Wind 78rpm records Nos. P0500 - P0542

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

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Section III: Wind 78rpm records: Nos. P0500 - P0542

P0500. BRUNO HOFFMANN (Glass Harp): Adagio in C, K.356 (Mozart), 2s.
12” silver DG Archiv Produktion Variable Micrograde 6002, POM-26 June, 1951.
M-A, as New. MB 15

P0501. BRUNO HOFFMANN (Glass Harp): Sonatas Nos.5 & 8 (Naumann), 2s.
12” silver DG Archiv Produktion Variable Micrograde 6003, POM-26 June, 1951.
M-A, as New. MB 15

P0502. BRUNO HOFFMANN (Glass Harp): Fantasie für Glasharmonika
(Tomaschek), 2s. 12” silver DG Archiv Produktion Variable Micrograde 6004,
POM-26 June, 1951. M-A, as New. MB 15

“German glass harp virtuoso, Bruno Hoffmann’s instrument was actually a set of table-mounted individual glasses of his own design and quite different from the famous Benjamin Franklin mechanized glass Armonica. Invented by Bruno Hoffmann around 1929, it is a variation of the musical glasses. This version consists of 46 glasses tuned chromatically, consisting of a set of wine glasses mounted in a wooden box, whose rims were rubbed to produce the tone. I found myself charmed and literally captivated by the exotic sounds of rim-rubbed glass even when played without historical technique.”

- Dennis James

P0503. MAX ZIMOLONG, w.Böhm Cond.: Horn Concerto #3 in E-flat, K.447
(Mozart), 4s. 2-12” Electrola DB 5628/29, POM-1940. M-A MB 20, the Pair.

“Karl Muck heard Zimolong playing a solo concerto and engaged him on the spot to be first horn of the Bayreuth Festival Orchestra (1930-35). He led the wind department of the Breslau opera 1947-58 & taught at the academy there, returning to Stuttgart, playing first horn with the Stuttgart Philharmonic until 1968 where he was a frequent soloist.”

- Bayreuth Horn Players

P0504. PIERRE VIGNAL (Trumpet), Freichefille, etc.: Septet in E-flat major, op. 65 (Saint-Saëns), 4s. 2-red Decca-Odeon 25463/64 [xxP6589/92], POM-2 Feb., 1928.
M-A MB 15, the Pair

“The unusual scoring (trumpet, piano, string quartet, double bass) of this septet may have limited its performances and recordings, but it's truly one of the most delightful chamber works of the nineteenth century. Saint-Saëns wrote it in 1881, for a Parisian music society called ‘La Trompette’, and, given such a name, the composer could hardly have resisted working a trumpet into the piece. Inevitably, it becomes the dominant voice almost whenever it plays, but Saint-Saëns makes a valiant effort to keep the ensemble as balanced as possible. The septet takes the form of a Baroque suite.”

- James Reel,

P0505. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: The toy trumpet (Scott) / Pavanne (Morton Gould). 10” RCA 4456, POM-29 June, 1939. A to M-A MB 10

P0506. SIGURD M. RASCHER (Saxophone): Saxo-Rhapsody (Eric Coates,
played by the work’s dedicatée; the Composer), 2s.
12” black PW V 36375 [2EA 4617-2/18-2], POM-15 Jan., 1937.
M-A, a gleaming copy. MB 10

"Throughout the middle decades of the twentieth century, a preponderance of the significant new saxophone solo and chamber repertoire would appear with the familiar dedication to Sigurd M. Rascher, the outcome of not just his ongoing commitment to motivate some of the world's finest composers, but also in part the result of genuine close friendships he developed with so many. And it is not without significance that among all the pieces written for and dedicated to him during his life, not one was commissioned. He inspired new music, he never needed to purchase it."
- Ronald Caravan

P0507. MARCEL MULE (Saxophone), w. Romby, Charron, Chauvet:
Introduction et variations sur une ronde populaire (Pierné), 2s.
12” plum PW Disque Gram.L-1033 [2LA2135-3/2136-1], only form of issue,18 Oct., 1937. A-, fine copy has various lt.scrs & rubs, only occasionally audible. MB 10

“As a young man Mule saw the classical potential of the saxophone, and was truly a pioneer in the development of the instrument as a classical medium. Virtually without a mentor, he was the one who would lead the way for others; he had no idea how profound and widespread his influence would be. In 1942 he was appointed Professor of Saxophone at the Paris Conservatory, a position first held during by the instrument's inventor, Adolphe Sax. Mule remained Professor at the Paris Conservatory until his retirement in 1968. His classes were notable, quite apart from the knowledge and insights he shared, due to his gentle manner, clarity, and quiet way of expressing his valuable opinions. In 1923 he won a place in la Musique de la Garde Republicaine, France's most prestigious military band, where he formed a quartet that soon became famous, and was to continue in its fame for some 40 years. In 1936 the ensemble was known as the Paris Saxophone Quartet until 1951, when, at the urging of Georges Gourdet, it became the Marcel Mule Saxophone Quartet. His long career as a soloist is perhaps most notable by his performances of Ibert's Concertino da Camera, a work that he first recorded in the 1930s for RCA Victor, Philippe Gaubert conducting. Marcel Mule's career culminated in 1958 when he was invited by Charles Münch, Musical Director of the Boston Symphony Orchestra, to be featured soloist in a twelve concert tour of the United States. This was indeed high recognition for the classical saxophone, and for this historic occasion Mule chose the lbert Concertino, which had been composed only twenty three years earlier, and Henri Tomasi's ‘Ballade’.”
- Eugene Rousseau

P0508. RENÉ LE ROY (Flute): Danse de la Chevre
(for Solo Flute) (Honegger; Played by the dedicatée)/
RENÉ LE ROY & KATHLEEN LONG: Sonata #3 in E-flat for Flute & Piano (Bach).
12” Columbia/National Gramophonic Society NGS-136, only form of issue, 1927.
M-A, choice copy; Sd.2 only has few infinitessimal dust scrs, positively inaud. MB 12

P0509. RENÉ LE ROY & ANDRÉ MUSSET, w.Claude Crussard (Pf.) (Ars Rediviva): Sonata in G for Two Flutes & Piano (Bach), 4s. 2-10” Boite à Musique 11 & 12,
only form of issue, 1947. [Ars Rediviva was established in 1935 and existed until 1947, when its members were killed in a plane crash.] M-A MB 20, the Pair.

P0510. RENÉ LE ROY & YELLA PESSL: Sonata in D for Flute & Harpsichord
(Vinci), 2s. 12” V 18086, POM- 22 Feb., 1939. M-A MB 8

P0511. RENÉ LE ROY & LILY LASKINE, w.Beecham Cond.Royal Phil.: Flute & Harp Concerto in C, K.299 (Mozart), 6s. 3-12” RCA 12-0806/08,
POM-1947, in Orig.Album DM 1292. M-A, as New. MB 15, the Set

René Bas, Pierre Grout & Roger Boulmé): Sonata for Flute and Strings (Scarlatti), 4s. 2-10” PW plum Disque Gram. K 5920/21. M-A MB 15, the Pair.

(Pierre Jamet, René Leroy, René Bas, Pierre Grout & Roger Boulmé):
Suite for Flute, Harp and Strings, Op.91 (d’Indy), 4s. 2-12” PW V 11668/69.
[CREATOR recording, premiered in 1928 by the group shortly before
the date of this recording.] M-A, as New. MB 15, the Pair.

“René Le Roy studied with Adolphe Hennebains and Léopold Lafleurance at the Paris Conservatoire, and later with Philippe Gaubert. In 1922 he founded the Quintette Instrumental de Paris, consisting of flute, harp and string trio, a successful ensemble for which many composers wrote new works.”
- Robert Bigio

P0514. GEORGES BARRERE (Flute): ORFEO - Dance of the blessed spirits (Gluck) /
L'ARLESIENNE - Suite #2 - Minuet (Bizet). 10" blue Col.A1449.
M-A, an extraordinary copy. MB 15

P0515. GEORGES BARRERE (Flute), w.Barrère Ensemble: Sérénade (Pierné) /
Quartet, Op.3, #5 – Serenade (Hofstetter, att. Haydn).
10" blue Col. A1785, POM-10 June / 22 May, 1915.
A to M-A, superb copy has, very end Sd.2, infinitessimal scr, inaud. MB 15

P0516. GEORGES BARRERE (Flute), w.Barrère Ensemble: Fiesque - Aubade #1 (Lalo) / La Feria – La Reja (Lacome). 10" blue Col. A2074, POM-30 June / 1 July, 1916.
B, decent copy has lt. rubs & scrs. MB 8

P0517. GEORGES BARRERE (Flute), w.Barrère Ensemble: Canzonetta (d'Ambrosio) /
A Day in Venice - The Gondoliers (Nevin). 10" blue Col. A1813, POM-31 July, 1915.
M-A MB 15

P0518. GEORGES BARRERE (Flute), w.Barrère Ensemble: Sérénade Badine (Marie) / Salut d’amour (Elgar). 10" blue Col. A1839, POM-30 July, 1915.
M-A, superb copy has, Sd.2 only, few faintest rubs, inaud. MB 15

P0519. GEORGES BARRERE (Flute), w.Carlos Salzédo (Harp) & Horace Britt (Cello):
La Cupis / Tambourins (both Rameau). 10" PW V 1976, only form of issue, 24 May, 1937. M-A MB 15

P0520. GEORGES BARRERE (Flute), w.Yella Pessl (Harpsichord): Sonata #1 in b; Sonata #2 in E-flat; Sonata #4 in C (all Bach), 8s. 4-12” PW V 14617/20,
POM-16 June, 1937, in Orig. Album M-406, w.Brochure. M-A MB 20, the Set.

Fred van Amburgh, Carlos Mullenix & Angel del Busto):
Three Pieces For Flute, Clarinet and Bassoon (Walter Piston), 2s. 12” black PW
New Music Quarterly, Vol. II, #5 (1113), POM-1935. [While in the orchestra of the Société Nationale de Musique in 1894 which premiered Debussy’s PRÉLUDE À L'APRÈS-MIDI D'UN FAUNE, Barrére was chosen to to play the opening notes on solo flute, one of the most momentous occasions in music of the turn of the 20th century, ushering in a whole new harmonic language.]
A-, very decent copy has rubs & a few superficial scrs, inaud. MB 12

“Georges Barrère (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the ‘Poem’ of Charles Tomlinson Griffes and ‘Density 21.5’ by Edgard Varèse--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance.

A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrère played in the premiere of Debussy's ‘Prélude à l'après-midi d'un faune’. He went on to become solo flutist of the Concerts Colonne and to found the Sociètè Moderne d'Instruments á Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music.”


P0522. ARTHUR BROOKE (Flute): Tourbillon, #3 (The Whirlwind) (Krantz) /
WILLIAM GRUNER (Bassoon): Hungarian Fantasy – Andante & Rondo (von Weber). 10” black V 18684, POM-12 March, 1917 / 24 June, 1920. [Brooke was Flautist with the Boston Symphony at the time of this recording. William Gruner was Bassoonist with the Philadelphia Orchestra, 1906-17, and again 1929-51.] M-A, appears unplayed. MB 12

P0523. PIERRE RUYSSEN (Trois flutes soli): Suite a tre flauti (18th Century), 2s.
10”purple L’Oiseau-Lyre OL.127, only form of issue, 1 June, 1939. M-A MB 10

Octet for Wind Instruments (Stravinsky), 4s.
[This Octet has been generally regarded as the beginning of neoclassicism in Stravinsky's music.] 2-12” early PW Col. 68203/04-D,
POM-7 May, 1932, on blue shellac. M-A, as New. MB 12

P0525. TRIO MOYSE (Blanche Honegger, Marcel & Louis Moyse):
Flute Sonata in G (Bach),2s. 12” LVSM DB 5076, POM-21 July, 1947.
M-A, pristine copy has, Sd.1 only, infinitessimal pap.scr, positively inaud. MB 15

P0526. GUSTAV SCHECK (Flute): Flute Sonata in a, BWV 1013 (Bach), 2s.
12” silver DG Archiv Produktion Variable Micrograde 2416, POM-16 May, 1951.
M-A, as New. MB 15

Sonata for Flute & Continuo #48 in e (Friedrich der Grosse), 2s.
12” silver DG Archiv Produktion Variable Micrograde 4406, POM-30 July, 1951.
M-A, as New. MB 15

“Scheck held a number of principal flute positions, including in the Hamburg State Opera, and taught the flute at the Berlin Hochschule and later at the Hochschule in Freiburg, which he helped to found. Scheck was one of the first players to develop an interest in performing on the Baroque flute. He founded a Baroque ensemble, Kammermusikkreis Scheck-Wenzinger, with the cellist and viola da gamba player August Wenzinger. The Swiss cellist and viola da gamba player August Wenzinger, a student of Feuermann, was one of the 20th century pioneers of historically-informed performances of Baroque music, both through his performances on the gamba and his participation in various orchestras, principally that of the Schola Cantorum Basiliensis and the Capella Coloniensis.”
- Robert Bigio

P0528. AUGUST WENZINGER Cond. Kammermusikkreis Scheck-Wenzinger:
Overture-Suite in C (Erlebach), 2s. 12” plum PW HMV EH 1221,
POM-1 Oct., 1938. M-A MB 8

P0529. RENÉ VERNEY (Clarinet), w.Dupont Cond.Garde Républicaine Band:
Clarinet concertino in E-flat - Alla polacca (Weber), 2s.
10” black Viva-Tonal Col. 2584-D, POM-11 April, 1928, on blue shellac. M-A MB 10

P0530. JEAN DEVEMY (French Horn), w.Albert Wolff Cond.Lamoureux Orch.:
Romance in F, Op.36 (Saint-Saëns) / ALBERT WOLFF Cond.: SOROCHINTSY FAIR – Gopak (Moussorgsky); TSAR SALTAN – Flight of the bumble-bee (Rimsky-Korsakov). 12” black PW French Polydor 66968, POM-1929.
M-A, gleaming copy has faintest ‘pressure’ mks, barely visible & inaud. MB 12

P0531. VIENNA PHILHARMONIC WIND QUARTET (Josef Niedermayr, Leopold Wlach, Gottfried von Freiburg, Karl Öhlberger): Quartet #1 in F - Finale (Rossini), 4s.
2-10" LVDP DA 4483/84, POM-17 April 1940. M-A, a choice copy. MB 45, the Pair.

P0532. LEON GOOSSENS (Oboe), w.International String Quartet
(André Mangeot, Boris Pecker, Frank Howard & Herbert Withers):
Quintet for Oboe & Strings (Bax; Played by the dedicatée).
2–12” Columbia/National Gramophonic Society NGS-76/77,
only form of issue, 1927. M-A, as New. MB 20, the Pair

P0533. LEON GOOSSENS (Oboe), w.Süsskind Cond.Philharmonia Orch.:
Oboe Concerto in c (Cimarosa), 3s. / Sd.4 = LEON GOOSSENS,
w.Sargent Cond. Liverpool Phil.: Easter Oratorio - Sinfonia (Bach).
2-12” Australian Col. 742/43, POM-26 Feb., 1946 / 25 Oct., 1943.
M-A, lovely copy of preferred Australian pressing;
Sd.2 only has lt.rubs, inaud. MB 15, the Pair.

P0534. LEON GOOSSENS (Oboe), w.Süsskind Cond. Philharmonia Orch.:
Oboe Concerto in One Movement (Played by the Composer), 4s.
2-12” Eng. Col. DX 1578/79, POM-26 April, 1948. M-A, as New. MB 15, the Pair.

P0535. LEON GOOSSENS (Oboe), w.Galliera Cond.Philharmonia Orch.:
Oboe Concerto in D (Strauss), 6s. 3-12” Eng. Col. DX 8301/03, POM-15 Sept., 1947. [Since this recording was made prior to publication of the score, it is the only recording of the original Strauss manuscript!] M-A. as New. MB 20, the Trio.

P0536. LEON GOOSSENS (Oboe), w.Gerald Moore (Pf.):
Three Romances, Op.94 (Schumann); Pièce (Franck), 4s.
2-12” PW Col. 69816/17-D, POM-1939, in Orig. Album X 160, w.Brochure.
M-A, as New. MB15, the Set.

P0537. LEON GOOSSENS (Oboe), w.Eugene Goossens Cond. London Phil.:
Oboe Concerto #1 in B-flat (Handel), 2s. 12” PW V 12605, POM-2 Sept., 1937.
M-A, as New. MB 12

P0538. LEON GOOSSENS (Oboe), w.Süsskind Cond.Philharmonia Orch.:
Oboe Concerto in c (Marcello), 3s. / Sd.4 = LEON GOOSSENS,
w.Gerald Moore (Pf.).: Arioso (Fiocca). 2-12” Eng. Col. DX 1389/90,
POM-22 April, 1947. M-A, as New. MB 15, the Pair.

P0539. LEON GOOSSENS (Oboe), w.Léner String Quartet (Léner, Roth & Hartman): Quartet in F, K.370 (Mozart), 4s. 2-12” MasterWorks Col. 68157/58-D,
POM-1 March, 1933, in Orig. Album X 21, w.Brochure. M-A, as New. MB20, the Set.

“Composers such as Benjamin Britten, Francis Poulenc, Arnold Bax, Arthur Bliss and Sir Edward Elgar wrote music for Leon Goossens, and his development of the oboe's tone and expressive power worked its effect not only on the woodwind players around him but also on composers seeking to use orchestral sound in new and expanded ways. Mr. Goossens was one of the first wind players to leave the relative security of an orchestra job and go out on his own. He found his career limited by the paucity of important works written for his instrument, and he undertook a strenuous - and successful - campaign to persuade the major creative minds around him to add to the repertory. The clarinetist Jack Brymer said Mr Goossens ‘did more for the development of woodwind playing throughout the world than any other person’.''

- Bernard Holland, THE NEW YORK TIMES, 15 Feb., 1988

(Haaken Bergh, Gordon Pope, D. H. McKenney, Don Christlieb & Jack Cave):
Kleine Kammermusik (Hindemith), 4s. 2-10” PW Col.17169/70-D [AM 650/653],
in Orig.Album X 149, w.Brochure. M-A, as New. MB 20

P0541. NEW PIPERS’ GUILD QUINTET: Suite for Pipes (Vaughan Williams), 2s.
12” Eng.Col. DX 1345, POM-7 Jan., 1947. [The Guild was founded in Britain in 1932.
Its main aim is the threefold craft of making, playing and decorating bamboo pipes. Pipes are made for personal use, and are not sold - i.e. if you want to play one, you'll have to make one!] M-A, as New. MB 8

P0542. VACLAV SMETACEK (Oboe), Jindřich Bubeníček Cond. Prague S.O.:
Oboe Concerto in c, Op. 52,– Adagio (Kramář) / CZECH PHIL. QUINTET:
Quintet in E-flat, Op.88, #2 – Adagio (Reicha). 12” black Supraphon 13032 [044616/042311], POM-1948. M-A, as New. MB 15

“Conductor Vaclav Smetácek may not be as well known as his contemporaries Rafael Kubelik or Vaclav Neumann, but he was one of the most conspicuous influential Czech musicians of the twentieth century. Born in Brno, Smetácek was an oboe player and founded the Prague Wind Quintet in 1928 and maintained his membership in that renowned chamber group until his retirement in 1955.”

- Uncle Dave Lewis,