, Anne Marie, from 1918 to 1933.”
- Ned Ludd

P0338. ELLEN BIRGITHE NIELSEN, w.Karl Browall (Pf.): Siciliana (Paradies) / ZIGEUNERLIEDER – Songs my mother taught me (Dvorák).
10” HMV DA 5250, POM-1943. A to M-A, lovely copy has,
Sd.2 only, lt. nr, lt. rubs & 1 insignificant mk. MB 10

“The violinist Ellen Birgithe Nielsen Vechhi was born in Denmark but lived and taught in Sweden for a long time, was the first female violinist to perform Nielsen’s violin concerto, and taught many generations of violinists. She was the first wife of Guido Vechhi.”
- Martin Malgren

P0339. LILIA d’ALBORE, w.Hubert Giesen (Pf.): Madrigale (Simonetti) /
ORFEO – Dance of the Blessed Spirits (Gluck). 10” pale-blue
DG Siemens Spezial 62838, POM-14 Dec., 1940. M-A, as New. MB 10

P0340. PABLO de SARASATE Caprice Jota (Played by the Composer).
10” black Paris G & T G.C. 37932 (4259o), only form of issue, 1904.
[Sarasate’s rarest record, sole appearance.] A-, lovely copy has very occasional rub
or superficial mk, positively inaud. [Should please even the fastidious!] MB 195

P0341. PABLO de SARASATE, w.Otto Goldschmidt (Pf.):
Miramar (Zortzico), Op.42 (Played by the Composer).
10” S/S Special vinyl Pressing of Mx.4261o, POM 1904. MINT MB 35

P0342. PABLO de SARASATE, w.Otto Goldschmidt (Pf.):
Miramar (Zortzico), Op.42 / Tarantelle, Op.43 (both Played by the Composer).
10” black Paris Gram. Concert G.C. 47964/65 (4261/60o), POM-1904.
A to M-A, exceptional copy; Sd.2 only has upper half of label scratched. MB 25

P0343. PABLO de SARASATE, w.Otto Goldschmidt (Pf.):
Danzas Espańolas – Habańera, Op.21, #2 (Played by the Composer).
10” S/S Special vinyl Pressing of Mx.4265o, POM 1904. MINT MB 35

P0344. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Introduction et tarantelle (Played by the Composer) / HEINRICH GRUNFELD (Cello): Träumerei (Schumann). 10” black V 62111 (4260o/20h), POM-1904/’03. M-A, Superb Copy.
[Grünfeld was brother of the better-known pianist, Alfred.] MB 25

“A child prodigy and one of the most dazzling musical personalities of his time was Spain’s greatest violinist Pablo de Sarasate.….Sarasate’s records, all made when he was still an active soloist, are all delightful, and even if they cannot project the full force of his personality, they confirm his technical prowess, in particular his beautifully equalised scale.”

– Tully Potter, THE RECORDED VIOLIN

P0345. ALFRED DUBOIS, w.Marcel Maas (Pf.): Sonata in A (Franck), 8s.
4-12” Japanese Viva-Tonal Col.J 7836/39, POM-8 May, 1930, in Orig.Japanese Columbia Album 123. M-A, beautiful copy of heavy pressing; Sd.1 only has
long patina hlc, barely visible Sd.2; choice disks, sl stained album. MB 45, the Set.

P0346. DAVID OISTRAKH, w.Lev Oborin (Pf.): Sonatensatz – Allegro in c (Brahms), 2s. 10” pale-blue Aprelevski Zavod 13249/50, POM-1945-46.
M-A, lovely copy has faintest rubs, inaud.; titles ltly pencilled on labels. MB 15

P0347. DAVID OISTRAKH, w.Gauk Cond.USSR State S.O.: Violin Concerto (Khatchaturian; [CREATOR recording], played by the work’s dedicatée), 10s.
5-12” gold & black Mercury 14000/04, recorded 1946, in Orig.Album DM 10.
[Oistrakh created this Concerto 16 Sept., 1940, Moscow.] M-A, as New. MB 20, the Set

P0348. BEATRICE HARRISON, w.Harold Craxton(Pf.): Cello Sonata (Delius), 4s.
2-12” black PW HMV D 1103/04. POM-1926. M-A, as New. MB 20, the Pair.

P0349. ALBERT SAMMONS, w.Gerald Moore (Pf.): Estrellita (Ponce) /
Pieces, Op.5 – From the canebrake (Gardner). 10” black M-A, gorgeous copy has occasional faint rub, inaud. [Among Sammons’ loveliest &
most elusive disks; Ponce surely Viva-Tonal Col. 2282-D.
wouldn’t recognize his heavenly ‘Estrellita’!] MB 12

P0350. ALBERT SAMMONS & LIONEL TERTIS: Harpsichord Suite #7 in g – Passacaglia (Handel-Halvorsen), 2s. 12” blue Viva-Tonal Col. 67784-D,
POM-27 May, 1929. M-A, as New. MB 15

P0351. FREDERICK GRINKE, DAVID MARTIN & WATSON FORBES:
Terzetto for Two Violins & Viola, Op.74 (Dvorák), 6s.
3-12” red Eng. Decca K 981/83, POM- 1941. M-A, as New. MB 20, the Trio.

P0352. FREDERICK GRINKE, w.Kendall Taylor (Pf.): Sonatina in G (Dvorák), 4s.

2-12” red Eng. Decca K 1006/07, POM- 16 Sept., 1941. M-A MB 20, the Pair.

P0353. FREDERICK GRINKE, JEAN POUGNET & DORIS ORD: Sonata #3 in a (Purcell), 2s. 12” red Decca-Odeon 25615, POM- 21 Sept., 1935. M-A MB 12

P0354. FREDERICK GRINKE, JEAN POUGNET & DORIS ORD: Golden Sonata #9 in F (Purcell), 2s. 12” red Eng. Decca K 778, POM- 21 Sept., 1935. M-A MB 12

P0355. FREDERICK GRINKE, w.Boyd Neel Cond.:
Concerto in d (Vaughan-Williams), 4s. 2-12” orange Eng.Decca K.248/249,
POM-8 May, 1939. M-A MB 25, the Pair.

“Frederick Grinke, Canadian Violinist from Winnipeg studied with Adolf Busch, then in Belgium and London with Carl Flesch. In 1937 he assumed the mantle of concertmaster of the Boyd Neel Orchestra, a post he later left to pursue a solo career. In a long and distinguished career as a soloist Grinke performed in Europe, the USA, Australia, and New Zealand, at the London Promenade Concerts, and at the festivals in Edinburgh, Salzburg, and elsewhere. Vaughan Williams dedicated his Sonata in a (1952) to Grinke, who was known especially for his performances of 20th-century English music. Grinke recorded that work for English Decca, along with others by Benjamin, Berkeley, Ireland, Purcell, Rubbra, and Vaughan Williams. By Vaughan Williams' wish, Grinke and another native Canadian, David Martin, were invited to perform the Bach Double Concerto at the composer's funeral in 1958. Grinke was named a Commander of the Order of the British Empire in 1979.”
- The Canadian Encyclopedia

P0356. ARTHUR CATTERALL, W. H. SQUIRE & WILLIAM MURDOCK:
Serenade (Widor) / Liebesgarten, Op.34, #1 (Schumann).
12” pale-blue PW Eng. Col. L 1126 [76975/76]. M-A MB 15

P0357. ARTHUR CATTERALL, W. H. SQUIRE & WILLIAM MURDOCK:
Trio in B-flat, Op.99 – Scherzo & Trio (Schubert) / Trio in d - Scherzo (Arensky).
12” pale-blue PW Eng. Col. L 1567 [AX 52/61].
A to M-A, lovely copy has faintest rubs, inaud. MB 12

P0358. CATTERALL STRING QUARTET
(Arthur Catterall, John S. Bridge,
Frank S. Park & Johan C. Hock): Ave Verum (Mozart) / Träumerei (Schumann).
1” black Viva-Tonal Col. 50075-D [AX 2541/42], POM-c.1926.
M-A, a gleaming copy. MB 12

P0359. CATTERALL STRING QUARTET (Arthur Catterall, John S. Bridge,
Frank S. Park & Johan C. Hock): Quartet in D – Andante Cantabile (Tschaikowsky), 2s. 12” dark-blue PW Eng. Col. 9203 [AX 162-1/162-7]. M-A, a gleaming copy. MB 12

P0360. ARTHUR CATTERALL, W. H. SQUIRE & WILLIAM MURDOCK: Trio #2 in a (Tschaikowsky), 12s. 6-12” PW Australian Col.04163/68 [AX 2311-22], POM-1927, in Orig. tie Album. M-A, a gleaming copy of preferred Australian pressing. MB 30, the Set.

P0361. CATTERALL STRING QUARTET (Arthur Catterall, John S. Bridge,
Frank S. Park & Johan C. Hock): Quartet in G - Allegro (Mozart) / Quartet in a, Op.35a – Variations (Arensky). 12” black PW HMV D 560 [Cc 182-2 / 184-2], POM-1921.
A to M-A, lovely copy has faintest rubs, inaud. MB 12

P0362. CATTERALL STRING QUARTET (Arthur Catterall, John S. Bridge,
Frank S. Park & Johan C. Hock): Quartet in B-flat, Op.67 – Agitato (Brahms) /
Quartet in G, Op.76, #1 - Allegro (Haydn). 12” black PW HMV D 594 [Cc 675-1 / 674-2], POM-1921. A to M-A, lovely copy has faintest rubs, inaud. MB 12

P0363. CATTERALL STRING QUARTET (Arthur Catterall, John S. Bridge,
Frank S. Park & Johan C. Hock): Quartet in F, Op.41, #2 - Andante (Schumann) / Quartet, Op.22– Scherzo (Tschaikowsky). 12” black PW HMV D 597 [Cc 678-2 / 679-1], POM-1921. A to M-A, lovely copy has faintest rubs, inaud. MB 12

P0364. CATTERALL STRING QUARTET (Arthur Catterall, Bernard Shore,
A. Gauntlett, F. Cruft, F. Thurston, A. Camden & A. Thonger): Septet in E-flat, Op.20 (Beethoven), 10s. 5-12” PW V 12678-82, in Orig.Album DM 571, w.Brochure.
M-A, a gleaming copy. MB 25, the Set.

“In the first half decade of the 1920s, during the period when Albert Sammons defected to the Vocalion recording company, Columbia, for whom he used to record, turned instead to another leading English violinist on their books, the leader of the Hallé, Arthur Catterall, an English concert violinist, orchestral leader and conductor, one of the best-known English classical violinists of the first half of the twentieth century. In 1902, at the age of 18, he was invited to Bayreuth by Hans Richter and played at all of Cosima Wagner's musical evenings in that season.

In 1911 he acquired the violin made by Jean Baptiste Vuillaume, c. 1843, which had belonged to Ferdinand David. In addition to his orchestral and teaching work, Catterall was active in chamber music throughout his career. He had connections with the London Chamber Music Players (led by Albert Sammons), with the pianist William Murdoch and 'cellist W. H. Squire, and in 1910 founded and led a string quartet under his own name as the Catterall Quartet.”

- Wikipedia

P0365. HORACE BRITT, w.Josef Adler (Pf.): Pičce en forme de Habanera (Ravel) / Granadina (Nin). 10” EL black Viva-Tonal Col.2081-D, POM-29 Nov., 1929.
M-A, as New. MB 12

“Britt had an illustrious career as a concert cellist and chamber music artist. He was a soloist with the Lamoureux Orchestra in 1897 and made his American début with the Chicago Symphony in 1907. He was also principal cellist of the Chicago, San Francisco, and Philadelphia symphonies and the Metropolitan Opera House Orchestra. In addition, he was a member of the Mischa Elman Quartet and the Hans Letz Quartet. In 1927 Professor Britt played with Pablo Casals and the Barcelona Philharmonic and gave a Town Hall concert in New York City. In 1937 he co-founded the Barrčre-Britt Concertino. He also toured extensively as a soloist, guest conductor, and chamber music artist throughout Europe, Canada, Cuba, México, South America, and the United States.”
- Ned Ludd

P0366. THE CHAMBER MUSIC PLAYERS (Murdoch, Sammons & Sharpe):
Trio in c, Op.66 (Mendelssohn), 8s. 4-12” Eng.Decca AK.950/953.
M-A, as New. MB 25, the Set.

P0367. SPENCER DYKE STRING QUARTET
(Spencer Dyke, Tate Gilder, Bernard Shore & Brian Patterson Parker),
w.James Lockyer & Edward Robinson: String Sextet in G Major (Brahms), 8s.
4–12” Columbia/National Gramophonic Society NGS-105/108, only form of issue, 1928. [The National Gramophonic Society was founded 29 October, 1923, by Compton MacKenzie. The Society was never well supported and few subscribers ever acquired the complete catalogue.] M-A, appears unplayed. MB 25, the Set.

P0368. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle):
Quartet in F (Ravel), 8s. 4-12" PW French Col. D 15057/60, POM-1928.
M-A, pristine disks, albeit Sds 5 & 6 only have faintest pap.rubs &
minuscule edge lams, inaud.; in fine album, missing spine. MB 95, the Set.

P0369. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle):
Quartet in g (Debussy), 8s. 4-12" PW French Col. D 15085/88, POM-1928,
in Orig. French Col. Album. M-A, pristine disks in sl.shopworn album. MB 95, the Set.

“The Capet Quartet's performances of the quartets of Ravel and Debussy are, after all, informed by the fact that the performers and the composers were more or less Parisian contemporaries. And although performance styles have changed completely since 1928 and the lean, supple but almost vibrato-less sound they strove for has been supplanted by a richer, weightier sound, the Capet's flawless ensemble with its ideally weighed attacks, its perfectly balanced sonorities and its complete command of tonal color is still a model for quartet playing at its finest.”
- James Leonard, allmusic.com

P0370. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle):
The Lark Quartet in D, Op.64, #5 (Haydn), 6s.
3-10" Japanese Viva-TonalCol. J5201/03, POM-1928. M-A MB 65, the Trio.

P0371. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle):
Quartet in A, Op.18, #5 (Beethoven), 8s. 4-10" PW Eng. Col. D1659/62, POM-1928.
M-A, a pristine copy. MB 95, the Set.

P0372. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle):
Quartet in c-sharp, Op.131 (Beethoven), 10s. 5-12" PW Eng. Col. L 2283/87,
POM-1928. M-A, a pristine copy. MB 95, the Set.

"This is the most fascinating string quartet playing that I have heard for a long while. It would be intriguing to know whether the Capet Quartet ever played in public as it plays here in the recording studio. It is genuinely chamber-scaled playing...."

- Michael Oliver, INTERNATIONAL CLASSIC RECORD COLLECTOR, 1996

P0373. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier):
Trio in B-flat (Schubert), 4s. 2-12” PW V 12169/70, in Orig. Album M-435, w,Brochure. M-A, as New. MB 15, the Set.

P0374. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier):
String Trio, Op.105 (Florent Schmitt), 8s. 4-12” Pathé PDT 103/06,
only form of issue, 1946. [Le Trio Pasquier being the work’s dedicatée].
A to M-A, lovely copy has very occasional pap.rub & superficial scr. MB 35, the Set.

P0375. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier):
Menuet & Fugue (Haydn) / Fantaisie #3 (Purcell-Warlock).
2” dark-blue Eng. Col. PDX 778, POM-1935. M-A, as New. MB 8

P0376. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier): Trois Pičces en Trio (Pierné), 4s. 2-12” PW Col. P-69789/90-D, POM-30 June, 1937, in Orig. Album X-153, w.Brochure. [Le Trio Pasquier being the work’s dedicatée.] M-A MB 15, the Set.

P0377. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier):
Divertimento in E-flat, K.563 (Mozart), 10s. 5-12” dark-blue Eng. Col. DX 742/746,
POM-1935, in Orig.Album #150, w.Brochure. M-A, albeit album covers sl.stained. MB 8

P0378. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier), w.Hortense Monath (Pf.): Quartet in E-flat, K.493 (Mozart), 6s. 3-12” PW V 12179/81, in Orig. Album AM-438. [The Pasquier Trio did much to establish the string trio as a musical medium in itself - similar to the contemporary accomplishments of Landowska and Segovia with regard to their respective instruments.] M-A, as New. MB 15, the Set.

P0379. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier):
String Trio in C (Françaix), 4s. 2-12” MasterWorks Col. 69558/59-D, POM-3 Feb., 1939, in Orig. Album X-130. [Le Trio Pasquier being the work’s dedicatée.] M-A, as New. MB 15, the Set.

P0380. PASQUIER TRIO (Jean, Pierre & Étienne Pasquier),
w. RENÉ LE ROY (Flute): Quartet for Flute & Strings in A, K.298 (Mozart), 2s.
12” PW V 12165 [2LA 2157/58]. M-A, as New. MB 12

P0381. LONDON STRING QUARTET (James Levey, Thomas W. Petre,
Harry Waldo Warner & Charles Warwick Evans): Quartet in D major op. 11 –
Andante cantabile (Tschaikowsky) / Quartet in g, Op.10 – Andante (Debussy).
12” pale-blue Eng.Col. L 1004 [6397/99]. M-A, choice copy;
Sd.2 only has minute pap.scr, barely visible & certainly inaud. MB 15

P0382. LONDON STRING QUARTET (John Pennington, Thomas W. Petre,
Harry Waldo Warner & Charles Warwick Evans): Londonderry Air (arr.: Bridge) / Quartet in g, Op.10 – Andante (Debussy). 12” black Viva-Tonal Col. 50088-D
[AX 3057/64], POM-4 Nov,.1927. M-A, lovely copy has faintest rubs, inaud. MB 15

P0383. LONDON STRING QUARTET (John Pennington, Thomas W. Petre,
William Primrose & Charles Warwick Evans): Quartet in a, Op.132 (Beethoven), 10s.
5-12” EL early PW Col. 68194/98-D, POM-4 Feb., 1934, on blue shellac,
in Orig. Album 193, w.Brochure. M-A, choice copy;
Sd.7 only has sev.infinitessimal ipc, barely worth mention. MB 55, the Set.

P0384. LONDON STRING QUARTET (Pennington, Petre, Warner & Evans):
Quartet in D (Franck), 12s. 6-12” Viva-Tonal Col. 67697/67702, POM-1928,
in Orig. Album 128, w.Brochure. M-A, as New. MB 55, the Set.

P0385. LONDON STRING QUARTET (Pennington, Petre, Warner & Evans):
American Quartet in F (Dvorák), Op.96, 6s.
3-12” dark-blue PW Australian Col. 04131/33 [AX 3124-29], POM-1927.
M-A, a gleaming copy of preferred Australian pressing. MB 35, the Set.

P0386. LONDON STRING QUARTET (Pennington, Petre, Warner & Evans): Quartettsatz in c (Schubert), 2s. 12” Viva-Tonal Col. 67408-D [AX 3048/49],
POM-4 Nov., 1927. M-A, as New. MB 15

P0387. LONDON STRING QUARTET (Pennington, Petre, Warner & Evans):
Death and the Maiden Quartet in d (Schubert), 8s. 4-12” Viva-Tonal Col. 67202/05-D, POM-1925, in Orig. Album 40. M-A, choice copy; Sd.5 only has
infinitessimal pap.scr, barely visible, certainly inaud. MB 55, the Set.

P0388. LONDON STRING QUARTET (Pennington, Petre, Warner & Evans),
w.Horace Britt (Cello): Quintet in C (Schubert), 12s. 6-12” Viva-Tonal Col. 67448/53-D,
POM-1928, on blue shellac, in Orig. Album 95, w.Brochure.
M-A, stupendous copy appears unplayed. MB 55, the Set.

“The London String Quartet was one of the most important international groups of its time. Numerous premieres, Beethoven cycles, widespread concertising, and eminent recordings marked out its trajectory.”

- Irving Kolodin, THE MUSICAL LIFE, p.63

P0389. VIRTUOSO STRING QUARTET
(Marjorie Hayward, Edwin Virgo, Raymond Jeremy & Cedric Sharpe):
Intermezzo / Romance (both Grieg). 12” plum PW HMV C.1635.
M-A, lovely copy has, Sd.1, faintest rubs, inaud. MB 10

P0390. VIRTUOSO STRING QUARTET (Marjorie Hayward, Edwin Virgo,
Raymond Jeremy & Cedric Sharpe): Novelette #3 (Bridge);
w.Cockerill, Murchy & Draper: Introduction and Allegro for Harp,
with Strings and Woodwinds (Ravel), 4s. 2-12” PW V 9738/39, POM-18 March, 1929. M-A, choice copy has wee label nr, Sd.1. MB 15, the Pair.

P0391. VIRTUOSO STRING QUARTET (Marjorie Hayward, Edwin Virgo,
Raymond Jeremy & Cedric Sharpe): Quartet in B-flat, Op.18, #6 (Beethoven), 7s /
Sd.8 = Moment musical (Schubert-Sharpe). 4-12” Scroll V 11491/94, POM-1926-28,
on ‘Z’ shellac, in Orig. Album M-172. M-A, gleaming copy, as New. MB 65, the Set.

“The Virtuoso Quartet was established by HMV for the express purposes of recording. In effect, they displaced the Catterall Quartet from their position recording for HMV. In its ranks were four top-notch British chamber players. Marjorie Hayward was called the best female quartet leader heard in London since the days of Wilma Neruda. Born in 1885 she had studied with Ševčik. Her second violin was the experienced Edwin Virgo, who had depped as second fiddle in the London Quartet between 1916 and 1917 when its resident incumbent Petre had gone off to war. Raymond Jeremy - Bax exponent - had premiered Elgar’s late chamber works in 1919 in a group led by Albert Sammons. And Cedric Sharpe had not long since left the Philharmonic Quartet of which he was the most able cellist, a group led by Arthur Beckwith with Eugene Goossens the second violin and Jeremy the violist. The Virtuoso did play in public.”
- Bryan, The Shellackophile

P0392. MARJORIE HAYWARD: Valse triste (Scott) / Serenade (Drdla).
10” plum PW HMV B.2140, POM-1925. M-A MB 10

P0393. REBECCA CLARKE, FREDERICK THURSTON & KATHLEEN LONG:
Kegelstedt Trio #7 in E-flat, K.498 (Mozart),4s.
2–12” Columbia/National Gramophonic Society NGS-161/162, only form of issue, 1928. A-, very decent copy has rubs & scuffs, mainly cosmetic. MB 15, the Pair.

P0394. FIEDEL TRIO (Siedersbeck, Dohme & Wilke): Der Hundt (Isaac) /
Spanische Tanz mir Vorspiel w.Konrad Lechner (Blockflöte): Provancalischer Tanz
(both de la Torre). 10” red Grammophon 10750, POM-1938. M-A MB 8

P0395. FIEDEL TRIO, w.Ernst Konrad Hasse (Bar.): Vergine bella (Dufay) /
w.Konrad Lechner (Blockflöte): Zu Andernach am Rheine (Lapicida).
10” red Grammophon 10751, POM-1938. M-A MB 8

P0396. THE BUDAPEST TRIO (Nicolas & Georges Roth, Lyell Barbour):
Trio in G, K.564 (Mozart), 4s. 2–12” Columbia/National Gramophonic Society
NGS-159/160, only form of issue, 1931. A-, very decent copy has
rubs & scuffs, mainly cosmetic. MB 15, the Pair.

P0397. QUARTETO CARIOCA (Oscar Borgerth, Barraca, Orlando & Iberé):
Quartet #5 (Heitor Villa-Lobos), 4s. 2-12” Scroll V 11212/13, on z-type shellac.
M-A, gleaming copy has, very beg.Sd.2 only, lightest rub, inaud. MB 12, the Pair.

P0398. WENDLING STRING QUARTET
(Carl Wendling, Hans Michaelis, Philipp Neeter & Alfred Saal): Quartet #17 in B-flat – Minuet, K.458 (Mozart) / Quartet in G – Minuet (Haydn). 10” brown shellac Vocalion 14786 [98/102ap], POM-1924. A-,fine copy has occasional pap.scr, inaud. MB 10

“Carl Wendling lived for many years in Stuttgart, Germany, where he also taught at the Conservatory. He was Concertmaster of the Boston Symphony for one season, 1907-1908 season, under Karl Muck. In Germany, according to Robin Stowell in his Cambridge Companion to the String Quartet, Carl Wending in Stuttgart was a successor to Joseph Joachim in forming a long-term and successful string quartet. He had his own string quartet, ‘The Wendling Quartet’, and from 1909 on, he was a teacher at the Royal Stuttgart Conservatory, where he became director in 1929.”

- Principal Musicians of the Boston Symphony Orchestra

P0399. BUXBAUM STRING QUARTET (Felix Eyle, Max Starkmann,
Ernst Moravec & Friedrich Buxbaum): Sunrise Quartet #4 in B, Op.76 (Haydn),6s.
3-12” dark-blue PW German Polydor 95125/27, Original 1928 Issue.
M-A, beautiful copy has, Sd.3 only, faintest pap.scr, positively inaud. MB 20, the Trio.

P0400. BUXBAUM STRING QUARTET (Felix Eyle, Max Starkmann,
Ernst Moravec & Friedrich Buxbaum): Quartet #2 in a, Op.51, 7s /
Sd.8 = GÜNTHER HOMANN (Pf.): Ballade in g, Op.118 (both Brahms).
4-12” dark-blue PW German Polydor 95121/24, Original 1928 Issue.
A to M-A, beautiful copy has very occasional rub, merely cosmetic. MB 25, the Set.

“In the 1920s the cellist Friedrich Buxbaum broke away from the Rosé Quartet to found his own ensemble, led in 1926-27, when most of the records were made, by Felix Eyle.”

- Tully Potter

P0401. TRIO DU CONCERTGEBOUW AMSTERDAM
(Zimmermann, Lövensohn & Spaanderman): Thčme et quatre variations (Tschaikowsky), 2s. 12” dark-blue PW Parl.E 11168 [xxP7117/18],
POM-12 Sept., 1930. M-A, lovely copy has lightest rubs, inaud. MB 10

P0402. TRIO DU CONCERTGEBOUW AMSTERDAM: Trio in d, Op.49 –
Andante / Scherzo (Mendelssohn), 2s. 12” red Decca-Odeon 25186 [xxP7115/16], POM-12 Sept., 1930. M-A MB 10

“Louis Zimmermann was a Dutch concert violinist, composer, and teacher who studied with Eugene Ysa˙e in Brussels. He played first chair (in the first violin section) of the Royal Concertgebouw Orchestra from 1899 to 1904. He had the distinction of playing the violin solos at the English premiere of Richard Strauss' EIN HELDENLEBEN in 1902, with the composer on the podium. From 1904 he was a professor at the Royal Academy of Music in Amsterdam and then Concertmaster of the Concertgebouw from 1911 to 1940. Marix Lövensohn was a Belgian cellist whose début came in 1894 in London. He performed in 1896 as soloist with the Orchestra of Edouard Colonne. From 1915-1936 he was principal cellist of the Concertgebouw Orchestra, succeeding Gerard Hekking. Jaap Spaanderman was a Dutch pianist, cellist, conductor and teacher who won the Prix d'Excellence in 1918 for cello, for piano in 1920”

- Ned Ludd

P0403. KREINER SEXTETTE (Sylvan & Alan Shulman, Josef Gingold,
Edward Kreiner, Ely Lifshey & Carl Stern): Chorale for String Sextette (Roy Harris), 2s. 12” PW V 12537, only form of issue, 14 Aug., 1937. M-A, as New. MB 15

P0404. BOHEMIAN QUARTET (Hoffmann, Suk, Herold & Zelenka):
From My Life Quartet #1 in e (Smetana), 8s. 4-12” gold Brunswick 90425/28 [779/780, 781/782, 783/784, 785/786bm], POM-1928. A to M-A, beautiful copy of preferred Columbia laminated pressing has occasional rub, merely cosmetic. MB 125, the Set.

“The Bohemian Quartet was founded in Prague by three pupils of Antonín Bennewitz (Karel Hoffmann, Josef Suk and Oskar Nedbal) and a pupil of Hanuš Wihan (Otakar Berger). The group made repeated tours in Europe, especially with the quartets of Dvořák and Smetana, and were noted for their warm tone and fiery rhythms. Many key contemporary works were written for and/or first performed by the Bohemian Quartet.”
- Wikipedia

P0405. GUARNERI QUARTET (Karol Szreter, Daniel Karpilowski,
Boris Kroyt & Walter Lutz): Piano Quartet in g, Op.25 – Rondo alla zingarese
(Brahms), 2s. 10” dark-blue German Odeon O-11748 [33674/75], POM-22 Nov., 1932. A- fine copy has lt.rubs & occasional pap.scr, inaud. MB 12

“The Guarneri Quartet, founded in 1925 and disbanded in 1934 (during a South American tour, where the second violinist Mauritz Stromfeld died of a brain tumor). Karol Szreter received his first piano lessons at the age of seven with a teacher by the name of Wachtel, made his début in Warsaw at the age of eleven and studied at the St Petersburg Conservatory with Professor Dubassoff. From the age of sixteen Szreter continued his studies in Berlin with Egon Petri. After his début in Berlin at the age of seventeen, Szreter had a career for the next ten years playing throughout Europe in the major cities of Germany, Holland, Scandinavia, Italy, Poland, Romania and Czechoslovakia. In the late 1920s he appeared in Paris and made his London début in 1930 at the age of thirty-two. He returned to London a number of times during the early 1930s but in 1933, whilst in Berlin, died after an unsuccessful operation.”
- Ned Ludd

P0406. LANG TRIO (Mme Walter Lang, Walter Kägi & Franz Hindermann):
Piano Trio #7 in G, K.564, 3s. / Sd.4 = Piano Trio #5 in E, K.542 - Andante (both Mozart). 2-12” MasterWorks Col. 69007/08-D, in Orig.Album X-81.
M-A, a gleaming copy. MB 20, the Set.

P0407. FEHSE QUARTET: American Quartet in F (Dvorák), Op.96, 6s. –
Vivace ma non troppo (Dvorák) / Quartet in A., Op.41, #3 – Assai agitato (Schumann). 12” dark-blue Clangor MD 9363. M-A MB 10

P0408. FEHSE QUARTET: Quartet #13 in B-flat, Op.130 - Cavatine (Beethoven), 2s.
10” dark-blue Clangor M 9365. M-A MB 10

P0409. FEHSE QUARTET: Quartet #2 in a, Op.51 - Romanze (Brahms), 2s.
12” dark-blue Clangor MD 9361.[Issued by Schallplatten-Volksverband
(record union for people) from 1929 to 1942, Clangor was produced by Clangor-Schallplatten GmbH of Berlin, and sold to the public by mail-order only. - Georg Richter] M-A, choice copy has, Sd.2 only, infinitessimal pap.scr, positively inaud. MB 10

P0410. DESSAUER QUARTET (Stavenhagen, Roever, Meyer & Rupprecht):
Quartets Nos.1 – 4, K.210, 211, 212 & 213 (Mozart), 8s. 4-12” yellow DG 67711/14, POM-20 Sept., 1941, in Orig.DG Album DGS 5. M-A, as New. MB 25, the Set.

P0411. HENRI MERCKEL, MADELEINE MARCELLI-HERSON & ELIANE ZURFLUH-TENROC: Trio in a (Ravel), 6s. 3-12” PW Disque Gram. DB 4803/05, POM-12 March, 1931. M-A, as New. MB 75, the Trio.

“Like many another elite violinist Merckel became concertmaster whilst also managing to pursue a necessarily limited career as a soloist. He led the Paris Opéra Orchestra for nearly forty years and was successively concertmaster of the orchestras of the Concerts Straram and the Société des Concerts du Conservatoire. He exemplifies French style in all he does, arguably even more so than Thibaud… and the coterie of Merckel admirers can here savour his very special musicianship in works entirely congenial to him.”

- Jonathan Woolf, musicweb-international.com

P0412. PRO MUSICA CHAMBER GROUP (Merckel, Ales, Volant, Galli,
Ladhui, Lepauw, Navarra & Frecheville): Octet in E-flat (Mendelssohn), 6s.
3-12” silver Vox-Polydor 566280/82, recorded 1948, in Orig.Album 651.
M-A, as New. MB 30, the Set.

P0413. CHARLES van LANCKER, HENRI KOCH, JEAN ROGISTER & LIDO ROGISTER: Unfinished Quartet in b (Lekeu), 6s. 3-12” orange Eng. Decca LY.6195/97, POM-1933. M-A, lovely copy; Sd.3 only has few dust scrs. MB 20, the Trio.

P0414. JAMET QUINTET (Jamet, Crunelle, Bas, Blanpain & Krabansky):
Sérénade, Op.30 (Roussel), 4s. 2-12” Disque Gram DB 11.124/25, POM-1946.
M-A MB 15, the Pair.

“In 1913 Jamet joined the Orchestra of the Parisian Théâtre des Champs Elysées under the direction of Inghelbrecht. His career as a soloist began in 1917. Encouraged by Debussy, who wanted to hear his Sonata for Flute, Alto and Harp on an Erard pedal harp, Pierre Jamet premiered this work on 9 March, 1917. In 1920, he was named harpist of the Lamoureux Concerts, and two years later performed his first recital in Paris. This year also saw the foundation of the Quinten Instrumental de Paris which later became the Quintette Pierre Jamet in 1945 (flute, string trio and harp).”
- Catherine Michel

P0415. GRILLER STRING QUARTET (Griller, O’Brien, Burton & Hampton):
Adagio & Fugue in c, K.546 (Mozart), 2s. 12” Eng.London T.5161,
POM-1948. M-A, as New. MB 8

P0416. GRILLER STRING QUARTET: String Quartet #13 in G, K.387 (Mozart), 8s.
4-12” Eng.Decca AK.1652/55, POM-1946, in Orig.Album EDA 48.
M-A, as New. MB 20, the Set.

P0417. GRILLER STRING QUARTET: The Bird String Quartet #3 in C, Op.33
(Haydn), 4s. 2-12” Eng.Decca AK.1668/69, POM-1946, in Orig.Album EDA 76.
M-A, as New. MB 15, the Set.

P0418. GRILLER STRING QUARTET: American Quartet in F (Dvorák), Op.96, 6s.
3-12” Eng.Decca AK.2176/78, POM-1948, in Orig.Album EDA 116.
M-A, as New. MB 20, the Set.

P0419. GRILLER STRING QUARTET: String Quartet in C, K.465 (Mozart), 7s. /
Sd.8 = Four-Part Fantasia #3 in d (Purcell- Warlock). 4-12” Eng.Decca K.2049/52,
POM-1947, in Orig.Album EDA 97. M-A, as New. MB 20, the Set.

P0420. GRILLER STRING QUARTET: String Quartet #1 in G (Bax),8s.
4-12” Eng.Decca K.1009/12, POM-1941. M-A, as New. MB 25, the Set.

P0421. GRILLER STRING QUARTET: String Quartet #2, 9s.
Sd.10 = Night (both Bloch).5-12” Eng.Decca K.1758/63, POM-1947.
M-A, as New. MB 20, the Set.

P0422. GRILLER STRING QUARTET, w.FREDERICK THURSTON (Clarinet):
Clarinet Quintet (Bliss), 8s. 4-12” dark-blue Eng.Decca K.780/83, POM-1935.
M-A, as New. MB 25, the Set.

“Frederick Thurston was the preëminent British clarinettist of his generation and few instrumentalists have inspired a more distinguished collection of music. Composers who wrote for him include Arnold, Bliss, Bax, Finzi, Ireland, Rawsthorne and William Lloyd Webber, and clarinet solos in numerous orchestral works of that period were written with Thurston in mind.”

- John Bradbury

P0423. THE SHOSTAKOVICH TRIO (Shostakovich, Tziganov & Shirinsky):
‘In memory of I. I. Sollertinsky’ Trio #2 in e, 9s / Sd.10 =
SHOSTAKOVICH (Piano Solo): Prelude #8 in f-sharp (both Played by the Composer).
5-10” pale-blue USSR 13160/68; 11992, POM-1945.
M-A, choice copy; 1st disk only has few lt.rubs, inaud. MB 25, the Set.

P0424. GALIMIR QUARTET (Felix, Adrielle, Renée & Marguerite Galimir):
String Quartet #7 in B-flat (Milhaud), 4s. 2-10” orange Eng. Decca-Polydor DE.7054/55, POM-18 Nov., 1935. M-A MB 20, the Pair.

P0425. GALIMIR QUARTET: Suite Lyrique (Berg), 8s. 4-12” orange
Eng. Decca-Polydor CA.8244/47, POM-1936. M-A, as New. MB 30, the Set.

“Berg coached the Galimir Quartet in his Lyric Suite in 1931 and inscribed the score of the 20-year old violinist, '’To Felix Galimir, outstanding quartet leader, excellent violinist, splendid musician, in remembrance’.' In 1936, when the Galimir Quartet recorded the Lyric Suite and Ravel's String Quartet, both composers were on hand to oversee the ensemble's rehearsals and recording sessions. The recordings were awarded the Grand Prix du Disques. Felix Galimir, a violinist who was one of the last links to the vital musical world of prewar Vienna, and a chamber music player who was revered by several generations of instrumentalists as a demanding and inspiring coach, stated: ‘'I sometimes tell my students that vibrato is a string player's lipstick’, he said in a 1996 interview. ‘When you get dressed up, you use a little more. When you go on a trip to the mountains, a little less. Every piece has moments of repose. Beauty must have variety’.''
- Allan Kozinn, THE NEW YORK TIMES, 2 Nov., 1999

P0426. ERLING BLOCH-KVARTTEN (Bloch, Pedersen, Kassow & Svendsen):
Quartet #4 in F (Nielsen), 6s. 3-12” plum Scandinavian HMV DB 1/3, POM-1946.
A-, very decent copy has lt.rubs, inaud. MB 15, the Trio.

P0427. ERLING BLOCH-KVARTTEN (Bloch, Frilsholm, Kassow & Svendsen):
Quartet #2 in c – Molto vivace (Břrresen) / Quartettsatz in c (Schubert).
12” HMV DB 5282, POM-19 Nov., 1942. [Axel Ejnar Hakon Břrresen was one of the foremost Danish composers of the 20th century. Břrresen's style and musical language are primarily that of the late Romantic. His music shows little or no influence from more modern tendencies. Instead, his music takes as its inspiration Danish cultural ideas and folk melodies. His style reflects the influence of his teacher Svendsen, as well as that of Tchaikovsky.] M-A, as New. MB 12

P0428. ERLING BLOCH-KVARTTEN (Bloch, Frilsholm, Kassow & Svendsen):
Quartet #1 in F, Op.3-5 (Haydn), 4s. 2-10” HMV DA 5244/55, POM-1946.
M-A, as New. MB 12, the Pair.

P0429. VICTOR OLOF SEXTET: Four Characteristic Waltzes (Coleridge-Taylor), 2s. 10” plum PW HMV B 2346. M-A MB 8

“Victor Olof is remembered chiefly as a recording producer, albeit one with less celebrity than his counterparts, EMI's Walter Legge and Decca's John Culshaw. Ironically, Olof preceded Culshaw at Decca and coexisted with the imperious Legge at EMI. Although Olof was much more of a grey, behind-the-scenes presence than Legge or Culshaw, the list of legendary recordings he produced assures him a place with the industry's most important figures and a great many of his recordings have remained available and unsurpassed. Olof formed the Victor Olof Sextet in 1925 and continued to perform with that ensemble until 1939. At EMI, Olof took over from Lawrance Collingwood as producer of Sir Thomas Beecham's recordings. He knew Beecham well, having played an important role in assembling the Royal Philharmonic Orchestra for the conductor in 1946….in 1943, he joined Decca Records as a music advisor. He remained with Decca until 1956, functioning as a record producer and signing new postwar talent for the label. Under his aegis, Decca began to build an important opera catalog….He also produced the incomparable Walter/Ferrier/Patzak DAS LIED VON DER ERDE.”

- Erik Eriksson, allmusic.com

P0430. DEMAN STRING QUARTET (Rudolf Deman,
Emil Kornsand, Karl Reiz & Carl Dechert): 5 Deutsche Tänze (Schubert), 4s.
2-12” dark-blue Polydor 95220/21, POM-1928 M-A MB 20, the Pair.

P0431. DEMAN STRING QUARTET: Dissonant Quartet in C, K.465, 7s.,
POM-17 April, 1929 / Sd.8 = GEORG KULENKAMPFF: Adagio in E, K.261,
POM-25 June, 1936 (both Mozart). 4-12” gold Bruns. 90266/69.
M-A, beautiful copy of preferred Columbia laminated pressing;
Sd.3 only has infinitessimal ipc, inaud., merely cosmetic. MB 25, the Set.

P0432. DEMAN STRING QUARTET: Quartet in E-flat (Schubert), 7s., /
Sd.8 = Quartet in E-flat - Finale (Dittersdorf). 4-10” dark-blue Grammophon 90045/48, POM-1928. [Prof. Rudolf Deman was Concertmaster of Berlin Opera Orchestra and husband of FRIDA LEIDER.] M-A MB 20, the Set.

P0433. ALBERTO POLTRONIERI, ALFREDO CASELLA &
ARTURO BONUCCI: Ein Musikalisches Opfer (Bach-Casella), 4s.

2-12” PW Disco Grammofono DB 2168/69, POM-26 April, 1934.

M-A, choice copy; Sd.2 only has wee ec, not to grooves. MB 25, the Pair.

P0434. POLTRONIERI STRING QUARTET (Alberto Poltronieri, Guido Ferrari,
Fiorenzo Mora & Antonio Valisi): Quartet in d, Op.76, #2 (Haydn), 4s.
2-12” early PW Col. 68215/16-D, POM-21 May, 1931, on blue shellac.
M-A, appears unplayed! MB 45, the Pair.

P0435. POLTRONIERI STRING QUARTET (Alberto Poltronieri, Guido Ferrari,
Fiorenzo Mora & Antonio Valisi): Quartet in D, Op.6, #1 (Boccherini), 4s.
2-12” green PW Italian Col.GQX 10878/79.M-A, as New. MB 25, the Pair.

P0436. POLTRONIERI STRING QUARTET (Poltronieri, Ferrari, Mora & Valisi):
Quartet in E-flat, Op.6, #3 (Boccherini), 4s. 2-12” PW National Gramophonic Society 92/93, only form of issue, 1928. M-A, as New. MB 20, the Pair.

P0437. FLONZALEY QUARTET (Betti, Pochan, Moldavan & d’Archambeau):
Quartet in E-flat, Op.127 (Beethoven), 10s. 5-12” Scroll V 7629/33,
on ‘Z’ shellac, POM-1929, in Orig. Album M-153. M-A, choice copy;
Sd.5 only has faintest rubs, inaud. MB 150, the Set.

P0438. FLONZALEY QUARTET (Betti, Pochan, Moldavan & d’Archambeau):
Quartet in d, K.421 (Mozart), 4s. 2-12” Scroll V 7607/08, POM-1929, on z-type shellac. A-, beautiful copy has various cosmetic lt. rubs. MB 15, the Pair.

P0439. FLONZALEY QUARTET (Betti, Pochan, Moldavan & d’Archambeau):
From My Life Quartet #1 in e (Smetana), 6s. 3-12” PW V 7130/32, partially
on ‘Z’ shellac, POM-1929, in Orig. Album M-63, w.Brochure. M-A MB 65, the Set.

“The Flonzaley Quartet was the deliberate creation of Éduard J. de Coppet of New York, who in 1902 engaged the original members to devote themselves entirely to quartet-playing, and not with any view to giving regular concerts in public. The group took its name from de Coppet's summer villa near Lausanne, in Switzerland, where the four musicians first rehearsed. The Flonzaley Quartet won high praise for the perfection of its ensemble and its artistic finish.”

- Ned Ludd

P0440. STUYVESANT STRING QUARTET
(Sylvan Shulman, Bernard Robbins, Ralph Hersh & Alan Shulman):
Quartetto Brasiliero #6 in E (Villa-Lobos), 6s. 3-12” International M1/M3,
only form of issue, 7 May 1947, Majestic Theatre, New York, in Orig. Album #30.
M-A, lovely copy has, Sd.4 only, lt.scuff, inaud. MB 25, the Set

P0441. THE KROLL STRING QUARTET
(William Kroll, Louis Graeler, Nathan L. Gordon & Avron Twerdowsky):
Grosse Fuge Quartet in B-flat, Op.133 (Beethoven), 4s.
2-12” red Musicraft 1161/62 [5680-83], POM-1946, in Orig. Musicraft Album M-73.
M-A, as New. MB 25, the Set.

P0442. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in d, K.421 (Mozart), 6s. 3-12” Col.71168/70-D (1st disk is PW),
POM-11 Oct., 1940, in Orig. Album MM-462. M-A MB 15, the Set.

P0443. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider):
The Hunt Quartet in B-flat, K.458 (Mozart), 6s. 3-12" V 17907/09, POM-2 Feb., 1940,
in Orig. Album DM-763, w.Brochure. M-A, as New. MB 15, the Set.

P0444. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Dissonance Quartet in C, K.465 (Mozart), 6s. 3-12" PW V 8836/38, POM-14 Nov., 1932, in Orig. Album M-285, w.Notes. M-A, as New. MB 15, the Set.

P0445. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Hoffmeister Quartet in D, K.499 (Mozart), 6s. 3-12" EL Orth Vla 11700/02,
POM-5 April, 1934, in Orig. Album M-222. M-A, as New. MB 15, the Set.

P0446. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in F, K.590 (Mozart), 6s. 3-12" Scroll V 14360/62, POM-29 April, 1935,
on ‘Z’-type shellac, in Orig. Album M-348, w.Brochure. M-A, as New. MB 25, the Set.

P0447. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider), w. MILTON KATIMS: Quintet in g, K.516 (Mozart), 8s. 4-12” PW Col.71417/20-D,
POM-2 Dec., 1941, in Orig. Album MM-526. M-A MB 15, the Set.

P0448. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider), w. BENNY GOODMAN: Clarinet Quintet in A major, K.581 (Mozart), 8s.
3-10” PW V 1887/89; 12” PW V 14921, POM-25 April, 1938,
in Orig.Album AM 452, w.Brochure. M-A, as New. MB 25, the Set.

P0449. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider):
Quartet in G, Op.54, #1 (Haydn), 4s. 2-12” V 18407/08, POM-24 April, 1935,
in Orig.Album DM 869, w.Brochure. M-A, as New. MB 15, the Set

P0450. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in F, Op.18, #1 (Beethoven), 8s. 4-12” Col.71013/14-D,
POM-9 Sept., 1940, in Orig. Album M-444, w.Brochure.
M-A, Pristine Copy has, Sd.1 only, various long patinas. MB 15, the Set.

P0451. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider):
Quartet #2 in G, Op.18, #2 (Beethoven), 6s. 3-12” V 18093/95, POM-1 June, 1938,
in Orig.Album DM 801, w.Brochure. M-A, as New. MB 15, the Set.

P0452. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Razumovsky Quartet in e, Op.59, #2 (Beethoven), 8s.
2-12" PW & 2-12” Scroll V 143133/16, POM-24 April, 1935, 3rd & 4th disks
on z-type shellac, in Orig. Album M-340. M-A, as New. MB 25, the Set.

P0453. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Razumovsky Quartet in C, Op.59, #3, 7s. / Sd.8 = Quartet in A, Op.18, #5 – Minuet (both Beethoven). 4-12” Col.71013/14-D, POM-15 Sept., 1941, in Orig. Album M-510.
M-A, Pristine Copy has various tiny patinas. MB 15, the Set.

P0454. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Harp Quartet in -Flat, Op.74 (Beethoven), 8s. 4-12" PW V 16341/44,
POM-27 April, 1936, Orig. Album DM-467, w.Brochure. M-A, as New. MB 25, the Set.

P0455. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Serioso Quartet in f, Op.95 (Beethoven), 6s. 3-12” PW Col.71391/93-D,
POM-3 Sept., 1940, in Orig. Album M-519. M-A, as New. MB 20, the Set.

P0456. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in E-flat, Op.127 (Beethoven), 10s. 5-12” PW Col.71458/62-D,
POM-26 Feb., 1942, in Orig. Album MM-537. M-A, as New. MB 35, the Set.

P0457. BUDAPEST STRING QUARTET (Hauser, Roismann, Ipolyi & Son):
Quartet in B-flat, Op.130 (Beethoven), 10s. 5-12” Scroll V 8576/80, POM-1933-34,
Berlin & London, on ‘Z’ shellac, in Orig. Album M-157, w.Brochure. M-A,
choice copy has, Sds 8 & 9 only, faint rubs, inaud.; wee label stickers. MB 35, the Set.

P0458. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in c-sharp, Op.131 (Beethoven), 10s. 5-12” PW Col.70695/99-D, POM-9 Sept. & 21 Oct., 1940, in Orig. Album MM-429, w.Brochure. M-A, as New. MB 35, the Set.

P0459. BUDAPEST STRING QUARTET (Hauser, Roismann, Ipolyi & Son):
Grosse Fuge Quartet in B-flat, Op.133 (Beethoven), 4s.
12" PW & 12” Scroll V 8586/87, POM-21 Feb., 1927,
2nd disk on ‘Z’ -shellac. M-A MB 20, the Pair.

P0460. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in F, Op.135 (Beethoven), 6s. 3-12” PW Col.71326/28-D, POM-9 & 10 Sept., 1940, in Orig. Album MM-489. M-A, as New. MB 25, the Set.

P0461. BUDAPEST STRING QUARTET (Hauser, Roismann, Ipolyi & Son):
Quartettsatz #12, in c (Schubert), 2s. 12” Orth Vla 9273, POM-1928. A to M-A MB 12

P0462. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Rosamunde Quartet in a (Schubert), 8s. 4-12" Scroll V 11720/23, POM-4 April, 1934, on ‘Z’ -shellac, in Orig.Album AM-225, w.Notes. M-A, as New. MB 35, the Set.

P0463. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in a (Brahms), 8s. 4-12" Scroll V 8798/8801, POM-30 April & 1 May, 1935,
on ‘Z’-type shellac, in Orig. Album M-278, w.Brochure.
M-A, Pristine copy has, Sd.6 only, faintest rub, inaud. MB 45, the Set.

P0464. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in B-flat (Brahms), 8s. 4-12” PW HMV DB 1859/62, POM-15-18 Nov., 1932, Berlin, in Orig. HMV Album 178. M-A, a gleaming copy. MB 15, the Set.

P0465. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider), w.Alfred Hobday: Viola Quintet #1 in F (Brahms), 6s. 3-12" PW V 14991/93,
POM-8 Feb., 1937, in Orig. Album M-466, w.Brochure. M-A, as New. MB 25, the Set.

P0466. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): w.Hans Mahike: Quintet in G, Op.111 (Brahms), 6s.
3-12" PW V 13202/04, in Orig. Album DM-184, w.Brochure.
A to M-A, lovely copy has occasional rub, inaud. MB 15, the Set.

P0467. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider), w.Hobday & Pini: Agathe Sextet #2 in G (Brahms), 8s. 4-12" PW V 14448/51,
POM-8 Feb., 1937, Orig. Album M-371, w.Brochure. M-A, as New. MB 25, the Set.

P0468. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet #1 in E-flat (Mendelssohn), 6s. 3-12" Scroll V 14000/02, POM-29 April, 1935,
on ‘Z’ type shellac, in Orig. Album M-307, w.Brochure. M-A MB 35, the Set.

P0469. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in g (Grieg), 8s. 4-12" PW V 16351/54, POM-5 Feb., 1937, in Orig. Album DM-465, w.Brochure. M-A, choice copy has wee pap.scr, Sd.8, inaud. MB 45, the Set.

P0470. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): American Quartet #6 in F (Dvorák), 6s. 3-12" PW V 16841/3743,
POM-2 Feb., 1940, in Orig. Album DM-681, w.Brochure. M-A, as New. MB 25, the Set.

P0471. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider), w. Watson Forbes & John Moore: Sextet in A (Dvorák), 8s. 4-12" PW V 15941/44, POM-31 May, 1938, in Orig. Album DM-661, w.Brochure. M-A, as New. MB 20, the Set.

P0472. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in g (Debussy), 8s. 4-12” PW Col.71177/80-D, POM-10-12 Dec., 1940, in Orig. Album M-467. M-A, as New. MB 25, the Set.

P0473. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in F (Ravel), 8s. 4-12” PW Col.70381/84-D, POM-8 Sept., 1940,
in Orig. Album M-425, w,Brochure. M-A, as New. MB 25, the Set.

P0474. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider):
Italianische Serenade in G (Wolf), 2s. 10” PW V 4271, POM-18 Nov., 1932. M-A MB 10

P0475. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider):
Quartet #2 in a (Bartók), 8s. 4-12" Scroll V 14127/30, POM-25 April, 1936,
on ‘Z’-type shellac, in Orig. Album AM-320, w.Brochure.
M-A, as New. MB 55, the Set.

P0476. BUDAPEST STRING QUARTET (Roismann, Ortenberg, Kroyt & Schneider): Quartet #5 in E-flat (Hindemith), 6s. 3-12” Col.72716/18-D, POM-1945,
in Orig. Album MM-797, w.Notes (commissioned in 1943 by the Budapest Quartet).
M-A, as New. MB 25, the Set.

P0477. BUSCH CHAMBER PLAYERS: Notturno for strings, Op.40 (Dvorák), 2s.
10” Col. 17513-D, only form of issue, 30 May, 1945. M-A, as New. MB 20

P0478. BUSCH CHAMBER PLAYERS: Adagio & Fugue in c, K.546 (Mozart), 2s.
12” PW V 12324, POM-10 Oct., 1937. M-A, as New. MB 12

P0479. BUSCH CHAMBER PLAYERS, w.RUDOLF SERKIN:
Piano Concerto #14 in E-flat, K.449 (Mozart), 6s. 3-12” PW V 15912/14,
POM-10 Oct., 1938, in Orig.Album M-657, w.Brochure. M-A, as New. MB 25, the Set.

P0480. BUSCH QUARTET: Rasoumovsky Quartet in F, Op.59, #1 (Beethoven), 11s. / Sd.12=Quartet #83 in B-flat – Menuetto (Haydn). 6-12” Col.71480/85-D,
POM-15 May, 1942, in Orig. Album MM-543, w.Notes.
M-A, appears unplayed! MB 25, the Set.

P0481. BUSCH QUARTET: Rasoumovsky Quartet in C, Op.59, #3 (Beethoven), 8s.
4-12” Scroll V 8335/38, POM-10 & 16 Nov., 1933, on ‘Z’-shellac & on ‘Z’-type shellac, in Orig. Album M-171, w.Brochure. M-A, superb copy! MB 45, the Set.

P0482. BUSCH QUARTET: Serioso Quartet in f, Op.95, #11 (Beethoven), 4s.
2-12” PW HMV DB 1799/1800, POM-19-20 Sept., 1932. M-A, as New. MB 20, the Pair.

P0483. BUSCH QUARTET: Quartet in E-flat, Op.127 (Beethoven), 10s.
5-12” PW V 15092/15096, POM-1936-37, in Orig. Album M-489, w.Brochure.
M-A, as New. MB 35, the Set.

P0484. BUSCH QUARTET: Quartet in B-flat, Op.130 (Beethoven), 10s.
5-12” PW Col.71220/24-D, POM-13 & 16 June, 1941, in Orig. Album M-474, w.Notes. M-A, appears unplayed! MB 25, the Set.

P0485. BUSCH QUARTET: Quartet in c-sharp, Op.131 (Beethoven), 10s.
5-12” PW V 14432/36, POM-3 Feb., 1936, in Orig. Album M-369, w.Brochure.
M-A, as New. MB 35, the Set.

P0486. BUSCH QUARTET: Grosse Fuge, Op.133 (Beethoven), 4s.
2-12” PW Col.11779/80-D, POM-10 Feb., 1941, in Orig. Album MX-221, w.Notes.
M-A, appears unplayed! MB 25, the Set.

P0487. BUSCH QUARTET: Quartet in F, Op.135 (Beethoven), 8s.
4-12” Scroll (1 disk is PW) V 8850/53, POM-13 Nov., 1933, on ‘Z’-type shellac,
in Orig. Album M-287, w.Brochure. M-A, as New. MB 35, the Set.

P0488. BUSCH QUARTET: Quartet in B-flat (Schubert), 6s.
3-12” PW V 16191/93, POM-25 Nov., 1938, Orig. Album DM-670, w.Brochure.
M-A, as New. MB 35, the Set.

P0489. BUSCH QUARTET: Death and the Maiden Quartet in d (Schubert), 8s.
4-12” PW V 15009/12, POM-16 Oct., 1936, in Orig. Album AM-468, w.Brochure.
M-A, as New. MB 35, the Set.

P0490. ADOLF & HERMANN BUSCH & RUDOLF SERKIN:
Trio #2 in E-flat (Schubert), 10s. 5-12” PW V 16795/99,
POM-23 Oct., 1935, in Orig. Album M-374. M-A, as New. MB 35, the Set.

P0491. BUSCH QUARTET: Quartet in c, Op.51, #1 (Brahms), 8s.
4-12” Scroll Vla 8343/46, on ‘Z’ shellac, Orig. Album M-227, w.Brochure.
M-A, as New. MB 45, the Set.

P0492. BUSCH QUARTET: Quartet in c, Op.51, #1 (Brahms), 8s.
4-12” PW Electrola DB 1807/10, Orig. Electrola Album 78.
M-A, as New. MB 45, the Set.

P0493. BUSCH QUARTET, w.RUDOLF SERKIN:
Piano Quartet #2 in A, Op.26 (Brahms), 8s. 4-12” Scroll (1 disk is PW) V 14344/47,
on ‘Z’-type shellac, in Orig. Album M-346, w.Brochure. M-A, as New. MB 45, the Set.

P0494. BUSCH QUARTET, w.RUDOLF SERKIN:
Piano Quintet in f, Op.34 (Brahms), 10s. 5-12” PW V 16026/30,
POM-13 Oct., 1938, in Orig. Album DM-607, w.Brochure.
M-A, as New. MB 25, the Set.

P0495. BUSCH QUARTET, w.RUDOLF SERKIN:
Horn Trio in E-flat, Op.40 (Brahms), 8s. 4-12” PW V 17112/15,
POM-13 Nov., 1933, in Orig. Album DM-199. M-A, as New. MB 35, the Set.

P0496. BUSCH QUARTET, w.REGINALD KELL: Clarinet Quintet in b (Brahms), 8s.
4-12” V 16254/57, POM-10 Oct., 1937, in Orig. Album DM-491, w.Brochure.
M-A, as New. MB 25, the Set.

P0497. BUSCH QUARTET, w.RUDOLF SERKIN: Piano Quartet in E-flat, Op.44 (Schumannn), 8s. 4-12” PW Col.71446/49-D, POM-22 May, 1942,
in Orig. Album MM-533, w.Notes. M-A, appears unplayed! MB 25, the Set.

“Only the Busch ensemble, in my experience, have presented the Beethoven quartets on record in their full majesty - and daring….The luminous beauty of the Busch Quartet’s playing can snatch your breath away in any of their repertoire, but the uninitiated should start with late Beethoven…. Busch had an unrivalled ability to bring out the spirituality of Beethoven’s quartets: he could freight a simple line of music with almost unbearable intensity and exaltation; and he identified totally with Beethoven’s sound world. His leadership inspired his colleagues….”
- Tully Potter, GRAMOPHONE, Nov., 2013

P0498. SILVERMAN PIANO QUARTET (Edward Silverman,
Winifred Copperwheat [Student of Tertis], William Pleeth & Margaret Good):
Piano Quartet in D (Dvorák), 8s. 4-12” red Eng. Decca K.968/70, POM-1940-41.
M-A, choice copy has very occasional pap.mk, inaud. MB 25, the Set.

P0499. KATHLEEN WASHBOURNE STRING TRIO (Washbourne, Winifred Copperwheat [Student of Tertis] & William Pleeth): Trio, Op.21 (Anton Webern), 2s.
12” red Eng. Decca K.904, POM-19 Feb., 1939. M-A, as New. MB 15